Noticias

AMC Networks remain hopeful the Emmy chances for its zombie apocalypse property are not dead.

The network announced its Emmy submission strategy for the three spinoffs from “The Walking Dead” universe: “Daryl Dixon,” “Dead City,” and “The Ones Who Live.”

“The Ones Who Live” picks up after the conclusion of the original series, reuniting beloved characters Rick Grimes and Michonne, portrayed by Andrew Lincoln and Danai Gurira. This series will be submitted for outstanding limited or anthology series, along with its stars in the lead acting categories. Gurira, who wrote the fourth episode “What We,” will also be considered in the writing category, alongside director Michael Slovis. Additional noms will be pursued for Matthew Jeffers and Pollyanna McIntosh in their supporting roles, along with other artisan categories.

Read: All Primetime Emmy predictions in every category on Variety’s Awards Circuit.

“Daryl Dixon,” starring Norman Reedus, will compete in the drama series categories.

Plot: Asphalt City follows Ollie Cross, a young paramedic assigned to the NYC night shift with an uncompromising and seasoned partner Gene Rutkovsky. The dark nights reveal a city in crisis; Rutkovsky guides Cross, as each 911 call is often dangerous and uncertain, putting their lives on the line every day to help others. Cross soon discovers firsthand the chaos and awe of a job that careens from harrowing to heartfelt, testing his relationship with Rutkovsky and the ethical ambiguity that can be the difference between life and death.

Review: Stories about first responders, specifically EMTs, are often material depicted on small-screen procedurals and dramas like 9-1-1 and Chicago Med. Doctors tend to get all the glory on the big screen, except for Martin Scorsese’s haunting 1999 film Bringing Out the Dead. Where that film went down a horror-tinged rabbit hole reminiscent of Scorsese’s Taxi Driver, it managed to...

I entered Asphalt City at last year’s EnergaCAMERIMAGE festival with nothing but morbid curiosity. Having engendered some rank responses from its Cannes premiere and not secured any known U.S. distributor, Jean-Stéphane Sauvaire’s film had the right kind of bad-object energy one needs at the jetlagged start to their week in a small Polish city. (Or just the comfort I personally get from a Brooklyn-shot feature featuring two Club Random guests.)

I walked away boasting complicated, fascinated enthusiasm: nearly every second is ridiculous and never boring, and it doesn’t not deserve to play at a cinematography festival––having the most cinematography counts for something. Starting and ending with a blatant homage to The New World before thanking Terrence Malick in its credits; Michael Pitt relaunching a troubled career by billing himself Michael C. Pitt and asking Tye Sheridan “you believe in Heaven, bro?” with a mile-thick Noo...

The EnergaCamerimage international cinematography film festival announced a trio of films that will join this year’s main competition lineup: El Conde, Filip and Ferrari.

Michael Mann’s Ferrari was lensed by Oscar-winning Dp Erik Messerschmidt (Mank); Pablo Larraín’s El Condo was photographed by Academy-Award nominated cinematographer Edward Lachman, who won the Camerimage Golden Frog in 2015 for Carol; and Michal Kwiecinski’s Filip was lensed by Dp Michal Sobocinski (The Art of Loving: Story of Michalina Wislocka).

As previously announced, the main competition also includes Yorgos Lanthimos’ Poor Things, Dp’d by Robbie Ryan, which will be the opening night film; Martin Scorsese’s Killers of the Flower Moon, lensed by Rodrigo Prieto; Black Flies, directed by Jean-Stéphane Sauvaire and lensed by David Ungaro; and All of Us Strangers, helmed by Andrew Haigh and photographed by Jamie Ramsay.

The festival also announced this week that Krzysztof Zanussi (The Constant Factor,...

Killers of the Flower Moon, All of Us Strangers and Black Flies will be part of the main competition at this year’s EnergaCamerimage international cinematography film festival.

Martin Scorsese’s 1920s-set Killers, starring Leonardo DiCaprio, Lily Gladstone and Robert De Niro, tracks suspicious murders of members of the Osage Nation, who became some of the richest people in the world after oil was discovered underneath their land. Cinematographer Rodrigo Prieto, who will introduce the film at the Polish festival, previously won Camerimage’s main competition Golden Frog for Alejandro G. Iñárritu’s Amores Perros and Silver Frog for Oliver Stone’s Alexander.

Starring Andrew Scott and Paul Mescal, Andrew Haigh’s All of Us Strangers, shot by Dp Jamie Ramsey, who will also introduce the film, is inspired by Taichi Yamada’s novel Strangers. A year ago, Ramsay was awarded Camerimage’s Bronze Frog for his work on Oliver Hermanus’ Living.

EnergaCamerimage, the cinematography-focused film festival set for Torun, Poland, for Nov. 11-18, has announced that high-profile award contenders “Killers of the Flower Moon,” “Black Flies” and “All of Us Strangers” will be featured in its main competition.

“Killers of the Flower Moon,” the latest pic from director Martin Scorsese, takes audiences on a journey through 1920s Oklahoma to tell a heartbreaking tale of love, greed and betrayal. Based on a true story and starring Leonardo DiCaprio, Lily Gladstone and Robert De Niro, it centers on the suspicious murders of members of native American tribe Osage Nation, who became wealthy overnight after oil was discovered beneath their land.

This is the eighth Camerimage main competition nomination for Scorsese’s cinematographer, Rodrigo Prieto. He previously won the fest’s Golden Frog for Alejandro G. Iñárritu’s “Amores Perros” (2000) and Silver Frog for Oliver Stone’s “Alexander” (2004).

“Black Flies,” a suspenseful story directed by Jean-Stéphane Sauvaire,...

As IndieWire has published its great camera survey regarding Cannes Film Festival 2023, we analyzed the data to reveal that the Arri Alexa Mini is still the king of kings. This is the 4th year in a row that this camera dominates the Cannes list. Also, there’s a respectful presence of good and old film cameras. Explore the list below.

Cannes Film Festival 2023 – Camera Manufacturers Chart The cinematography of the leading film festivals

Just saying — and without noticing, we wrote a title very similar to last year’s Cannes 2022 (“The Cameras Behind Cannes 2022: Alexa Mini (Still) Dominates”). This shows that filmmakers love the Arri Mini so much…but we’ll elaborate on this later. We have been waiting for IndieWire to complete its survey regarding the cameras that shot Cannes 2023’s feature films. Each year, IndieWire sends a questionnaire to main festivals’ filmmakers (directors and cinematographers) in order to...

Beware of black flies, they are the first to smell death. That is what rookie Fdny paramedic Ollie Cross is told by a colleague as he ventures into an abandoned apartment where a swarm is buzzing around a decaying dead body in a bathtub. It is clearly a metaphor for the job of first responders like Ollie and his partner Gene Rutkowsky who are also the first to “smell death,” repeatedly, on a job that takes its toll not just on those in need of medical help, but also on those who provide it.

Premiering in competition Thursday at the Cannes Film Festival, Black Flies stars Sean Penn as a grizzled veteran paramedic known as “Rut” now on the nighttime beat with rookie partner Cross, played with conviction by Tye Sheridan, as they answer the call in the largely rundown neighborhood of Brownsville in Brooklyn. It is the classic Hollywood...

What a missed opportunity we have here. For two thirds of The Burnt Orange Heresy, this art world centered suspense film does a lot of things right. There’s quality acting, a sexy vibe, lovely settings, and a sense of foreboding doom that one can’t quite put their finger on. Then, in the third act, it all goes wrong. Characters begin acting completely randomly, ruining almost all of the goodwill generated by the first two acts. Now out in select theaters, this flick ends up being an interesting failure, when it was well on its way to being a small scale success. The movie is a drama, mixing suspense and thriller elements, all within the world of art, art criticism, and artists. Art critic James Figueras (Claes Bang) is lecturing in Italy when he meets American Berenice Hollis (Berenice Hollis). Drawn to his devilish charm, Berenice jumps into bed with him,...

James Figueras (Claes Bang) is an art critic so charmingly slick he can sell a tourist audience in Milan on a painting simply by making up stories about it. In attendance at his lecture is Berenice Hollis (Elizabeth Debicki), a vacationing teacher from Minnesota — or is she a seductive tower of blond ambition with a secret agenda? Given the laws of cinematic attraction, their coupling is as quick as it is inevitable. So it’s no surprise that filthy-rich art collector Joseph Cassidy (Mick Jagger) extends an invitation for both...

Knotty in the way mystery movies used to be, Giuseppe Capotondi’s neo-noir thriller “The Burnt Orange Heresy” slowly entraps an unsuspecting victim within its thorny plot and keeps the audience guessing — up to a point.

If we’re familiar enough with these stories, we might predict what darkness lies ahead for these characters. But even if the tale feels a little stale, a little dated, the electric performances between the three main leads — Claes Bang, Elizabeth Debicki and Donald Sutherland — restores its sense of mystery.

The movie opens on a dashing art critic practicing his presentation as he works out, gets dressed and packs his books to sell. James Figueras (Bang) eventually gives the performance to a group of aging tourists who watch him defend his noble profession with an impish smirk. James tricks and deceives his listeners with half-truths and whole-lies but doesn’t seem to have any...

Close-Up is a feature that spotlights films now playing on Mubi. Guillaume Nicloux's To the Ends of the World is showing January and February, 2020 in the series From France with Love.A man, center-frame, despondent and immobile, sits on a bench, his head hanging heavy on his chest. Behind him, a foggy background reveals lightly-dressed soldiers trodding the ground in a casual manner, their movement slowed down to strolling. When Robert Tassen (a gritty Gaspard Ulliel) finally aligns his gaze with the spectator, even framed in long shot, his eyes are piercing, brimming with rage. Guillaume Nicloux’s fourteenth feature, To the Ends of the World, is a febrile film set in the time preceding the First Indochina War and, at once, a meditation on grief and ire, the personal and social overlapping in genesis of a war trauma which turns out to be a festering, often crippling wound.

Floria Sigismondi’s The Turning, based on Henry James’ novella The Turn Of The Screw, is the exact spookless blunder that gives “January Horror” a pitiful reputation. Chad and Carey Hayes seem utterly lost without James Wan’s partnership since their screenplay barely reflects basic three-act structures. Scares are beyond stale, Mackenzie Davis is walled within a dusty structure of haunted tropes, and to top it all off, there’s no finishing punch. Really no third act at all given how Sigismondi’s “exit, stage left” into the credits crawl is laugh-out-loud incompetent. I deeply, sincerely, hate this movie, and “hate” is a word this critic rarely allows into play.

Spoilers to follow, because I have some major thoughts on the film’s ending. It’s impossible to gloss over or ignore. You’ve been warned.

Ms. Davis plays Kate, a hired governess who becomes live-in caretaker to siblings Flora...

Ever since #MeToo opened the world’s eyes to the horrors of toxic masculinity, horror filmmakers — particularly female ones — have been finding increasingly creative ways to imbue their work with fears unique to women. This past year alone, both Jennifer Kent’s “The Nightingale” and Sophia Takal’s “Black Christmas” used rape-revenge tropes as plot points, though to vastly different degrees of success.

In her stylish if not entirely bone-chilling new movie “The Turning,” director Floria Sigismondi shrewdly updates Henry James’ “The Turn of the Screw” to haunt her young protagonist with unwanted male attention and obsession. Updating the story that inspired Jack Clayton’s 1961 classic “The Innocents,” which followed the text more closely,

The film’s opening hews closely enough to the original novella, as the fresh-faced Kate (Mackenzie Davis) accepts an unusual position as governess for absurdly wealthy orphan Flora (Brooklynn Prince), who lives in an extravagant manor home.

Director Floria Sigismondi’s “The Turning” is like the alt-rock cousin of author Henry James’ novella “The Turn of the Screw.” From its grunge-infused soundtrack and period setting to its fiery feminist overtones, this is an ambitious contemporary take on the iconic, claustrophobic thriller. Concerning two young orphans who psychologically torment their caretaker in a spooky, sprawling mansion, it comes across as a fuzzy, frayed adaptation courtesy of a gimmicky, ambiguous climax that undermines the journey. Lacking spine-tingling dread, taut tension, and the deservingly provocative ending needed to make its modern sentiments land, this re-imagining is less than a classic.

Bubbly teacher Kate (Mackenzie Davis) has taken a position at Bly Manor as governess for 7-year-old Flora (Brooklynn Prince), who’s suffering from trauma associated with the death of her parents outside the gates of the palatial estate. The family’s former live-in nanny, Miss Jessel (Denna Thomsen), abruptly left...

If you read my piece on The Innocents from last October, then you know that I’m a pretty big fan of both Henry James’ The Turn of the Screw as well as Jack Clayton’s timeless 1961 adaptation, which means that I am the prime audience for Floria Sigismondi’s new take on this classic tale, The Turning. And for the most part, I really enjoyed what Sigismondi as well as screenwriters Carey and Chad Hayes were able to bring to the table here, with Floria’s visual flair adding a lot to the material, and a trio of strong performances from the film’s lead actors: Mackenzie Davis, Brooklynn Prince, and Finn Wolfhard.

Where The Turning ended up falling a bit short for me was in its finale, where the pieces of the narrative’s puzzle don’t quite all lock together in the film’s final moments. But overall,...

Watching “The Burnt Orange Heresy,” you may find yourself wishing one of two things: that Claes Bang and Elizabeth Debicki had been around to make elegant little mystery capers with Alfred Hitchcock in his prime, or that Hitch were around today to direct this one, a marble-cool art-fraud thriller that begins lithely and sexily before, somewhat mystifyingly, it takes a terminal turn for the dour. The first film in ten years from Italian genre stylist Giuseppe Capotondi, who competed on the Lido in 2009 with his sharp, twisty neo-noir “The Double Hour,” this adaptation of Charles B. Willeford’s 1971 novel — about an art critic desperate to uncover a reclusive painter’s secret works at any cost — is considerably i, two actors who could sell you just about any Old Master knockoff.

If it’s never less than watchable, “The Burnt Orange Heresy” nonetheless works best as a kind of screen test...

This year’s Venice Film Festival will close on September 7 with the world premiere of director Giuseppe Capotondi’s feature The Burnt Orange Heresy, starring Claes Bang, Elizabeth Debicki, Donald Sutherland and Mick Jagger.

The Out Of Competition screening will be held in the Sala Grande after the festival’s awards ceremony.

The art world and the underworld collide in the neo-noir thriller set in present day Italy. The film follows charismatic art critic James Figueras (Bang) who hooks up with provocative fellow American, Berenice Hollis (Debicki). The new lovers travel to the lavish and opulent Lake Como estate of powerful art collector, Cassidy (Jagger). Their host reveals he is the patron of Jerome Debney (Sutherland), the reclusive J.D. Salinger of the art world, and he has a simple request: for James to steal a Debney masterpiece from the artist’s studio, whatever the cost. As the couple spend time with the legendary Debney,...

Xyz Films handles North American sales.

Sylvester McCoy, Rita Tushingham, Ian Kenny, Jake Curran, Andrew Ellis and Stacha Hicks have been announced as cast members of home invasion thriller The Owners alongside Game Of Thrones star Maisie Williams as the production starts shooting in the UK.

McCoy, whose credits include Doctor Who, plays an elderly doctor opposite veteran UK actress Rita Tushingham as his wife. Together, the retired couple turn the tables on a gang of local hoodlums who break into their isolated house.

Kenny and Ellis (This Is England) play two dead-beat, childhood friends who are spurred on by...

Production is underway in the UK on Maisie Williams thriller The Owners.

Joining Williams (Game Of Thrones) in the cast are Sylvester McCoy (Doctor Who), Rita Tushingham (A Taste of Honey), Ian Kenny (Sing Street), Jake Curran (Spotless), Andrew Ellis (This Is England) and Stacha Hicks (The Children Act).

The 90’s-set thriller is directed by Julius Berg, with a screenplay by Berg and Mathieu Gompel, based on the comic book from artist Herrmann and written by Yves H. Producers are Alain de la Mata at UK-based Bluelight and Christopher Granier-Deferre, with Nate Bolotin and Maxime Cottray executive producing for Xyz Films.

Co-producers are Brahim Chioua for Wild Bunch, Frédéric Fiore and Eric Tavitian for Logical Pictures and Pape Boye for Versatile. Versatile will continue pre-sales on available international territories, while Xyz will handle North American sales, at the upcoming Marché du Film at Cannes.

Shooting is currently underway in Kent,...

Filmmaker Tim Sutton has a dark view of the world. He’s shown that in previous features, but really doubles down with his newest work. Take any one scene from Donnybrook, Sutton’s new release that opened this weekend, and you’ll see an example of this. Grim and joyless, this portrait of desperate violence and working class Middle Americans is often tough to watch. Well acted and just as disturbing as intended, it’s a very singular vision of society. For some, it may make for an utterly hypnotic experience, while for others, it may be just too much to handle. For yours truly, the truth is somewhere in between. The movie is a gritty drama about the lengths people are willing to go in order to dig themselves out from the pits they’ve fallen into. Specifically, three people in “Jarhead” Earl (Jamie Bell), “Chainsaw” Angus (Frank Grillo...

A sizable group of Specialty films are heading into theaters over the Presidents Day weekend as distributors bring out new work beyond the glare of Awards Season. IFC Films is opening Tim Sutton’s Donnybrook with Jamie Bell, Frank Grillo and Margaret Qualley in theaters Friday, followed by on-demand platforms on February 22. Sony Pictures Classics is heading out with animated feature, Ruben Brandt, Collector. The company had become aware of the Hungarian feature after reading a review of the film out of last summer’s Locarno Film Festival. The Orchard picked up Colombia’s entry for Foreign Language Oscar consideration, Birds Of Passage by Cristina Gallego and Ciro Guerra, out of last year’s Cannes Film Festival where it opened Directors Fortnight. The title bowed Wednesday in New York and opens L.A. Friday. Also opening this weekend are Freestyle Digital Media’s The Maestro and Screen Media’s dog ‘rom-com,...

Tim Sutton’s “Donnybrook” is like getting wasted on expired beer at a bar with no liquor license, fighting three strangers in a parking lot, and passing out in a pool of vomit — which may or may not be your own — at the end of the night. On a Monday. It’s a brutal, depressing, filthy motion picture. But for whatever it’s worth, that’s the point.

“Donnybrook” stars Jamie Bell as Jarhead Earl, a war veteran with two kids, a drug-addicted wife, no money, and only one chance of improving his circumstances: The Donnybrook, an illegal, bare-knuckle brawl with a $100,000 grand prize.

But Sutton’s film, based on a novel by Frank Bill, isn’t a conventional fight movie. This is a movie about the tragedy of getting beaten up and not about doing the victorious beating. It falls to Jarhead Earl to make a perilous journey to the Donnybrook,...

The EnergaCamerimage fest’s main lineup, its competition for best cinematographer, covers a vast range of styles, and honors several fresh visual stylists along with many legends in the field.

As festival director Marek Zydowicz puts it, this year’s selection “was particularly tough because of the variety of visual means used to enhance the stories being told. I am still amazed of the number of possibilities modern equipment give to cinematographers to complete their vision without going to any compromise.”

With entries shot in monochrome and others “sparkling with color,” he says, “we have films presenting different points of view, cultures, ways of living.”

Those screening represent films gleaned from “quite a long, long list of films” by veteran cinematographers, “and the lesser known but truly beautiful artists of light and camera who astonished me with their visions.”

In addition, the fest’s traditional audience, consisting of a high...

Stars: Joe Cole, Pornchanok Mabklang, Panya Yimmumphai, Nicolas Shake, Billy Moore, Somlock Kamsing, Sakda Niamhom, Sura Sirmalai, Chaloemporn Sawatsuk, Komsan Polsan | Written by Jonathan Hirschbein, Nick Saltrese | Directed by Jean- Stephane Sauvaire

Jean- Stephane Sauvaire’s A Prayer Before Dawn is a vortex of nihilistic self-sabotage, orchestrated in a prism of oppressive human behaviour. It is fundamentally flawless in its production. Cinematographer David Ungaro utilises a form of a documentarian approach that subjects the audience to an unflinching atmospheric and quite frankly, a torturous horror of psychological and physical deterioration. The story of Billy Moore is primal. It is desolate. It is utterly compelling to even fortify and comprehend a belief that this is non-fiction let alone a true story that Moore survived to tell the tale.

The fractured psyche of broken and corrupted individuals is not a strikingly new or original cinematic concept, most notably and widely acknowledged as...

The wartime backdrop may be 1945 Indochina rather than 1969 Vietnam, but “Apocalypse Eventually” would be an apt alternative title for “To the Ends of the World,” Guillaume Nicloux’s deliberate, elliptical and startlingly carnal vision of a rogue French soldier’s vengeful heart-of-darkness quest. Sewn through with horrifying imagery of brutality and decay — yet not specifically an anti-war film so much as a personal probe into the toxifying properties of unresolved grief — this formally impressive but pristinely unpleasant provocation extends themes explored in Nicloux’s previous two films, “Valley of Love” and “The End.” Yet it finds a more robust cinematic language for its philosophical wanderings than either of those curiosities, with cinematographer David Ungaro’s ravishing jungle vistas practically causing sweat to bead on the screen. That semi-epic scope, coupled with the star presence of Gaspard Ulliel and recent Nicloux regular Gérard Depardieu, should beef up distributor interest in a...

Exclusive: Gersh has hired below-the-line talent agent Laura Brokaw from The Skouras Agency and alternative TV agent Stewart Cavanagh. Both will work out of the agency’s expanding Los Angeles office. Brokaw spent the past 13 years at Skouras Agency. Her client list coming with her includes production designers Andrew L. Jones (Robert Stromberg’s Hulu pilot Dawn) and Scott P. Murphy (Season 2 of Daredevil); cinematographers David Ungaro (A Storm In The Stars) and Andrew…...

Exclusive: Gersh has hired below-the-line talent agent Laura Brokaw from The Skouras Agency and alternative TV agent Stewart Cavanagh. Both will work out of the agency’s expanding Los Angeles office. Brokaw spent the past 13 years at Skouras Agency. Her client list coming with her includes production designers Andrew L. Jones (Robert Stromberg’s Hulu pilot Dawn) and Scott P. Murphy (Season 2 of Daredevil); cinematographers David Ungaro (A Storm In The Stars) and Andrew…...

Reviewer: James van Maanen

Rating (out of 5): ***½

From the kaleidoscopic credits sequence -- gorgeous but approaching the headache-inducing -- it's clear that we're in for some visual splendor. And Netherlands-born adapter (of Chris Greenhalgh's novel) and director Jan Kounen certainly delivers on that promise: Coco Chanel & Igor Stravinsky is perhaps the most beautiful film of the year -- maybe several -- in terms of art direction, costumes and sets (including wallpaper and props). I am not being facetious: There is a lot be said for sheer beauty and taste regarding surroundings, particularly when all this is captured as stunningly as it is here (the widescreen cinematography is by David Ungaro).