On Friday, April 14, the Academy of Canadian Cinema & Television celebrated the final presentation of the 2023 edition Canadian Screen Week, wrapping up four days of in-person events honouring the year’s best Canadian film, TV and digital media.
Friday featured the Comedic and Dramatic Arts Awards, which recognized the best of television performance and craft categories.
CBC drama “The Porter” took the lead, winning a record-setting 12 Canadian Screen Awards, including wins for: Best Drama Series; Best Direction, Drama Series; Best Writing, Drama Series; and Best Guest Performance, Drama Series for Alfre Woodward.
Read More: Et Canada Wins 3 Canadian Screen Awards For 2023
Hamza Haq of CTV medical drama “Transplant” won this year’s award for Best Lead Performer, Drama Series, making his third third consecutive win in that category.
The second season of CBC’s “Sort Of” commanded the comedy categories with seven wins, including: Best Comedy Series; Best Lead Performer,...
Friday featured the Comedic and Dramatic Arts Awards, which recognized the best of television performance and craft categories.
CBC drama “The Porter” took the lead, winning a record-setting 12 Canadian Screen Awards, including wins for: Best Drama Series; Best Direction, Drama Series; Best Writing, Drama Series; and Best Guest Performance, Drama Series for Alfre Woodward.
Read More: Et Canada Wins 3 Canadian Screen Awards For 2023
Hamza Haq of CTV medical drama “Transplant” won this year’s award for Best Lead Performer, Drama Series, making his third third consecutive win in that category.
The second season of CBC’s “Sort Of” commanded the comedy categories with seven wins, including: Best Comedy Series; Best Lead Performer,...
- 4/15/2023
- by Brent Furdyk
- ET Canada
Exclusive: Canadian filmmaker Barry Avrich and his Melbar Entertainment Group have signed with APA for representation.
The renowned writer, director and producer’s feature credits include acclaimed 2020 doc Made You Look: A True Story About Fake Art, which tells the story of the largest art fraud in American history. That project is currently being packaged for a scripted series adaptation.
Avrich also produced the Scotiabank Giller Prize television show, and three editions of The Canadian Screen Awards, between 2015 and 2017. He also directed and produced the upcoming feature The Talented Mr. Rosenberg, which is currently in post-production.
One of North America’s largest producers of non-scripted content, Melbar Entertainment Group has produced over 50 documentaries and filmed productions, including The Last Mogul, about Hollywood mogul Lew Wasserman; Prosecuting Evil, about Nuremberg prosecutor Ben Ferencz; contemporary art world pic Blurred Lines; The Reckoning, which takes on the #MeToo movement; the upcoming Oscar Peterson: Black and White,...
The renowned writer, director and producer’s feature credits include acclaimed 2020 doc Made You Look: A True Story About Fake Art, which tells the story of the largest art fraud in American history. That project is currently being packaged for a scripted series adaptation.
Avrich also produced the Scotiabank Giller Prize television show, and three editions of The Canadian Screen Awards, between 2015 and 2017. He also directed and produced the upcoming feature The Talented Mr. Rosenberg, which is currently in post-production.
One of North America’s largest producers of non-scripted content, Melbar Entertainment Group has produced over 50 documentaries and filmed productions, including The Last Mogul, about Hollywood mogul Lew Wasserman; Prosecuting Evil, about Nuremberg prosecutor Ben Ferencz; contemporary art world pic Blurred Lines; The Reckoning, which takes on the #MeToo movement; the upcoming Oscar Peterson: Black and White,...
- 4/14/2021
- by Matt Grobar
- Deadline Film + TV
Exclusive: Alan Gilsenan directed the adaptation of Carol Shields’ Pulitzer Prize-wining novel.
La-based International Film Trust (Ift) has picked up international sales rights to Toronto International Film Festival (Sept 8-18) selection Unless as the Special Presentations entry receives its world premiere tonight (Sept 11).
Catherine Keener plays an author and mother of three who finds out her daughter has dropped out of college and is begging on the street.
Newcomer Hannah Gross also stars alongside Brendan Coyle, Matt Craven, Chloe Rose, Abigail Winter, Martha Henry, Brendan Coyle, Linda Kash, Benjamin Ayres and Hanna Schygulla.
Alan Gilsenan directed from his adapted screenplay based on Carol Shields’ semi-autobiographical novel.
Gersh handles Us rights to Unless and Ift’s Todd Olsson has been touting the drama to buyers here.
“We are thrilled to have the opportunity to bring this important film to the marketplace,” said Olsson. “It couldn’t be more timely as our world continues to suffer injustices that impact...
La-based International Film Trust (Ift) has picked up international sales rights to Toronto International Film Festival (Sept 8-18) selection Unless as the Special Presentations entry receives its world premiere tonight (Sept 11).
Catherine Keener plays an author and mother of three who finds out her daughter has dropped out of college and is begging on the street.
Newcomer Hannah Gross also stars alongside Brendan Coyle, Matt Craven, Chloe Rose, Abigail Winter, Martha Henry, Brendan Coyle, Linda Kash, Benjamin Ayres and Hanna Schygulla.
Alan Gilsenan directed from his adapted screenplay based on Carol Shields’ semi-autobiographical novel.
Gersh handles Us rights to Unless and Ift’s Todd Olsson has been touting the drama to buyers here.
“We are thrilled to have the opportunity to bring this important film to the marketplace,” said Olsson. “It couldn’t be more timely as our world continues to suffer injustices that impact...
- 9/11/2016
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Exclusive: Alan Gilsenan directed the adaptation of Carol Shields’ Pulitzer Prize-wining novel.
La-based International Film Trust (Ift) has picked up international sales rights to Toronto International Film Festival (Sept 8-18) selection Unless as the Special Presentations entry receives its world premiere tonight (Sept 11).
Catherine Keener plays an author and mother of three who finds out her daughter has dropped out of college and is begging on the street.
Newcomer Hannah Gross also stars alongside Brendan Coyle, Matt Craven, Chloe Rose, Abigail Winter, Martha Henry, Brendan Coyle, Linda Kash, Benjamin Ayres and Hanna Schygulla.
Alan Gilsenan directed from his adapted screenplay based on Carol Shields’ Pulitzer Prize-wining semi-autobiographical novel.
Gersh handles Us rights to Unless and Ift’s Todd Olsson has been touting the drama to buyers here.
“We are thrilled to have the opportunity to bring this important film to the marketplace,” said Olsson. “It couldn’t be more timely as our world continues to suffer injustices...
La-based International Film Trust (Ift) has picked up international sales rights to Toronto International Film Festival (Sept 8-18) selection Unless as the Special Presentations entry receives its world premiere tonight (Sept 11).
Catherine Keener plays an author and mother of three who finds out her daughter has dropped out of college and is begging on the street.
Newcomer Hannah Gross also stars alongside Brendan Coyle, Matt Craven, Chloe Rose, Abigail Winter, Martha Henry, Brendan Coyle, Linda Kash, Benjamin Ayres and Hanna Schygulla.
Alan Gilsenan directed from his adapted screenplay based on Carol Shields’ Pulitzer Prize-wining semi-autobiographical novel.
Gersh handles Us rights to Unless and Ift’s Todd Olsson has been touting the drama to buyers here.
“We are thrilled to have the opportunity to bring this important film to the marketplace,” said Olsson. “It couldn’t be more timely as our world continues to suffer injustices...
- 9/11/2016
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Film is based on the final novel from Canadian author Carol Shields and stars Catherine Keener.
Principal photography has commenced on Unless in Toronto.
Based on the award-winning and final novel from Canadian author Carol Shields, the film stars Catherine Keener and was adapted for the screen by Alan Gilsenan, who will also direct.
Unless is a Canada-Ireland co-production, produced by Jennifer Kawaja and Julia Sereny of Sienna Films and Tristan Orpen Lynch and Aoife O’Sullivan of Subotica.
Gilsenan commented: “Carol Shields’ Unless is her surprising, moving and angry swan-song, a book both for our time and very much of our time. It is a real honour and delight to be finally bringing it to the cinema screen with such an extraordinary cast.”
Matt Craven, Hannah Gross, Chloe Rose, Abigail Winter, Martha Henry and Hanna Schygulla also star.
Unless centres on writer and translator Reta Winters (Keener) whose life is rocked when her eldest daugher Norah (Gross...
Principal photography has commenced on Unless in Toronto.
Based on the award-winning and final novel from Canadian author Carol Shields, the film stars Catherine Keener and was adapted for the screen by Alan Gilsenan, who will also direct.
Unless is a Canada-Ireland co-production, produced by Jennifer Kawaja and Julia Sereny of Sienna Films and Tristan Orpen Lynch and Aoife O’Sullivan of Subotica.
Gilsenan commented: “Carol Shields’ Unless is her surprising, moving and angry swan-song, a book both for our time and very much of our time. It is a real honour and delight to be finally bringing it to the cinema screen with such an extraordinary cast.”
Matt Craven, Hannah Gross, Chloe Rose, Abigail Winter, Martha Henry and Hanna Schygulla also star.
Unless centres on writer and translator Reta Winters (Keener) whose life is rocked when her eldest daugher Norah (Gross...
- 3/16/2015
- by ian.sandwell@screendaily.com (Ian Sandwell)
- ScreenDaily
CANNES -- A fading Canadian steel town with its industrial smokestacks and furnaces marks the end of the line for an over-the-hill '80s rock star at the start of Olivier Assayas' In Competition entry, "Clean". As a heroin overdose claims Lee Hauser (James Johnston) alone in his cheap hotel room, Emily Wang (Maggie Cheung), Lee's companion and the mother of his child, sits in a car stoned on the same drug staring at the fiery apocalyptic images of a dying era.
Assayas views the record industry as being not far removed from the steel-making business. Hot smelters and passionate effort fuel them both, yet they are both shiny and mechanical and driven by profit. And they are both dangerous.
The music world seen here is one of self-interest, ego and quick satisfactions. Assayas' film is complex and absorbing, but he keeps everything at arm's length. And with Cheung giving an interesting but chilly performance, only committed audiences will warm to it.
There's a lot of Brian Eno on the soundtrack, and Assayas keeps his camera constantly moving so that the film has a jittery feel in synch with Emily's drug-fueled scatter-shot existence. She moves around a lot, too, from Canada to Paris and London, with people everywhere who know and mostly distrust her.
The story the film wants to get on with is Emily's late-blooming responsibility as a mother, but Assayas takes his time getting to it. While Emily and Hauser led their peripatetic rock 'n' roll life, their son, Jay James Dennis), was parked with his grandparents, Albrecht and Rosemary, in Vancouver. Nick Nolte and Martha Henry bring an entirely different tone to the proceedings, playing the aging and worried grandparents with gravitas leavened by shrewd wit.
They obtain a court order so that they can continue to raise the boy, though Albrecht is sympathetic to Emily's plight. Emily deals with her grief and the end of her synthetic good life in her usual way: by scoring more drugs. Only slowly does she realize that salvation lies in getting clean and becoming a real mother, and what suspense the film has lies in whether the stars still in her eyes will get in the way.
The film looks good, with rich colors and images from cinematographer Eric Gautier, but Emily's shallow world is heavily populated, and some sequences seem too busy and unnecessary. For instance, Emily goes to seek work from a female television executive, an ex-lover, and we go off on an unhelpful sidetrack about the executive's affair with her female assistant, who makes a play for Emily, but it doesn't tell us anything.
Cheung's scenes with Emily's son are perhaps deliberately stilted, but they're not persuasive in respect to the character's rediscovered maternal instincts. Cheung does fine work in the frantic sequences of drugs and music, but while the distance she creates in the quieter episodes may be intentional, it puts up a barrier that's difficult to overcome with much sympathy.
CLEAN
International distribution by the Works
Produced by Rectangle Prods., Haystack Prods. (U.K.), Rhombus Media (Canada), Arte France Cinema
Credits:
Director-screenwriter: Olivier Assayas
Producers: Edouard Weil, Xavier Giannoli, Xavier Marchand, Niv Fichman
Director of photography: Eric Gautier
Editor: Luc Barnier
Sound designer: Guillaume Sciama, Herwig Gayer, Bill Flynn, Daniel Sobrino
Set designers: Francois-Renaud Labarthe, Bill Flemming
Costume designer: Anais Romand
Cast:
Emily Wang: Maggie Cheung
Albrecht Hauser: Nick Nolte
Elena: Beatrice Dalle
Irene Paolini: Jeanne Balibar
Vernon: Don McKellar
Rosemary Hauser: Martha Henry
Lee Hauser: James Johnston
Jay: James Dennis
Jean-Pierre: Remi Martin
Sandrine: Laetitia Spigarelli
No MPAA rating
Running time -- 113 minutes...
Assayas views the record industry as being not far removed from the steel-making business. Hot smelters and passionate effort fuel them both, yet they are both shiny and mechanical and driven by profit. And they are both dangerous.
The music world seen here is one of self-interest, ego and quick satisfactions. Assayas' film is complex and absorbing, but he keeps everything at arm's length. And with Cheung giving an interesting but chilly performance, only committed audiences will warm to it.
There's a lot of Brian Eno on the soundtrack, and Assayas keeps his camera constantly moving so that the film has a jittery feel in synch with Emily's drug-fueled scatter-shot existence. She moves around a lot, too, from Canada to Paris and London, with people everywhere who know and mostly distrust her.
The story the film wants to get on with is Emily's late-blooming responsibility as a mother, but Assayas takes his time getting to it. While Emily and Hauser led their peripatetic rock 'n' roll life, their son, Jay James Dennis), was parked with his grandparents, Albrecht and Rosemary, in Vancouver. Nick Nolte and Martha Henry bring an entirely different tone to the proceedings, playing the aging and worried grandparents with gravitas leavened by shrewd wit.
They obtain a court order so that they can continue to raise the boy, though Albrecht is sympathetic to Emily's plight. Emily deals with her grief and the end of her synthetic good life in her usual way: by scoring more drugs. Only slowly does she realize that salvation lies in getting clean and becoming a real mother, and what suspense the film has lies in whether the stars still in her eyes will get in the way.
The film looks good, with rich colors and images from cinematographer Eric Gautier, but Emily's shallow world is heavily populated, and some sequences seem too busy and unnecessary. For instance, Emily goes to seek work from a female television executive, an ex-lover, and we go off on an unhelpful sidetrack about the executive's affair with her female assistant, who makes a play for Emily, but it doesn't tell us anything.
Cheung's scenes with Emily's son are perhaps deliberately stilted, but they're not persuasive in respect to the character's rediscovered maternal instincts. Cheung does fine work in the frantic sequences of drugs and music, but while the distance she creates in the quieter episodes may be intentional, it puts up a barrier that's difficult to overcome with much sympathy.
CLEAN
International distribution by the Works
Produced by Rectangle Prods., Haystack Prods. (U.K.), Rhombus Media (Canada), Arte France Cinema
Credits:
Director-screenwriter: Olivier Assayas
Producers: Edouard Weil, Xavier Giannoli, Xavier Marchand, Niv Fichman
Director of photography: Eric Gautier
Editor: Luc Barnier
Sound designer: Guillaume Sciama, Herwig Gayer, Bill Flynn, Daniel Sobrino
Set designers: Francois-Renaud Labarthe, Bill Flemming
Costume designer: Anais Romand
Cast:
Emily Wang: Maggie Cheung
Albrecht Hauser: Nick Nolte
Elena: Beatrice Dalle
Irene Paolini: Jeanne Balibar
Vernon: Don McKellar
Rosemary Hauser: Martha Henry
Lee Hauser: James Johnston
Jay: James Dennis
Jean-Pierre: Remi Martin
Sandrine: Laetitia Spigarelli
No MPAA rating
Running time -- 113 minutes...
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.