Oi there, listen up! Amazon Prime Video’s list of new releases for June 2024 includes another season of its biggest, bloodiest hit.
The Boys season 4 premieres its first three episodes on Thursday, June 13. Based on the trailers, The Boys is really leaning into the political side of its social satire with a presidential election underway and Homelander on trial for the small matter of killing a guy last season. The season will continue to air on Thursdays, culminating with the finale on July 18.
Amazon is really leaning into its sports offerings this month as well. Fans will get to watch the New York Yankees, the WNBA, and the Nwsl several times throughout June. That’s in addition to a couple of sports docs: Power of the Dream on June 18 and Federer: Twelve Final Days on June 20.
But if you’re looking for something even more explosive than Homelander and Roger Federer,...
The Boys season 4 premieres its first three episodes on Thursday, June 13. Based on the trailers, The Boys is really leaning into the political side of its social satire with a presidential election underway and Homelander on trial for the small matter of killing a guy last season. The season will continue to air on Thursdays, culminating with the finale on July 18.
Amazon is really leaning into its sports offerings this month as well. Fans will get to watch the New York Yankees, the WNBA, and the Nwsl several times throughout June. That’s in addition to a couple of sports docs: Power of the Dream on June 18 and Federer: Twelve Final Days on June 20.
But if you’re looking for something even more explosive than Homelander and Roger Federer,...
- 6/1/2024
- by Alec Bojalad
- Den of Geek
“Being Maria” is a flawed but fascinating look at the turbulent life of actor Maria Schneider, played by a game Anamaria Vartolomei (“Happening”). It limns her rebellious teen years, her big breakthrough at 19 in Bernardo Bertolucci’s “Last Tango in Paris,” and how her trauma on set and the film’s notoriety impacted her subsequent career and mental health. Helmer Jessica Palud (“Back Home”) and co-scripter Laurette Polmanss loosely adapt a memoir by Schneider’s younger cousin to show events through the star’s eyes. Despite a clunky air of earnestness and some soap opera-like scenes, plus the overly familiar arc of a celebrity spiraling out of control, the film resonates because the central topic is so of the moment. It’s a cautionary tale about a naïve and powerless young talent abused in the name of art, as well as the agonizing aftermath of her maltreatment.
The narrative depicts...
The narrative depicts...
- 5/27/2024
- by Alissa Simon
- Variety Film + TV
Take your pick. There have been countless film and TV productions adapting Alexandre Dumas’ classic 19th century tale of revenge and deception, The Count of Monte Cristo. We have seen it in different versions in 1934, 1954, 1975, 2002 and probably up to 15 more iterations. Now we have the latest, the lavish widescreen French production Le Comte de Monte-Cristo, which had its world premiere Wednesday night Out of Competition to a wildly approving full audience at the Grand Lumiere — an appropriate place to launch this film as the screen might be the best in the world, and this movie is big.
In addition to all those past film versions on the book, there are countless other movies that have stolen from this complexly plotted tale. For some reason I kept thinking of the Ocean’s movies as, like this, they involve lots of complicated plotting, and once our title character begins planning his revenge...
In addition to all those past film versions on the book, there are countless other movies that have stolen from this complexly plotted tale. For some reason I kept thinking of the Ocean’s movies as, like this, they involve lots of complicated plotting, and once our title character begins planning his revenge...
- 5/23/2024
- by Pete Hammond
- Deadline Film + TV
There has been a lot of noise at this year’s Cannes Film Festival about France’s accelerated MeToo movement, particularly by female cinema stars leading the charge. So whether coincidental or not, the world premiere in the Cannes Premiere section last night of Being Maria (aka Maria) seemed like perfect timing and more relevant than ever
Jessica Palud directs and co-wrote the screenplay with Laurette Polmanss (inspired by cousin Vanessa Schneider’s 2018 book) focusing on the life of actress Maria Schneider, who at age 19 was cast in 1973’s notorious sexual drama Last Tango In Paris, a scandal-riddled production from director Bernardo Bertolucci and starring Marlon Brando that got so heated the stars and director were even threatened with six months jail time in Italy upon its release, even as critics hailed the film as a masterpiece. Long before MeToo and the focus on treatment of women in Hollywood, Schneider...
Jessica Palud directs and co-wrote the screenplay with Laurette Polmanss (inspired by cousin Vanessa Schneider’s 2018 book) focusing on the life of actress Maria Schneider, who at age 19 was cast in 1973’s notorious sexual drama Last Tango In Paris, a scandal-riddled production from director Bernardo Bertolucci and starring Marlon Brando that got so heated the stars and director were even threatened with six months jail time in Italy upon its release, even as critics hailed the film as a masterpiece. Long before MeToo and the focus on treatment of women in Hollywood, Schneider...
- 5/22/2024
- by Pete Hammond
- Deadline Film + TV
Matt Dillon is taking on the legacy of Marlon Brando for a biopic about the making of Bernardo Bertolucci’s controversial “Last Tango in Paris.”
Dillon portrays Brando alongside Anamaria Vartolomei as Maria Schneider for Jessica Palud’s upcoming “Maria,” which is set to debut at Cannes later this week in the Cannes Premiere section. “Maria” follows Schneider’s life after starring in “Last Tango in Paris” at age 19, during which she filmed an unsimulated rape scene with Brando in 1973 at director Bertolucci’s (Giuseppe Maggio) instruction. The film is based on Vanessa Schneider’s 2018 memoir “My Cousin Maria Schneider,” which was translated by Molly Ringwald.
Per the memoir, Bertolucci did not tell Schneider the full extent of the film’s plot until right before production. Schneider allegedly was unaware of the pivotal scene in which Brando’s character anally rapes her character using a stick of butter as lubricant.
Dillon portrays Brando alongside Anamaria Vartolomei as Maria Schneider for Jessica Palud’s upcoming “Maria,” which is set to debut at Cannes later this week in the Cannes Premiere section. “Maria” follows Schneider’s life after starring in “Last Tango in Paris” at age 19, during which she filmed an unsimulated rape scene with Brando in 1973 at director Bertolucci’s (Giuseppe Maggio) instruction. The film is based on Vanessa Schneider’s 2018 memoir “My Cousin Maria Schneider,” which was translated by Molly Ringwald.
Per the memoir, Bertolucci did not tell Schneider the full extent of the film’s plot until right before production. Schneider allegedly was unaware of the pivotal scene in which Brando’s character anally rapes her character using a stick of butter as lubricant.
- 5/13/2024
- by Samantha Bergeson
- Indiewire
Films from Oliver Stone, Michel Hazanavicius and Arnaud Desplechin have been added to the Official Selection of the 77th Cannes Film Festival. They join previously announced titles from David Cronenberg, Yorgos Lanthimos, Francis Ford Coppola and Paul Schrader. Greta Gerwig is the president of this year’s jury.
Stone’s film, “Lula” is a documentary about Brazilian president Luiz Inácio Lula da Silva and will have its world premiere as part of the Special Screenings section, which also features “Spectators,” from Arnaud Desplechin. His latest stars “Anatomy of a Fall” child actor Milo Machado Graner as well as Mathieu Amalric (“The Diving Bell and the Butterfly”).
Hazanavicius, a Best Director Oscar winner for “The Artist,” joins the Competition lineup with “La Plus Précieuse des Marchandises” (“The Most Precious of Cargoes”), an animated film about a Jewish child during World War II whose father, in a desperate attempt to save his son’s life,...
Stone’s film, “Lula” is a documentary about Brazilian president Luiz Inácio Lula da Silva and will have its world premiere as part of the Special Screenings section, which also features “Spectators,” from Arnaud Desplechin. His latest stars “Anatomy of a Fall” child actor Milo Machado Graner as well as Mathieu Amalric (“The Diving Bell and the Butterfly”).
Hazanavicius, a Best Director Oscar winner for “The Artist,” joins the Competition lineup with “La Plus Précieuse des Marchandises” (“The Most Precious of Cargoes”), an animated film about a Jewish child during World War II whose father, in a desperate attempt to save his son’s life,...
- 4/22/2024
- by Missy Schwartz
- The Wrap
Cannes Film Festival has completed its 2024 Official Selection with 13 new films, including three new Competition titles.
Michel Hazanavicius’ The Most Precious Of Cargoes, Emanuel Parvu’s Three Kilometres To The End Of The World and Mohammad Rasoulof’s The Seed Of The Sacred Fig join the Competition line-up, bringing it to 22 films.
There are four additional special screenings, including Oliver Stone’s documentary Lula, about Brazilian president Luiz Inacio Lula da Silva. Also added are Arnaud Desplechin’s Filmlovers! [pictured], Lou Ye’s An Unfinished Film and Tudor Giurgiu’s Nasty.
Un Certain Regard will open with Runar Runarsson’s When The Light Breaks,...
Michel Hazanavicius’ The Most Precious Of Cargoes, Emanuel Parvu’s Three Kilometres To The End Of The World and Mohammad Rasoulof’s The Seed Of The Sacred Fig join the Competition line-up, bringing it to 22 films.
There are four additional special screenings, including Oliver Stone’s documentary Lula, about Brazilian president Luiz Inacio Lula da Silva. Also added are Arnaud Desplechin’s Filmlovers! [pictured], Lou Ye’s An Unfinished Film and Tudor Giurgiu’s Nasty.
Un Certain Regard will open with Runar Runarsson’s When The Light Breaks,...
- 4/22/2024
- ScreenDaily
Marlon Brando – the man whom Time magazine crowned the greatest actor of the 20th century back in 1998 – would be celebrating his 100th birthday today had he not died 20 years ago. Born on April 3, 1924, Brando was a fascinating if divisive character, a perpetually enigmatic figure whose impact not only on the acting profession but on American popular culture itself can’t be overstated. He starred in numerous iconic roles, from Stanley Kowalski in “A Streetcar Named Desire” to Terry Malloy in “On the Waterfront” to Julius Caesar in “Julius Caesar” to Vito Corleone in “The Godfather.”
While he wound up nominated for eight Academy Awards and six Golden Globes and won two of each, it was the one honor Brando rejected, of course, that came to define his awards legacy: his Best Actor win for “The Godfather” in 1973 in which he sent actress and purported Native American representative Sacheen Littlefeather (a.
While he wound up nominated for eight Academy Awards and six Golden Globes and won two of each, it was the one honor Brando rejected, of course, that came to define his awards legacy: his Best Actor win for “The Godfather” in 1973 in which he sent actress and purported Native American representative Sacheen Littlefeather (a.
- 4/3/2024
- by Ray Richmond
- Gold Derby
On what would be his 100th birthday, Marlon Brando remains synonymous not with acting, but great acting — even if this ranked list of all his performances represents what may be the most wildly uneven filmography for any talent of his caliber. But that’s the power of Brando: A handful of his performances are so great and influential they shook up the art of acting forever. Even among his lesser performances, there’s compelling work deserving of rediscovery.
In order to best exemplify what made him such a singular onscreen presence, we ranked all 39 of his films (and one TV appearance), reflecting a spectrum as wide as the man’s broad shoulders. Based on the quality of Brando’s performances rather than the overall films themselves, there are some placements that may surprise you; for example, as great as Brando is in “The Godfather,” it’s still just the fourth-best...
In order to best exemplify what made him such a singular onscreen presence, we ranked all 39 of his films (and one TV appearance), reflecting a spectrum as wide as the man’s broad shoulders. Based on the quality of Brando’s performances rather than the overall films themselves, there are some placements that may surprise you; for example, as great as Brando is in “The Godfather,” it’s still just the fourth-best...
- 4/3/2024
- by Wilson Chapman and Noel Murray
- Indiewire
Everyone remembers their first time. That is the first time they saw Marlon Brando.
For the late Mike Nichols, seeing Brando on Broadway in 1947 in his seminal turn as Stanley Kowalski in Tennessee Williams‘ “A Streetcar Named Desire,” was the catalyst that lead to his career in the arts which saw him become a rare Egot winner. The teenage Nichols and his then girlfriend’s mother were given tickets for the second night of the Elia Kazan-directed production. “There had never been anything like it, I know that by now,” Nichols recalled in a 2010 L.A. Times interview. It was, to this day, the only thing onstage that I had ever seen that was 100% real and 100% poetic. Lucy and I weren’t exactly theater buffs, but we couldn’t get up at the intermission. We were just so stunned. Your heart was pounding. It was a major experience.”
Susan L.
For the late Mike Nichols, seeing Brando on Broadway in 1947 in his seminal turn as Stanley Kowalski in Tennessee Williams‘ “A Streetcar Named Desire,” was the catalyst that lead to his career in the arts which saw him become a rare Egot winner. The teenage Nichols and his then girlfriend’s mother were given tickets for the second night of the Elia Kazan-directed production. “There had never been anything like it, I know that by now,” Nichols recalled in a 2010 L.A. Times interview. It was, to this day, the only thing onstage that I had ever seen that was 100% real and 100% poetic. Lucy and I weren’t exactly theater buffs, but we couldn’t get up at the intermission. We were just so stunned. Your heart was pounding. It was a major experience.”
Susan L.
- 4/2/2024
- by Susan King
- Gold Derby
Bernardo Bertolucci’s Nc-17 masterpiece “The Dreamers” is receiving a 4K restoration re-release to celebrate its 20th anniversary. The film made history as the first Fox Searchlight Nc-17 theatrical release in 2004, with then-president Peter Rice comparing “The Dreamers” to Bertolucci’s other infamously controversial film, “Last Tango in Paris.”
Bertolucci said at the time that “The Dreamers” being released stateside in its original cut was a relief, adding, “After all, an orgasm is better than a bomb.”
“The Dreamers” premiered at the Venice Film Festival in 2003 and had its U.S. debut at Sundance 2004. Future Bond cast member Eva Green made her credited big screen debut (after a bit part in “The Piano Teacher”) with the erotic psychological drama following a trio of cinephile students in 1968 Paris during the riots. Michael Pitt and Louis Garrel co-starred alongside Green.
The newly-restored version of the feature does not yet have a U.
Bertolucci said at the time that “The Dreamers” being released stateside in its original cut was a relief, adding, “After all, an orgasm is better than a bomb.”
“The Dreamers” premiered at the Venice Film Festival in 2003 and had its U.S. debut at Sundance 2004. Future Bond cast member Eva Green made her credited big screen debut (after a bit part in “The Piano Teacher”) with the erotic psychological drama following a trio of cinephile students in 1968 Paris during the riots. Michael Pitt and Louis Garrel co-starred alongside Green.
The newly-restored version of the feature does not yet have a U.
- 3/29/2024
- by Samantha Bergeson
- Indiewire
New York, March 28, 2024 /PRNewswire/ — Woody Allen’s newest film is set for release in select theaters across the United States on April 5, 2024. Coup De Chance, a romantic thriller shot entirely in French and starring an acclaimed international cast including Lou de Laâge (International Emmy winner. The Mad Women’s Ball), Valérie Lemercier, (The Visitors), Melvil Poupaud, (Eric Rohmer’s A Tale of Summer), and Niels Schneider (Heartbeats, How I Killed My Mother) is Allen’s 50th film as director.
A sensation when it debuted at the Venice Film Festival, Coup De Chance has received glowing reviews during its international release across Europe and Asia with comparisons to some of Allen’s most acclaimed masterpieces including Blue Jasmine, Match Point, Vicky Cristina Barcelona and Midnight in Paris.
In English, the title means “stroke of luck,” and the film centers around the central role of chance and luck in our lives. Fanny (de Laâge) and Jean (Poupaud,...
A sensation when it debuted at the Venice Film Festival, Coup De Chance has received glowing reviews during its international release across Europe and Asia with comparisons to some of Allen’s most acclaimed masterpieces including Blue Jasmine, Match Point, Vicky Cristina Barcelona and Midnight in Paris.
In English, the title means “stroke of luck,” and the film centers around the central role of chance and luck in our lives. Fanny (de Laâge) and Jean (Poupaud,...
- 3/28/2024
- by Molly Se-kyung
- Martin Cid Magazine - Movies
Italy’s Torino Film Festival will celebrate the centennial of Marlon Brando’s birth with a 24-title retrospective of films featuring the groundbreaking two-time Oscar winner, known for his naturalistic acting style and rebellious streak.
The Brando retro will be “the backbone” of the fest, according to its new artistic director, Italian actor/director Giulio Base. Accordingly, an image of Brando – photographed when he was shooting Bernardo Bertolucci’s “Last Tango in Paris” – is featured on the poster for the fest’s upcoming 42nd edition, which will run Nov. 22-30.
Torino is Italy’s preeminent event for young directors and indie cinema, and is where Matteo Garrone and Paolo Sorrentino screened their first works. The festival’s lineup will be announced at a later date.
“As an actor, Brando has always been my guiding star and I had been wondering for a while – since way before being appointed at Torino...
The Brando retro will be “the backbone” of the fest, according to its new artistic director, Italian actor/director Giulio Base. Accordingly, an image of Brando – photographed when he was shooting Bernardo Bertolucci’s “Last Tango in Paris” – is featured on the poster for the fest’s upcoming 42nd edition, which will run Nov. 22-30.
Torino is Italy’s preeminent event for young directors and indie cinema, and is where Matteo Garrone and Paolo Sorrentino screened their first works. The festival’s lineup will be announced at a later date.
“As an actor, Brando has always been my guiding star and I had been wondering for a while – since way before being appointed at Torino...
- 2/27/2024
- by Nick Vivarelli
- Variety Film + TV
Natasha Lyonne has shared a creepy story about James Woods hitting on her during the filming of Scary Movie 2 as part of a darkly comedic riff on the history of sexual assault in Hollywood that left even Conan O’Brien uncomfortable.
The actor told the story during her recent appearance on the Conan O’Brien Needs a Friend podcast after revisiting her earlier experience with Marlon Brando holding her boob as part of the script for Scary Movie 2 before he dropped out due to illness.
Woods replaced Brando as Father McFeely in the scene, a spoof of The Exorcist in which Lyonne plays Megan Voorhees, a parody of Linda Blair’s possessed character from the original movie. Speaking on the podcast, Lyonne remembered Woods “hitting on me as a teenager in full monster makeup,” adding, “It’s a crazy move, dude.” Watch the segment below.
Lyonne went on to...
The actor told the story during her recent appearance on the Conan O’Brien Needs a Friend podcast after revisiting her earlier experience with Marlon Brando holding her boob as part of the script for Scary Movie 2 before he dropped out due to illness.
Woods replaced Brando as Father McFeely in the scene, a spoof of The Exorcist in which Lyonne plays Megan Voorhees, a parody of Linda Blair’s possessed character from the original movie. Speaking on the podcast, Lyonne remembered Woods “hitting on me as a teenager in full monster makeup,” adding, “It’s a crazy move, dude.” Watch the segment below.
Lyonne went on to...
- 1/25/2024
- by Eddie Fu
- Consequence - Film News
Jessica Palud’s showbiz drama “Being Maria” reframes the short career and tragic life of “Last Tango in Paris” star Maria Schneider in a post-#MeToo light. “Happening” breakout Anamaria Vartolomei plays Schneider, while Matt Dillon takes on the role of her co-star Marlon Brando. Orange Studio is handling international sales.
Currently in post-production and aiming for a festival premiere later this year, the film in part tracks the controversial production and wrenching fallout of Bernardo Bertolucci’s 1972 masterpiece — a landmark that made Schneider an icon while locking her into a sexualized image she never could escape. Palud’s sophomore feature also marks a fitting echo for the Gallic auteur, who kicked off her professional life on the set of Bertolucci’s “The Dreamers.”
Stepping into Brando’s shoes gave Dillon a unique task, not least because the French-language film required the actor to work in an unfamiliar tongue. “I thought to myself,...
Currently in post-production and aiming for a festival premiere later this year, the film in part tracks the controversial production and wrenching fallout of Bernardo Bertolucci’s 1972 masterpiece — a landmark that made Schneider an icon while locking her into a sexualized image she never could escape. Palud’s sophomore feature also marks a fitting echo for the Gallic auteur, who kicked off her professional life on the set of Bertolucci’s “The Dreamers.”
Stepping into Brando’s shoes gave Dillon a unique task, not least because the French-language film required the actor to work in an unfamiliar tongue. “I thought to myself,...
- 1/15/2024
- by Ben Croll
- Variety Film + TV
Get in touch to send in cinephile news and discoveries. For regular updates, sign up for our weekly email newsletter and follow us @NotebookMUBI.NEWSCapital.The Palestinian Film Institute and several prominent filmmakers—including Sky Hopinka, Miko Revereza, Maryam Tafakory, Charlie Shackleton, and Basma al-Sharif—have withdrawn from the International Documentary Festival Amsterdam in response to the festival’s messaging about the war in Gaza. On the festival’s opening night, a group of activists took to the stage holding a banner that read “From the river to the sea, Palestine will be free”; on November 10, IDFA published a statement apologizing to patrons who may have been offended by this “hurtful slogan.” On November 11, the Pfi and the advocacy group Workers for Palestine Netherlands announced their withdrawal from IDFA: “As the world’s largest documentary film festival, IDFA holds the responsibility to respond to the plight of journalists and documentarians on the ground in Gaza,...
- 11/16/2023
- MUBI
As Woody Allen took the press conference stage for his recent film Coup de Chance, the disgraced filmmaker was given a lengthy standing ovation by the (largely European) media assembled in the room — arguably the most rapturous reception any filmmaker received. It was difficult to watch.
Strong applause for Woody Allen as he enters the press conference for his #venezia80 title ‘Coup De Chance’ pic.twitter.com/WHob4C24J4
— Deadline Hollywood (@Deadline) September 4, 2023
During the press conference, Allen, who is 87 years old, was joined onstage by his Italian cinematographer,...
Strong applause for Woody Allen as he enters the press conference for his #venezia80 title ‘Coup De Chance’ pic.twitter.com/WHob4C24J4
— Deadline Hollywood (@Deadline) September 4, 2023
During the press conference, Allen, who is 87 years old, was joined onstage by his Italian cinematographer,...
- 9/4/2023
- by Marlow Stern
- Rollingstone.com
William Friedkin, who won an Oscar for directing The French Connection, scored a nomination for The Exorcist and also helmed The Boys in the Band, Cruising, To Live and Die in L.A., Rules of Engagement and many others, died today in Los Angeles of heart failure and pneumonia. He was 87.
His death was confirmed by CAA via his wife, Fatal Attraction producer and former studio chief Sherry Lansing.
Friedkin beat out some serious heavyweights to win the Best Director Academy Award for The French Connection at the 1972 ceremony. Also up for the statuette that year were Stanley Kubrick (A Clockwork Orange), Peter Bogdanovich (The Last Picture Show) and Norman Jewison (Fiddler on the Roof). He would go up against more heavy hitters with The Exorcist two years later. George Roy Hill won that year for The Sting, also besting Bernardo Bertolucci (Last Tango in Paris), Ingmar Bergman (Cries & Whispers...
His death was confirmed by CAA via his wife, Fatal Attraction producer and former studio chief Sherry Lansing.
Friedkin beat out some serious heavyweights to win the Best Director Academy Award for The French Connection at the 1972 ceremony. Also up for the statuette that year were Stanley Kubrick (A Clockwork Orange), Peter Bogdanovich (The Last Picture Show) and Norman Jewison (Fiddler on the Roof). He would go up against more heavy hitters with The Exorcist two years later. George Roy Hill won that year for The Sting, also besting Bernardo Bertolucci (Last Tango in Paris), Ingmar Bergman (Cries & Whispers...
- 8/7/2023
- by Erik Pedersen
- Deadline Film + TV
Through My Window: Across the Sea is a film directed by Marçal Forés starring Clara Galle and Julio Peña.
It is a story about teenagers and a sequel to “Through the Window,” which takes the elements that made the first movie a success, emphasizes them, and gives them (especially at the end) a touch of maturity.
However, let’s be honest, nothing will make us forget the scene of the girl licking the ice cream in the pool with a parallel montage of the boys practicing… erotic games.
Yes, you can imagine it perfectly.
Through My Window: Across the Sea About the Movie
From the beginning, the movie is clear: the first movie had it clear, that the important thing was to accentuate the “spicier” scenes to fill the rest of the script. This also happens in action movies, where if you remove the chase scenes and such, the rest...
It is a story about teenagers and a sequel to “Through the Window,” which takes the elements that made the first movie a success, emphasizes them, and gives them (especially at the end) a touch of maturity.
However, let’s be honest, nothing will make us forget the scene of the girl licking the ice cream in the pool with a parallel montage of the boys practicing… erotic games.
Yes, you can imagine it perfectly.
Through My Window: Across the Sea About the Movie
From the beginning, the movie is clear: the first movie had it clear, that the important thing was to accentuate the “spicier” scenes to fill the rest of the script. This also happens in action movies, where if you remove the chase scenes and such, the rest...
- 6/23/2023
- by Martin Cid
- Martin Cid Magazine - Movies
Wes Anderson’s “Asteroid City,” fresh from its triumphant world premiere at the Cannes fest, opens the 38th Guadalajara Film Festival (Ficg) which touts new sections this year, including a branded series showcase and midnight screenings of Italian fright maestro Dario Argento’s horror films.
Eva Longoria’s feature directorial debut, “Flamin’ Hot,” which had its West Coast premiere at the LA Latino Film Festival (Laliff) May 31, marks its Mexican debut at the fest.
The Series Showcase includes Patricia Martinez’s fact-based “La Narcosatánica,” which will stream on the rebranded Max, and Maite Alberdi’s “Libre de reir,” a Gato Grande production that centers on inmates in a Mexican prison who enroll in a stand-up comedy workshop. Alberdi’s Sundance-winning docu “The Eternal Memory” also vies for a prize in the festival’s documentary sidebar.
According to festival director Estrella Araiza, the festival has recovered its funding and will screen...
Eva Longoria’s feature directorial debut, “Flamin’ Hot,” which had its West Coast premiere at the LA Latino Film Festival (Laliff) May 31, marks its Mexican debut at the fest.
The Series Showcase includes Patricia Martinez’s fact-based “La Narcosatánica,” which will stream on the rebranded Max, and Maite Alberdi’s “Libre de reir,” a Gato Grande production that centers on inmates in a Mexican prison who enroll in a stand-up comedy workshop. Alberdi’s Sundance-winning docu “The Eternal Memory” also vies for a prize in the festival’s documentary sidebar.
According to festival director Estrella Araiza, the festival has recovered its funding and will screen...
- 6/1/2023
- by Anna Marie de la Fuente
- Variety Film + TV
Gather ’round, kids, and let’s tell a tale of a time long ago, when movie screens weren’t filled with just superheroes and special effects. A time when parents policed what you were watching for fear of an awkward conversation.
We’re referring, of course, to sex.
From “Basic Instinct” and “Eyes Wide Shut” to “Body Double,” “Risky Business” and “9 ½ Weeks,” on-screen nookie was once a staple of cinema, as much a part of the moviegoing experience as buttered popcorn.
But Hollywood has been strangely celibate for at least the last decade. There are no specific statistics on the declining rate of sex scenes in movies: The closest TheWrap could find was a 2022 report that found R-rated features, where you often found sex scenes, had dipped to a mere 30% share of releases. But if you look at films in theaters today, even R-rated ones like “Joker” and “It,...
We’re referring, of course, to sex.
From “Basic Instinct” and “Eyes Wide Shut” to “Body Double,” “Risky Business” and “9 ½ Weeks,” on-screen nookie was once a staple of cinema, as much a part of the moviegoing experience as buttered popcorn.
But Hollywood has been strangely celibate for at least the last decade. There are no specific statistics on the declining rate of sex scenes in movies: The closest TheWrap could find was a 2022 report that found R-rated features, where you often found sex scenes, had dipped to a mere 30% share of releases. But if you look at films in theaters today, even R-rated ones like “Joker” and “It,...
- 5/19/2023
- by Kristen Lopez
- The Wrap
Molly Ringwald is revisiting the controversial “Last Tango in Paris.”
The “Breakfast Club” icon translated the non-fiction book “My Cousin Maria Schneider: A Memoir” by Vanessa Schneider from French to English, and in a new interview with The Guardian, Ringwald weighed in on the treatment of then 19-year-old actress Maria Schneider during the erotic 1972 film. Schneider plays a young woman who begins an anonymous sexual relationship with an older man, played by Marlon Brando, with demons of his own.
“She was on board for a lot of it. I feel like she personified the time: she was free, she was bisexual, she was really happy to be part of something that was daring,” Ringwald said of Schneider. “They just went the extra step that they didn’t need to go. The film could have been daring and provocative without that. She should have been able to consent.”
Ringwald began her...
The “Breakfast Club” icon translated the non-fiction book “My Cousin Maria Schneider: A Memoir” by Vanessa Schneider from French to English, and in a new interview with The Guardian, Ringwald weighed in on the treatment of then 19-year-old actress Maria Schneider during the erotic 1972 film. Schneider plays a young woman who begins an anonymous sexual relationship with an older man, played by Marlon Brando, with demons of his own.
“She was on board for a lot of it. I feel like she personified the time: she was free, she was bisexual, she was really happy to be part of something that was daring,” Ringwald said of Schneider. “They just went the extra step that they didn’t need to go. The film could have been daring and provocative without that. She should have been able to consent.”
Ringwald began her...
- 4/24/2023
- by Samantha Bergeson
- Indiewire
We hear a lot of stories about method actors going so far with their process that they become a total pain on set, ranging from Dustin Hoffman on "Marathon Man" to Jared Leto on "Morbius" and "Suicide Squad." Of course, there are plenty of method actors who aren't an irritant or a menace on set. Most of them are like that. We just don't hear about them because the stories aren't as weird as sending a rat to your co-star.
But then you have the grandaddy of them all, the man responsible for changing what film acting is: Marlon Brando. For as dynamic and groundbreaking an actor as he was, few actors have garnered as big of a reputation as him for being a really unpleasant co-worker. You have the truly horrific stuff that occurred on set for "Last Tango in Paris," but you also have things like not wanting...
But then you have the grandaddy of them all, the man responsible for changing what film acting is: Marlon Brando. For as dynamic and groundbreaking an actor as he was, few actors have garnered as big of a reputation as him for being a really unpleasant co-worker. You have the truly horrific stuff that occurred on set for "Last Tango in Paris," but you also have things like not wanting...
- 4/8/2023
- by Mike Shutt
- Slash Film
For most people, sex is a private act; sex scenes in movies and TV shows bring it into the light. That creates a tension often borne by the actors and, as Penn Badgley recently revealed, he felt uncomfortable doing what he saw as too many sex scenes in Netflix’s “You.” In a recent interview with Variety, he delved further: “That aspect of Hollywood has always been very disturbing to me — and that aspect of the job, that mercurial boundary — has always been something that I actually don’t want to play with at all…. It’s important to me in my real life to not have them.”
Badgley’s choice should be respected: Doing sex scenes shouldn’t a prerequisite for anyone’s acting career. However, it’s too easy to focus on the generalities of whether sex scenes are necessary, rather than the nuance: As sexual identity becomes a more expansive conversation,...
Badgley’s choice should be respected: Doing sex scenes shouldn’t a prerequisite for anyone’s acting career. However, it’s too easy to focus on the generalities of whether sex scenes are necessary, rather than the nuance: As sexual identity becomes a more expansive conversation,...
- 2/14/2023
- by Eric Kohn
- Indiewire
The Great Italian Films of the 1970sThere was a certain type of great art film which was being made from 1968 through the 1970s which can never be approximated. Active and engaged filmmakers were consciously wakening out of the post-war amnesia and taking a perversely erotically charged political stand against the hypocrisy of the previous generation.
Italy was the hotbed of this examination of fascism coming out of World War II. Luchino Visconti’s The Damned (1969), Bertolucci’s The Conformist (1970), Pier Paolo Pasolini’s infamous Salò, or the 120 Days of Sodom (1975). Even the American musical, via Bob Fosse’s adaptation of Christopher Isherwood’s Berlin Stories, Cabaret (1972) hinted at what the Italians went after with their full force of creative muscle.
Take Liliana Cavani’s The Night Porter (1974), set in Vienna in 1957, the film centers on the sadomasochistic relationship between a former Nazi concentration camp officer (Dirk Bogarde) and one of his inmates (Charlotte Rampling). Their sadomasochistic love is their only happiness and it paralyzes the former Nazis who have been reintegrated into polite society.
Universally reviled by U.S.’s top critics, Roger Ebert of The Chicago Sun-Times called it “as nasty as it is lubricious, a despicable attempt to titillate us by exploiting memories of persecution and suffering”. Vincent Canby, prominent critic for The New York Times, called it “romantic pornography” and “a piece of junk”. Pauline Kael wrote in The New Yorker, “Many of us can’t take more than a few hard-core porno movies, because the absence of any human esteem makes them depressing rather than sexy; The Night Porteroffers the same dehumanized view and is brazen enough to use the Second World War as an excuse.”
Susan Sontag’s essay Fascinating Facism for New York Review of Books (February 6, 1975) stated, “If the message of fascism has been neutralized by an aesthetic view of life, its trappings have been sexualized. This eroticization of fascism can be remarked in such enthralling and devout manifestations as Mishima’s Confessions of a Mask and Sun and Steel, and in films like Kenneth Anger’s Scorpio Rising and, more recently and far less interestingly, in Visconti’s The Damned and Cavani’s The Night Porter.”
However, its value was recognized by the executive producer Joseph E. Levine who quoted them on the posters of the U.S. theatrical release through his company Avco Embassy.
In a brilliant essay of the film by Kat Ellinger I quote:
Filmmakers were suddenly touching the untouchable, and it made certain people incredibly uncomfortable.”
Unlike Naziploitation, The Night Porter does nothing to cartoonise the Nazi officers that dominate the narrative. It isn’t a case of good versus evil, or that sadism is presented as a form of lasivious softcore pornography. Neither is the film a deliberate political treatise like the art films of Bertolucci, Visconti, or Pasolini. Its biggest transgression is that it humanises one of its main characters, Max (Dirk Bogarde), a former Nazi officer with a penchant for sadism, when he finds his ‘little girl’ again in the postwar period; a former concentration camp inmate Lucia (Charlotte Rampling) with whom he undertook a sadistic affair while she was incarcerated. On reuniting it is clear that their loved never died, so they continue, even though they know it will eventually contribute to their downfall and consequent death. Love in this realm is desperately profane, disgusting, something that should never be. And because of this it remains infinitely fascinating and uniquely humanistic.
Related in spirit was Bernardo Bertolucci’s Last Tango in Paris (1972), using sex to express the death of love and male causality, its own furor when it hit American cinemas still continues to court controversy; and Luchino Visconti’s The Innocent (1976), based upon the novel by the decadent writer Gabriele D’Annunzio, expressing the same but in a totally antithetical environment of the aristocracy. Bertolluci’s The Conformist(1970) twisted the repressed homosexual of its title into a sadomasochistic fascist.
One could say, as did Gabriel Jenkinson, “the dynamics of conformity present in the modern consumerist capitalist system result in repression, which in turn manifests as violent sadomasochism — and …if one does not actively rebel against this system, one is complicit in its proliferation.”
Parenthetically on the other side of the earth, in Japan, In the Realm of the Senses (1976) by Nagisa Ôshima about a woman whose affair with her master leads to an obsessive and ultimately destructive sexual relationship also came out of Oshima’s early involvement with the student protest movement in Kyoto in ‘68 and out of his concern with the contradictions and tensions of postwar Japanese society in which he exposed contemporary Japanese materialism, while also examining what it means to be Japanese in the face of rapid industrialization and Westernization.
In 2020 Vincent Canby might have revisited The Night Porter and seen it in a different light. His 2020 review of Visconti’s last film, L’innocente (The Innocent), completed in 1976 shortly before his death was “among the most beautiful and severely disciplined films he has ever made.” It was also brazenly sadistic and sexy to a point that today would be labeled pornographic, and today could not be conceived of, much less made, diving, as it does, into sex, abortion, male domination and violence.
According to The World, public radio’s longest-running daily global news program, a co-production of Prx and Wgbh, in 2012:
British scientists have finally confirmed what women worldwide have been suspecting for centuries. It’s not religious principles that start wars. It’s not even civilization’s thirst for oil. Ladies and gentlemen, it’s the penis.
According to a study published this week in the Philosophical Transactions of the Royal Society publication, the male sex drive is the cause of most conflicts in the world, from soccer hooliganism to religious wars, not to mention family disputes over the toilet seat being left up.
According to this story in The Telegraph, the scientists call it the “male warrior instinct” and claim men are programmed to be aggressive toward outsiders. It apparently used to be a handy instinct, back when you had to kill other suitors in order to gain more access to mates, but nowadays, this only works in some countries and a few US cities. For the rest of us, this unreformed sex drive only means ever-increasing defense budgets.
The magnitude of this discovery is so great, it’s difficult to estimate the potential ramifications.
At only eight inches on average (or that’s what we have been told), it’s smaller in size than most other controversial discoveries, yet — just like the atom — it has catastrophic consequences if in the hands of the wrong people.
And so these filmmakers show us the pathological drive of the unleashed male libido.
But times are different in the 21st century. These films could never be approximated by our Tik Tok generation where porn has created a quick witty and essentially violent vibrato of sexuality. These films of the late ‘60s and ‘70s took the libido at its rawest and showed its drive as an expression of political evil in very different types of stories.
And it might be worth noting that of all these films, the most reviled was written and directed by a woman and in most of the films, it is, in fact, a woman who proves the stronger of the two sexes and disarms the man. What remains viscerally true to this day is that that missile shaped 8 inch organ needs to be beaten into a plowshare.
SexFascismMoviesItalyInternational Film...
Italy was the hotbed of this examination of fascism coming out of World War II. Luchino Visconti’s The Damned (1969), Bertolucci’s The Conformist (1970), Pier Paolo Pasolini’s infamous Salò, or the 120 Days of Sodom (1975). Even the American musical, via Bob Fosse’s adaptation of Christopher Isherwood’s Berlin Stories, Cabaret (1972) hinted at what the Italians went after with their full force of creative muscle.
Take Liliana Cavani’s The Night Porter (1974), set in Vienna in 1957, the film centers on the sadomasochistic relationship between a former Nazi concentration camp officer (Dirk Bogarde) and one of his inmates (Charlotte Rampling). Their sadomasochistic love is their only happiness and it paralyzes the former Nazis who have been reintegrated into polite society.
Universally reviled by U.S.’s top critics, Roger Ebert of The Chicago Sun-Times called it “as nasty as it is lubricious, a despicable attempt to titillate us by exploiting memories of persecution and suffering”. Vincent Canby, prominent critic for The New York Times, called it “romantic pornography” and “a piece of junk”. Pauline Kael wrote in The New Yorker, “Many of us can’t take more than a few hard-core porno movies, because the absence of any human esteem makes them depressing rather than sexy; The Night Porteroffers the same dehumanized view and is brazen enough to use the Second World War as an excuse.”
Susan Sontag’s essay Fascinating Facism for New York Review of Books (February 6, 1975) stated, “If the message of fascism has been neutralized by an aesthetic view of life, its trappings have been sexualized. This eroticization of fascism can be remarked in such enthralling and devout manifestations as Mishima’s Confessions of a Mask and Sun and Steel, and in films like Kenneth Anger’s Scorpio Rising and, more recently and far less interestingly, in Visconti’s The Damned and Cavani’s The Night Porter.”
However, its value was recognized by the executive producer Joseph E. Levine who quoted them on the posters of the U.S. theatrical release through his company Avco Embassy.
In a brilliant essay of the film by Kat Ellinger I quote:
Filmmakers were suddenly touching the untouchable, and it made certain people incredibly uncomfortable.”
Unlike Naziploitation, The Night Porter does nothing to cartoonise the Nazi officers that dominate the narrative. It isn’t a case of good versus evil, or that sadism is presented as a form of lasivious softcore pornography. Neither is the film a deliberate political treatise like the art films of Bertolucci, Visconti, or Pasolini. Its biggest transgression is that it humanises one of its main characters, Max (Dirk Bogarde), a former Nazi officer with a penchant for sadism, when he finds his ‘little girl’ again in the postwar period; a former concentration camp inmate Lucia (Charlotte Rampling) with whom he undertook a sadistic affair while she was incarcerated. On reuniting it is clear that their loved never died, so they continue, even though they know it will eventually contribute to their downfall and consequent death. Love in this realm is desperately profane, disgusting, something that should never be. And because of this it remains infinitely fascinating and uniquely humanistic.
Related in spirit was Bernardo Bertolucci’s Last Tango in Paris (1972), using sex to express the death of love and male causality, its own furor when it hit American cinemas still continues to court controversy; and Luchino Visconti’s The Innocent (1976), based upon the novel by the decadent writer Gabriele D’Annunzio, expressing the same but in a totally antithetical environment of the aristocracy. Bertolluci’s The Conformist(1970) twisted the repressed homosexual of its title into a sadomasochistic fascist.
One could say, as did Gabriel Jenkinson, “the dynamics of conformity present in the modern consumerist capitalist system result in repression, which in turn manifests as violent sadomasochism — and …if one does not actively rebel against this system, one is complicit in its proliferation.”
Parenthetically on the other side of the earth, in Japan, In the Realm of the Senses (1976) by Nagisa Ôshima about a woman whose affair with her master leads to an obsessive and ultimately destructive sexual relationship also came out of Oshima’s early involvement with the student protest movement in Kyoto in ‘68 and out of his concern with the contradictions and tensions of postwar Japanese society in which he exposed contemporary Japanese materialism, while also examining what it means to be Japanese in the face of rapid industrialization and Westernization.
In 2020 Vincent Canby might have revisited The Night Porter and seen it in a different light. His 2020 review of Visconti’s last film, L’innocente (The Innocent), completed in 1976 shortly before his death was “among the most beautiful and severely disciplined films he has ever made.” It was also brazenly sadistic and sexy to a point that today would be labeled pornographic, and today could not be conceived of, much less made, diving, as it does, into sex, abortion, male domination and violence.
According to The World, public radio’s longest-running daily global news program, a co-production of Prx and Wgbh, in 2012:
British scientists have finally confirmed what women worldwide have been suspecting for centuries. It’s not religious principles that start wars. It’s not even civilization’s thirst for oil. Ladies and gentlemen, it’s the penis.
According to a study published this week in the Philosophical Transactions of the Royal Society publication, the male sex drive is the cause of most conflicts in the world, from soccer hooliganism to religious wars, not to mention family disputes over the toilet seat being left up.
According to this story in The Telegraph, the scientists call it the “male warrior instinct” and claim men are programmed to be aggressive toward outsiders. It apparently used to be a handy instinct, back when you had to kill other suitors in order to gain more access to mates, but nowadays, this only works in some countries and a few US cities. For the rest of us, this unreformed sex drive only means ever-increasing defense budgets.
The magnitude of this discovery is so great, it’s difficult to estimate the potential ramifications.
At only eight inches on average (or that’s what we have been told), it’s smaller in size than most other controversial discoveries, yet — just like the atom — it has catastrophic consequences if in the hands of the wrong people.
And so these filmmakers show us the pathological drive of the unleashed male libido.
But times are different in the 21st century. These films could never be approximated by our Tik Tok generation where porn has created a quick witty and essentially violent vibrato of sexuality. These films of the late ‘60s and ‘70s took the libido at its rawest and showed its drive as an expression of political evil in very different types of stories.
And it might be worth noting that of all these films, the most reviled was written and directed by a woman and in most of the films, it is, in fact, a woman who proves the stronger of the two sexes and disarms the man. What remains viscerally true to this day is that that missile shaped 8 inch organ needs to be beaten into a plowshare.
SexFascismMoviesItalyInternational Film...
- 2/11/2023
- by Sydney
- Sydney's Buzz
The Italian director’s knotty drama remains a provocation, a film filled with lyrical beauty but also repulsive cruelty
Revisiting films on the occasion of major anniversaries can be a disorienting reminder of time’s too-swift passage: that film is now 20/30/40 years old? How can that be? Why does it still feel so much younger than I do? In other cases, however, the film wears its advanced age in a way that makes complete sense, and so it is with Last Tango in Paris, released in cinemas in 1973. Now a half-century old, Bernardo Bertolucci’s lightning rod for scandal and debate has dated in many of the ways you might expect, but that’s not quite what I mean: at 50, the film’s age has now caught up with the overriding air of middle-aged despair and disarray that it always carried. In a sense, it was a film made to be forgotten,...
Revisiting films on the occasion of major anniversaries can be a disorienting reminder of time’s too-swift passage: that film is now 20/30/40 years old? How can that be? Why does it still feel so much younger than I do? In other cases, however, the film wears its advanced age in a way that makes complete sense, and so it is with Last Tango in Paris, released in cinemas in 1973. Now a half-century old, Bernardo Bertolucci’s lightning rod for scandal and debate has dated in many of the ways you might expect, but that’s not quite what I mean: at 50, the film’s age has now caught up with the overriding air of middle-aged despair and disarray that it always carried. In a sense, it was a film made to be forgotten,...
- 1/27/2023
- by Guy Lodge
- The Guardian - Film News
Director Luca Guadagnino discusses a few of his favorite films with Josh Olson and Joe Dante.
Show Notes: Movies Referenced In This Episode
Bones And All (2022)
A Bigger Splash (2015)
Suspiria (2018)
Call Me By Your Name (2017)
Apocalypse Now (1979) – Josh Olson’s trailer commentary, Glenn Erickson’s Blu-ray review
Salò, or the 120 Days of Sodom (1975)
Amarcord (1973) – Bernard Rose’s trailer commentary
Lawrence of Arabia (1962)
Jason And The Argonauts (1963) – Ernest Dickerson’s trailer commentary, Charlie Largent’s review
After Hours (1985) – Brian Trenchard-Smith’s trailer commentary
Nashville (1975) – Larry Karaszewski’s trailer commentary, Dan Perri’s trailer commentary, Dennis Cozzalio’s review
Journey To Italy (1954)
Empire Of The Sun (1987)
The Flower Of My Secret (1995)
The Last Emperor (1987) – John Landis’s trailer commentary
1900 (1976)
Last Tango In Paris (1972) – Larry Karaszewski’s trailer commentary
Psycho (1960) – John Landis’s trailer commentary, Randy Fuller’s wine pairing, Glenn Erickson’s Blu-ray review
Suspiria (1977) – Edgar Wright’s U.S. and international trailer commentaries,...
Show Notes: Movies Referenced In This Episode
Bones And All (2022)
A Bigger Splash (2015)
Suspiria (2018)
Call Me By Your Name (2017)
Apocalypse Now (1979) – Josh Olson’s trailer commentary, Glenn Erickson’s Blu-ray review
Salò, or the 120 Days of Sodom (1975)
Amarcord (1973) – Bernard Rose’s trailer commentary
Lawrence of Arabia (1962)
Jason And The Argonauts (1963) – Ernest Dickerson’s trailer commentary, Charlie Largent’s review
After Hours (1985) – Brian Trenchard-Smith’s trailer commentary
Nashville (1975) – Larry Karaszewski’s trailer commentary, Dan Perri’s trailer commentary, Dennis Cozzalio’s review
Journey To Italy (1954)
Empire Of The Sun (1987)
The Flower Of My Secret (1995)
The Last Emperor (1987) – John Landis’s trailer commentary
1900 (1976)
Last Tango In Paris (1972) – Larry Karaszewski’s trailer commentary
Psycho (1960) – John Landis’s trailer commentary, Randy Fuller’s wine pairing, Glenn Erickson’s Blu-ray review
Suspiria (1977) – Edgar Wright’s U.S. and international trailer commentaries,...
- 12/13/2022
- by Kris Millsap
- Trailers from Hell
John Dartigue, former vice president of publicity at Warner Bros., died Nov. 9 in Los Angeles following a sudden illness. He was 82.
Dartigue joined Warner Bros. in 1978 as a project executive in the marketing department. In 1984, he was appointed vice president of publicity and remained with the company until his retirement in 2001.
The Warner Bros. films he promoted include “The Fugitive,” Ridley Scott’s original “Blade Runner,” Tim Burton’s “Batman” films, “Interview With the Vampire,” “GoodFellas,” “The Mission,” “New Jack City,” “Arthur,” “Caddy Shack,” “Malcolm X” and Jim Carrey’s “Ace Ventura” movies.
Dartigue began his career in the film industry in 1965 at United Artists. He started as a reader in the story department before serving as a trainee in what was formerly called foreign advertising and publicity, under Ashley Boone. He then switched over to the domestic side of publicity, where he eventually served as director of publicity beginning...
Dartigue joined Warner Bros. in 1978 as a project executive in the marketing department. In 1984, he was appointed vice president of publicity and remained with the company until his retirement in 2001.
The Warner Bros. films he promoted include “The Fugitive,” Ridley Scott’s original “Blade Runner,” Tim Burton’s “Batman” films, “Interview With the Vampire,” “GoodFellas,” “The Mission,” “New Jack City,” “Arthur,” “Caddy Shack,” “Malcolm X” and Jim Carrey’s “Ace Ventura” movies.
Dartigue began his career in the film industry in 1965 at United Artists. He started as a reader in the story department before serving as a trainee in what was formerly called foreign advertising and publicity, under Ashley Boone. He then switched over to the domestic side of publicity, where he eventually served as director of publicity beginning...
- 11/22/2022
- by Michaela Zee
- Variety Film + TV
When “Bones and All” picked up two prizes at the Venice Film Festival — Luca Guadagnino for best director and Taylor Russell for best young actor – there was a sense that the Lido laurel had been a long time coming for the Italian director.
Guadagnino had walked the awards ceremony red carpet with his mom, Alia, after flying back to Venice from Telluride, Colorado, where the tender cannibal romancer had also been rapturously received.
After being handed the Silver Lion, he warmly thanked Venice artistic director Alberto Barbera. “I wouldn’t be here this evening if it wasn’t for Alberto Barbera who decided to invite that crazy film I made 20 years ago, ‘The Protagonists,’” Guadagnino said. “Filmmaking is my life. I’ve been doing it since I was eight with my Super 8 shorts.”
Guadagnino’s career trajectory has been a long road full of twists and turns. And it...
Guadagnino had walked the awards ceremony red carpet with his mom, Alia, after flying back to Venice from Telluride, Colorado, where the tender cannibal romancer had also been rapturously received.
After being handed the Silver Lion, he warmly thanked Venice artistic director Alberto Barbera. “I wouldn’t be here this evening if it wasn’t for Alberto Barbera who decided to invite that crazy film I made 20 years ago, ‘The Protagonists,’” Guadagnino said. “Filmmaking is my life. I’ve been doing it since I was eight with my Super 8 shorts.”
Guadagnino’s career trajectory has been a long road full of twists and turns. And it...
- 11/16/2022
- by Nick Vivarelli
- Variety Film + TV
Exclusive: Campside Media, the company behind the popular Chameleon podcast series, which documented the story of the Hollywood Con Queen, has lined up its next project – the story of the wild kidnapping attempt of Michigan governor Gretchen Whitmer.
The story, which is based on reporting from Ken Bensinger and Jessica Garrison, is being lined up as the sixth season of the Chameleon podcast.
However, in a new twist, the company is also simultaneously developing a television adaptation and has teamed up with Jeremy Miller and Daniel Cohn, who have worked on shows such as Ally McBeal and Entourage, to pen the small-screen adaptation.
The Michigan Plot details exactly what happened beyond the initial headlines that told the world the FBI had narrowly thwarted a kidnapping attempt against the governor of Michigan. What the Justice Department called the first step towards ‘The Big Boogaloo’ – a long-awaited civil war that would overthrow...
The story, which is based on reporting from Ken Bensinger and Jessica Garrison, is being lined up as the sixth season of the Chameleon podcast.
However, in a new twist, the company is also simultaneously developing a television adaptation and has teamed up with Jeremy Miller and Daniel Cohn, who have worked on shows such as Ally McBeal and Entourage, to pen the small-screen adaptation.
The Michigan Plot details exactly what happened beyond the initial headlines that told the world the FBI had narrowly thwarted a kidnapping attempt against the governor of Michigan. What the Justice Department called the first step towards ‘The Big Boogaloo’ – a long-awaited civil war that would overthrow...
- 10/18/2022
- by Peter White
- Deadline Film + TV
“The Unbearable Weight of Massive Talent” brought Nicolas Cage back into the spotlight this spring, highlighting his eclectic filmography, willingness to commit to any role he takes on, and undeniable passion for cinema. One of the more memorable running gags in the meta buddy comedy was Javi (Pedro Pascal) introducing the fictional version of Cage to “Paddington 2.” Cage is originally confused about why his new cinephile friend has such an affection for Paul King’s children’s film, but he eventually agrees to watch it and finds himself moved to tears.
As it turns out, art imitates life. Though many of Cage’s traits in the film (like his alcoholism and the fact that he has a daughter instead of sons) were made up, the actor really does love “Paddington 2.”
“I think the movie is terrific,” Cage said in a new interview with The Hollywood Reporter. “I particularly...
As it turns out, art imitates life. Though many of Cage’s traits in the film (like his alcoholism and the fact that he has a daughter instead of sons) were made up, the actor really does love “Paddington 2.”
“I think the movie is terrific,” Cage said in a new interview with The Hollywood Reporter. “I particularly...
- 9/12/2022
- by Christian Zilko
- Indiewire
Writer / Director / Actor Halina Reijn discusses some of her favorite movies with Josh Olson and Joe Dante.
Show Notes: Movies Referenced In This Episode
Rrr (2022)
Bodies Bodies Bodies (2022)
Gothic (1986)
Warlock (1989)
Annie (1982)
Midsommar (2019) – Dennis Cozzalio’s 2019 year-end movie roundup
Bambi (1942) – Brian Trenchard-Smith’s trailer commentary
Annie (2014)
A Woman Under The Influence (1974)
Husbands (1970) – Glenn Erickson’s Criterion Blu-ray review
Opening Night (1977)
The Piano Teacher (2001) – Charlie Largent’s Criterion Blu-ray review
Black Book (2006)
Elle (2016) – Charlie Largent’s Blu-ray review, Dennis Cozzalio’s 2016 year-end movie roundup
The Fourth Man (1983)
Basic Instinct (1992) – Dan Ireland’s trailer commentary
Showgirls (1995)
Indecent Proposal (1993)
Fatal Attraction (1987) – Allan Arkush’s trailer commentary
9 ½ Weeks (1986)
Fifty Shades Of Grey (2015)
365 Days (2020)
A History Of Violence (2005)
Last Tango In Paris (1972) – Larry Karaszewski’s trailer commentary
Chinatown (1974) – Ernest Dickerson’s trailer commentary
Marathon Man (1976)
The Abyss (1989)
Apocalypse Now (1979) – Josh Olson’s trailer commentary, Glenn Erickson’s Blu-ray review
Who’s Afraid Of Virginia Woolf?...
Show Notes: Movies Referenced In This Episode
Rrr (2022)
Bodies Bodies Bodies (2022)
Gothic (1986)
Warlock (1989)
Annie (1982)
Midsommar (2019) – Dennis Cozzalio’s 2019 year-end movie roundup
Bambi (1942) – Brian Trenchard-Smith’s trailer commentary
Annie (2014)
A Woman Under The Influence (1974)
Husbands (1970) – Glenn Erickson’s Criterion Blu-ray review
Opening Night (1977)
The Piano Teacher (2001) – Charlie Largent’s Criterion Blu-ray review
Black Book (2006)
Elle (2016) – Charlie Largent’s Blu-ray review, Dennis Cozzalio’s 2016 year-end movie roundup
The Fourth Man (1983)
Basic Instinct (1992) – Dan Ireland’s trailer commentary
Showgirls (1995)
Indecent Proposal (1993)
Fatal Attraction (1987) – Allan Arkush’s trailer commentary
9 ½ Weeks (1986)
Fifty Shades Of Grey (2015)
365 Days (2020)
A History Of Violence (2005)
Last Tango In Paris (1972) – Larry Karaszewski’s trailer commentary
Chinatown (1974) – Ernest Dickerson’s trailer commentary
Marathon Man (1976)
The Abyss (1989)
Apocalypse Now (1979) – Josh Olson’s trailer commentary, Glenn Erickson’s Blu-ray review
Who’s Afraid Of Virginia Woolf?...
- 9/6/2022
- by Kris Millsap
- Trailers from Hell
Today on Crew Call we talk with Jeff Goldblum, who’s up for his third career Emmy nomination this year for the second season of National Geographic and Disney+’s The World According to Jeff Goldblum which follows the actor across the nation as he muses on various human fascinations, i.e. magic, dogs, dance, fireworks, the list goes on. The World According to Jeff Goldblum is up for Outstanding Hosted Nonfiction Series or Special.
You can listen to our conversation below:
Sharing in his awe of life on the show are sundry folk from all walks of life. We see the Jurassic Park franchise actor gab it up, and in various instances, live life to the fullest by partaking in a stunt, i.e. walking on hot coals.
Goldblum calls the NatGeo execs who pitched him on the series “smart and generous” and said to them, “I’m not...
You can listen to our conversation below:
Sharing in his awe of life on the show are sundry folk from all walks of life. We see the Jurassic Park franchise actor gab it up, and in various instances, live life to the fullest by partaking in a stunt, i.e. walking on hot coals.
Goldblum calls the NatGeo execs who pitched him on the series “smart and generous” and said to them, “I’m not...
- 8/10/2022
- by Anthony D'Alessandro
- Deadline Film + TV
Celebrated actor was married three times, loved motor racing.
Jean-Louis Trintignant, a leading light of the French New Wave who broke out in Claude Lelouch’s A Man And A Woman and later in life starred in Michael Haneke’s Amour, has died. He was 91.
According to Agence France-Presse Trintignant died on Friday (June 17) at his home in the southern region of Gard. His wife Marianne Hoepfner was with him.
Trintignant was born on December 11 1930 in the southern Vaucluse region to businessman Raoul and Claire. As a shy man in his 20s – his personality would inform a personal aversion to...
Jean-Louis Trintignant, a leading light of the French New Wave who broke out in Claude Lelouch’s A Man And A Woman and later in life starred in Michael Haneke’s Amour, has died. He was 91.
According to Agence France-Presse Trintignant died on Friday (June 17) at his home in the southern region of Gard. His wife Marianne Hoepfner was with him.
Trintignant was born on December 11 1930 in the southern Vaucluse region to businessman Raoul and Claire. As a shy man in his 20s – his personality would inform a personal aversion to...
- 6/17/2022
- by Jeremy Kay
- ScreenDaily
French film great Jean-Louis Trintignant, best known for his roles in “A Man and a Woman,” “Z,” and “The Conformist,” died Friday. He was 91.
Trintignant died at his home in southern France, his wife, Marianne, and agent told the Agence France-Presse.
Trintignant was more recently known for roles in Krzysztof Kieslowski’s “Red” and for starring opposite Emmanuelle Riva in Michael Haneke’s “Amour,” winner of the 2013 Oscar for best foreign film.
Taciturn and enigmatic, the “reluctant” actor, who came by his profession by accident and several times announced he was quitting, returned time and again to appear in more than 100 films and achieve international stardom over of a period of more than 40 years working with some of the world’s great directors including Claude Chabrol, Abel Gance, Bernardo Bertolucci, Costa-Gavras, Ettore Scola and Francois Truffaut, as well as Kieslowski and Haneke.
Though he claimed to prefer racing cards, he once told an interviewer,...
Trintignant died at his home in southern France, his wife, Marianne, and agent told the Agence France-Presse.
Trintignant was more recently known for roles in Krzysztof Kieslowski’s “Red” and for starring opposite Emmanuelle Riva in Michael Haneke’s “Amour,” winner of the 2013 Oscar for best foreign film.
Taciturn and enigmatic, the “reluctant” actor, who came by his profession by accident and several times announced he was quitting, returned time and again to appear in more than 100 films and achieve international stardom over of a period of more than 40 years working with some of the world’s great directors including Claude Chabrol, Abel Gance, Bernardo Bertolucci, Costa-Gavras, Ettore Scola and Francois Truffaut, as well as Kieslowski and Haneke.
Though he claimed to prefer racing cards, he once told an interviewer,...
- 6/17/2022
- by Richard Natale
- Variety Film + TV
Researching the life and career of Maria Schneider for a larger project, filmmaker Elisabeth Subrin discovered a brief interview the actress gave in 1983 for the French TV show Cinéma Cinéma. It’s a conversation alternately defiant and mournful, with Schneider reflecting with real critical awareness upon the gendered power structures of the film industry as well as the violations she experienced living and working within it — including, in one painful section, on the set of Last Tango in Paris. Subrin used the interview as the basis for a 60-second short that was a part of […]
The post “Maria Was Saying Things in 1983 That Were Not Addressed by Actresses Until Decades Later”: Elisabeth Subrin on Her Cannes-Premiering Short, Maria Schneider, 1983 first appeared on Filmmaker Magazine.
The post “Maria Was Saying Things in 1983 That Were Not Addressed by Actresses Until Decades Later”: Elisabeth Subrin on Her Cannes-Premiering Short, Maria Schneider, 1983 first appeared on Filmmaker Magazine.
- 5/26/2022
- by Madeleine Hunt-Ehrlich
- Filmmaker Magazine-Director Interviews
Researching the life and career of Maria Schneider for a larger project, filmmaker Elisabeth Subrin discovered a brief interview the actress gave in 1983 for the French TV show Cinéma Cinéma. It’s a conversation alternately defiant and mournful, with Schneider reflecting with real critical awareness upon the gendered power structures of the film industry as well as the violations she experienced living and working within it — including, in one painful section, on the set of Last Tango in Paris. Subrin used the interview as the basis for a 60-second short that was a part of […]
The post “Maria Was Saying Things in 1983 That Were Not Addressed by Actresses Until Decades Later”: Elisabeth Subrin on Her Cannes-Premiering Short, Maria Schneider, 1983 first appeared on Filmmaker Magazine.
The post “Maria Was Saying Things in 1983 That Were Not Addressed by Actresses Until Decades Later”: Elisabeth Subrin on Her Cannes-Premiering Short, Maria Schneider, 1983 first appeared on Filmmaker Magazine.
- 5/26/2022
- by Madeleine Hunt-Ehrlich
- Filmmaker Magazine - Blog
By Lee Pfeiffer
When it was announced that producer Elliott Kastner had succeeded in signing both Marlon Brando and Jack Nicholson for the 1976 Western, "The Missouri Breaks", the project was viewed as a "can't miss" at the international box-office. This would be Brando's first film since his back-to-back triumphs in "The Godfather" and "Last Tango in Paris" and Nicholson had just won the Best Actor Oscar for "One Flew Over the Cuckoo's Nest". The two Hollywood icons were actually neighbors who lived next door to each other, but they had never previously teamed for a film project. Kastner, whose prowess as a street-wise guy who used unorthodox methods to get films off the ground, had used a clever tactic to sign up both superstars: he told each man that the other had already committed to the project, when, in fact, neither had. With Brando and Nicholson aboard, Kastner hired a respected director,...
When it was announced that producer Elliott Kastner had succeeded in signing both Marlon Brando and Jack Nicholson for the 1976 Western, "The Missouri Breaks", the project was viewed as a "can't miss" at the international box-office. This would be Brando's first film since his back-to-back triumphs in "The Godfather" and "Last Tango in Paris" and Nicholson had just won the Best Actor Oscar for "One Flew Over the Cuckoo's Nest". The two Hollywood icons were actually neighbors who lived next door to each other, but they had never previously teamed for a film project. Kastner, whose prowess as a street-wise guy who used unorthodox methods to get films off the ground, had used a clever tactic to sign up both superstars: he told each man that the other had already committed to the project, when, in fact, neither had. With Brando and Nicholson aboard, Kastner hired a respected director,...
- 5/9/2022
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Marlon Brando stars in Bernardo Bertolucci's existential drama "Last Tango in Paris" as Paul, a middle-aged expatriate in Paris who has an intense, anonymous affair with a young girl named Jeanne (Maria Schneider). Paul is a brusque man haunted by the recent death of his wife who uses aggressive sexuality to exorcise his personal demons.
The lines between performance and reality were frequently blurred on set, leading to some controversy surrounding one of the most aberrant sex scenes in the film. Schneider's tears while shooting the violent rape sequence where Paul uses butter as lubricant were genuine, as it was not in the script, but reportedly devised...
The post The Last Tango In Paris Didn't Require Much Acting From Marlon Brando appeared first on /Film.
The lines between performance and reality were frequently blurred on set, leading to some controversy surrounding one of the most aberrant sex scenes in the film. Schneider's tears while shooting the violent rape sequence where Paul uses butter as lubricant were genuine, as it was not in the script, but reportedly devised...
The post The Last Tango In Paris Didn't Require Much Acting From Marlon Brando appeared first on /Film.
- 4/18/2022
- by Caroline Madden
- Slash Film
Normal 0 false false false En-us X-none X-none
By Todd Garbarini
The major question that I have about Douglas Heyes’s Kitten with a Whip, which opened in New York on Wednesday, November 4, 1964 on a double bill with Lance Comfort’s Sing and Swing (1963) with David Hemmings at some theaters, is this: where is the titular whip? We have the kitten, as embodied by the overly beautiful Ann-Margret as “bad girl” Jody Dvorak, but there is no whip to be found. Perhaps the “whip” is her personality? There certainly is an argument to be made for that. Jody has just made a break from a juvenile detention center but not before seriously wounding the head of the place who becomes hospitalized. Outwitting the police, she breaks into the semi-upscale home of David Stratton (John Forsyth), a stuffy, by-the-book political candidate hopeful twenty-three years her senior whose wife and daughter are conveniently...
By Todd Garbarini
The major question that I have about Douglas Heyes’s Kitten with a Whip, which opened in New York on Wednesday, November 4, 1964 on a double bill with Lance Comfort’s Sing and Swing (1963) with David Hemmings at some theaters, is this: where is the titular whip? We have the kitten, as embodied by the overly beautiful Ann-Margret as “bad girl” Jody Dvorak, but there is no whip to be found. Perhaps the “whip” is her personality? There certainly is an argument to be made for that. Jody has just made a break from a juvenile detention center but not before seriously wounding the head of the place who becomes hospitalized. Outwitting the police, she breaks into the semi-upscale home of David Stratton (John Forsyth), a stuffy, by-the-book political candidate hopeful twenty-three years her senior whose wife and daughter are conveniently...
- 4/13/2022
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
“The Godfather,” wrote the late Roger Ebert in 2010, “comes closest to being a film everyone agrees about.” Who can disagree? By all known markers of Hollywood and, more impressively, world cinema success, Francis Ford Coppola’s beloved gangster chronicle is an enduring cultural object. Audiences loved it, then and now; same to critics the world over, who’ve canonized this movie, its 1974 sequel, and Coppola’s Apocalypse Now — all of them made in the Seventies, a 10-year span that has publicly defined Coppola’s career ever since — as among the greatest films of all time.
- 3/27/2022
- by K. Austin Collins
- Rollingstone.com
On Friday, February 25, Paramount Pictures re-released “The Godfather: 50 Years” into 156 AMC Dolby theaters as an anniversary tribute to the Oscar-winning film from director Francis Ford Coppola. “The Godfather” has been re-released many times over the past few decades, first in 1997 for the movie’s 25th anniversary, and then quite a few times since then (at least in the United States), the last time being in 2017. It’s an interesting movie to revisit in the middle of one of the longest and most competitive Oscar races in recent memory.
“The Godfather: 50 Years” came close to making it into the top 10 this past weekend with a box office take of more than $965,000, three times what “The Godfather” made its very first weekend at the box office back in March ‘72, but that was in just six theaters, for comparison. The next week Coppola’s movie expanded into 323 theaters and made $5.2 million, which in 1972 money was huge,...
“The Godfather: 50 Years” came close to making it into the top 10 this past weekend with a box office take of more than $965,000, three times what “The Godfather” made its very first weekend at the box office back in March ‘72, but that was in just six theaters, for comparison. The next week Coppola’s movie expanded into 323 theaters and made $5.2 million, which in 1972 money was huge,...
- 3/4/2022
- by Edward Douglas
- Gold Derby
Charlize Theron felt so threatened by Mad Max co-star Tom Hardy that she asked for a female producer as protection. Yet the industry still relies on film sets being lawless bubbles where you question macho posturing at your peril
To the list of movies that will for ever carry with them the stink of disreputable on-set behaviour (such as Last Tango in Paris and Kill Bill) comes a surprising new addition. Mad Max: Fury Road is already a contender for the best and most berserk action film of the century so far. Unfortunately, it now transpires that the craziness was not restricted to porcupine-spined jalopies, double-necked flamethrower guitars and other markers of its delirious visual excess. With the publication of Kyle Buchanan’s Blood, Sweat and Chrome: The Wild and True Story of Mad Max Fury Road, it is now a matter of public record that Charlize Theron felt so...
To the list of movies that will for ever carry with them the stink of disreputable on-set behaviour (such as Last Tango in Paris and Kill Bill) comes a surprising new addition. Mad Max: Fury Road is already a contender for the best and most berserk action film of the century so far. Unfortunately, it now transpires that the craziness was not restricted to porcupine-spined jalopies, double-necked flamethrower guitars and other markers of its delirious visual excess. With the publication of Kyle Buchanan’s Blood, Sweat and Chrome: The Wild and True Story of Mad Max Fury Road, it is now a matter of public record that Charlize Theron felt so...
- 2/24/2022
- by Ryan Gilbey
- The Guardian - Film News
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By Lee Pfeiffer
When they say "They don't make 'em like that anymore", it might well be in reference to Bernardo Bertolucci's "Last Tango in Paris", one of the most controversial films of all time. Released by United Artists, the movie was basically an art house niche market production that became a major sensation thanks to the presence of Marlon Brando, who had just made one of the great Hollywood comebacks of all-time with his towering performance in "The Godfather". However, it was the raw sexual content of the movie that resulted in people standing in line for hours to obtain tickets to what was, in reality, anything but a populist film. Prior to the movie's American release in 1973, the Italian government issued arrest warrants for Bertolucci, Brando and female lead Maria Schneider on charges of obscenity- which, of course, only increased the public's desire to see it.
By Lee Pfeiffer
When they say "They don't make 'em like that anymore", it might well be in reference to Bernardo Bertolucci's "Last Tango in Paris", one of the most controversial films of all time. Released by United Artists, the movie was basically an art house niche market production that became a major sensation thanks to the presence of Marlon Brando, who had just made one of the great Hollywood comebacks of all-time with his towering performance in "The Godfather". However, it was the raw sexual content of the movie that resulted in people standing in line for hours to obtain tickets to what was, in reality, anything but a populist film. Prior to the movie's American release in 1973, the Italian government issued arrest warrants for Bertolucci, Brando and female lead Maria Schneider on charges of obscenity- which, of course, only increased the public's desire to see it.
- 1/23/2022
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Paul Thomas Anderson grew up in the San Fernando Valley, which played an important role in his 1997 breakthrough film “Boogie Nights,” which looked at Valley’s porn industry during the ‘70s and 80s. In his new United Artists release “Licorice Pizza,” Anderson returns to the Sfv for a nostalgia-tinged comedy-of-age story set in 1973 starring Cooper Hoffman and Alana Haim. Both young performers received strong notices with the L.A. Times’ Justin Chang declaring Haim as the true star of “this boisterous, bighearted movie and its raison d’être.” And Bradley Cooper has earned positive notices for his funny turn as hairdresser turned film producer Jon Peters, who ironically was a producer on Cooper’s 2018 “A Star is Born.”
So, what was the world like in 1973? It was the year of Watergate, Roe Vs. Wade and “The Exorcist” hitting the big screen. Let’s travel back almost half a century to look at the top films,...
So, what was the world like in 1973? It was the year of Watergate, Roe Vs. Wade and “The Exorcist” hitting the big screen. Let’s travel back almost half a century to look at the top films,...
- 12/2/2021
- by Susan King
- Gold Derby
The drama revolving around the making of Bernardo Bertolucci’s 1972 erotic film Last Tango in Paris will be the subject of a new limited series from Entourage and Boston Public writers Jeremy Miller and Daniel Cohn. Part of the first-look agreement between CBS Studios and Stampede Ventures, Tango will span the 18 months before, during, and after the film’s production. The story will be told through the lens of the film’s stars, Marlon Brando and Maria Schneider, as well as Bertolucci, and is said to explore themes of identity, fame, and artistic ambition. Controversy surrounds the film for its inclusion of a rape scene, which Schneider later claimed was not consensual and not in the original script. “I felt humiliated, and to be honest, I felt a little raped, both by Marlon and by Bertolucci,” Schneider told the Daily Mail in 2007. The series, set in Italy, France, and the U.
- 11/29/2021
- TV Insider
Last Tango In Paris is getting its own The Offer-style making of drama series.
The tumultuous events surrounding the making of the 1972 erotic drama, directed by Bernardo Bertolucci and starring Marlon Brando and Maria Schneider, is to be turned into a television series by CBS Studios and Stampede Ventures.
The series comes from Entourage and Boston Public writers Jeremy Miller and Daniel Cohn with Killing Eve’s Lisa Brühlmann and Narcos’ José Padilha to co-direct.
The project, set in Italy, France and the U.S., will span the 18 months before, during and after the production of the film and will explore questions of identity, fame, and artistic ambition. Told through the lens of those at the center of the events – Schneider, Brando and Bertolucci – the series will begin with Bertolucci traveling to Los Angeles in 1971 to convince a broken-down and bankrupt Brando to take a role in his upcoming...
The tumultuous events surrounding the making of the 1972 erotic drama, directed by Bernardo Bertolucci and starring Marlon Brando and Maria Schneider, is to be turned into a television series by CBS Studios and Stampede Ventures.
The series comes from Entourage and Boston Public writers Jeremy Miller and Daniel Cohn with Killing Eve’s Lisa Brühlmann and Narcos’ José Padilha to co-direct.
The project, set in Italy, France and the U.S., will span the 18 months before, during and after the production of the film and will explore questions of identity, fame, and artistic ambition. Told through the lens of those at the center of the events – Schneider, Brando and Bertolucci – the series will begin with Bertolucci traveling to Los Angeles in 1971 to convince a broken-down and bankrupt Brando to take a role in his upcoming...
- 11/29/2021
- by Peter White
- Deadline Film + TV
The tumultuous events surrounding the making of Bernardo Bertolucci’s 1973 film “Last Tango in Paris” will be the subject of a limited series to be co-directed by Lisa Brühlmann (“Killing Eve”) and José Padilha (“Narcos”).
The series, titled “Tango,” is part of the international first-look agreement between CBS Studios and Stampede Ventures, an independent entertainment media company founded by former Warner Bros. Pictures president Greg Silverman.
The series, set in Italy, France and the U.S., written by Jeremy Miller and Daniel Cohn, will span the 18 months before, during and after the production of “Last Tango in Paris,” and will be told through the lens of those at the center of the events — stars Maria Schneider, Marlon Brando and Bertolucci.
The film is known for its infamous rape scene, which Bertolucci admitted decades later was not consensual.
“Controversy plagued the film following its release in January of 1973, while Brando and...
The series, titled “Tango,” is part of the international first-look agreement between CBS Studios and Stampede Ventures, an independent entertainment media company founded by former Warner Bros. Pictures president Greg Silverman.
The series, set in Italy, France and the U.S., written by Jeremy Miller and Daniel Cohn, will span the 18 months before, during and after the production of “Last Tango in Paris,” and will be told through the lens of those at the center of the events — stars Maria Schneider, Marlon Brando and Bertolucci.
The film is known for its infamous rape scene, which Bertolucci admitted decades later was not consensual.
“Controversy plagued the film following its release in January of 1973, while Brando and...
- 11/29/2021
- by Naman Ramachandran
- Variety Film + TV
CBS Studios is backing Tango, a limited event series based on the tumultuous events surrounding the making of Bernardo Bertolucci’s 1972 erotic drama Last Tango in Paris.
Lisa Brühlmann (Killing Eve) and José Padilha (Narcos) will co-direct the series, with Greg Silverman and Jp Sarni of Stampede Ventures executive producing. CBS Studios will co-produce under its international first-look agreement with Stampede, with SVP of international co-productions and development Meghan Lyvers overseeing the project for the studio.
Based on a script by Jeremy Miller and Daniel Cohn, Tango traces the 18 months before, during and after the production of Last Tango in Paris, exploring the story through ...
Lisa Brühlmann (Killing Eve) and José Padilha (Narcos) will co-direct the series, with Greg Silverman and Jp Sarni of Stampede Ventures executive producing. CBS Studios will co-produce under its international first-look agreement with Stampede, with SVP of international co-productions and development Meghan Lyvers overseeing the project for the studio.
Based on a script by Jeremy Miller and Daniel Cohn, Tango traces the 18 months before, during and after the production of Last Tango in Paris, exploring the story through ...
- 11/29/2021
- The Hollywood Reporter - Film + TV
CBS Studios is backing Tango, a limited event series based on the tumultuous events surrounding the making of Bernardo Bertolucci’s 1972 erotic drama Last Tango in Paris.
Lisa Brühlmann (Killing Eve) and José Padilha (Narcos) will co-direct the series, with Greg Silverman and Jp Sarni of Stampede Ventures executive producing. CBS Studios will co-produce under its international first-look agreement with Stampede, with SVP of international co-productions and development Meghan Lyvers overseeing the project for the studio.
Based on a script by Jeremy Miller and Daniel Cohn, Tango traces the 18 months before, during and after the production of Last Tango in Paris, exploring the story through ...
Lisa Brühlmann (Killing Eve) and José Padilha (Narcos) will co-direct the series, with Greg Silverman and Jp Sarni of Stampede Ventures executive producing. CBS Studios will co-produce under its international first-look agreement with Stampede, with SVP of international co-productions and development Meghan Lyvers overseeing the project for the studio.
Based on a script by Jeremy Miller and Daniel Cohn, Tango traces the 18 months before, during and after the production of Last Tango in Paris, exploring the story through ...
- 11/29/2021
- The Hollywood Reporter - Movie News
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