Movies are hot, according to Marshall McLuhan, who wasn’t paying them a compliment but placing them within his theory of hot and cool media. He was referring to the sensory richness that makes movies such a captivating and complete experience that they require little active participation from the audience. Just sit in the dark and let the magic wash over you. Arnaud Desplechin doesn’t disagree about the magic, but he puts a different slant on things in the docufiction Filmlovers! (Spectateurs!), whose focus is the moviegoer as an essential part of the equation.
Abounding in movie love, the director’s first feature since Brother and Sister cites more than 50 films in its eloquent onrush of clips and philosophizing and memory. But, in a departure from most such cinema essays, there’s no auteur namechecking (or onscreen titles ID’ing clips); it’s not those 50 films’ making-of or even their makers that matter here,...
Abounding in movie love, the director’s first feature since Brother and Sister cites more than 50 films in its eloquent onrush of clips and philosophizing and memory. But, in a departure from most such cinema essays, there’s no auteur namechecking (or onscreen titles ID’ing clips); it’s not those 50 films’ making-of or even their makers that matter here,...
- 5/23/2024
- by Sheri Linden
- The Hollywood Reporter - Movie News
IndieWire has published its Cannes 2024 Cinematography Survey. We analyzed the data to explore (again and again) that the nine-year-old camera, Arri Alexa Mini, is the most popular camera among Cannes filmmakers. Furthermore, interestingly, in its first appearance on the Cannes Cinematography Chart and jumped straight to second place, is the Arri 35.
The main cameras of Cannes 2024 are the Arri Alexa Mini and the 35. Cannes 2024 cinematography
The 77th annual Cannes Film Festival is taking place from 14 to 25 May 2024. IndieWire has reached out to the filmmakers behind 59 films screened in various categories in the festival. The DPs elaborated on the tools they utilized to tell their stories. Read the entire survey here.
Official poster of the 77th Cannes Film Festival featuring a still image from the movie Rhapsody in August by Akira Kurosawa (1991)
As the tradition calls, we took the data and filtered it to the cameras used, to explore tendency. Based on the info,...
The main cameras of Cannes 2024 are the Arri Alexa Mini and the 35. Cannes 2024 cinematography
The 77th annual Cannes Film Festival is taking place from 14 to 25 May 2024. IndieWire has reached out to the filmmakers behind 59 films screened in various categories in the festival. The DPs elaborated on the tools they utilized to tell their stories. Read the entire survey here.
Official poster of the 77th Cannes Film Festival featuring a still image from the movie Rhapsody in August by Akira Kurosawa (1991)
As the tradition calls, we took the data and filtered it to the cameras used, to explore tendency. Based on the info,...
- 5/21/2024
- by Yossy Mendelovich
- YMCinema
Haha…Arri learned from us and created a camera chart of the Arri cameras that were used to shoot Cannes 2024 films. According to the chart, the new Alexa 35 is booming. In the 2nd place is the Mini Lf, and the 3rd belongs to the good and old Alexa Mini.
Arri Alexa 35. The winner of Cannes 2024? Arri cameras at Cannes 2024
As the tradition continues, Arri cameras are preferred among Cannes filmmakers. For instance, the Alexa Mini and Mini Lf were the chosen cameras by the Cannes 2023 cinematographers. It appears that in Cannes 2024 there’s no difference besides the rise of the newest Alexa, which is the 35. Arri felt inspired by Y.M.Cinema charts and released its own Cannes 2024 camera chart focusing on Arri cameras. According to Arri’s chart, the Alexa 35 is in the first place as the weapon of choice of Cannes 2024 cinematographers. After that, there are the Mini Lf,...
Arri Alexa 35. The winner of Cannes 2024? Arri cameras at Cannes 2024
As the tradition continues, Arri cameras are preferred among Cannes filmmakers. For instance, the Alexa Mini and Mini Lf were the chosen cameras by the Cannes 2023 cinematographers. It appears that in Cannes 2024 there’s no difference besides the rise of the newest Alexa, which is the 35. Arri felt inspired by Y.M.Cinema charts and released its own Cannes 2024 camera chart focusing on Arri cameras. According to Arri’s chart, the Alexa 35 is in the first place as the weapon of choice of Cannes 2024 cinematographers. After that, there are the Mini Lf,...
- 5/20/2024
- by Yossy Mendelovich
- YMCinema
From her debut feature, French filmmaker Agathe Riedinger wants a sparkling yet still-realistic account of the thorny relationship between youth and fame. Wild Diamond is the first film to screen in this year’s Cannes Official Competition and it owns it, not least by including a quippy response about the main character potentially becoming an actress in a Croisette festival film. Riedinger knows the protagonist very well by now, having made Waiting for Jupiter in 2017, a short where she introduced Liane, a young girl living in the South of France who dreams of becoming a reality-tv star. Seven years later, Wild Diamond provides the canvas for a fuller character study with a wonderfully dedicated Malou Khebizi in its lead role.
From its opening sequence, Liane is the center of attention: we see her sway around a light pole of sorts in a wide shot. It’s pitch-black, but her high-heeled...
From its opening sequence, Liane is the center of attention: we see her sway around a light pole of sorts in a wide shot. It’s pitch-black, but her high-heeled...
- 5/15/2024
- by Savina Petkova
- The Film Stage
The heart of “Wild Diamond,” the only debut to play in competition at Cannes this year, is a story we’ve seen before. A young woman living in grim-to-disappointing circumstances has dreams of stardom, and her journey toward fame takes her to dark places, physically and emotionally. You can find versions of this scenario in Andrea Arnold’s “Fish Tank” to Ninja Thyberg’s “Pleasure.” Director Agathe Riedinger’s debut feature has little new to say about the pursuit of fame and the toll it takes despite a truly unique heroine in Liane, played with a strange and alluring distance by Malou Khebizi. It’s only a shame that the film does her a disservice in leaving the world around her underdeveloped.
The 19-year-old Liane has mastered the art of making herself up for the internet. In one sequence, we watch as she gets ready. She contours her face with precision.
The 19-year-old Liane has mastered the art of making herself up for the internet. In one sequence, we watch as she gets ready. She contours her face with precision.
- 5/15/2024
- by Esther Zuckerman
- Indiewire
“Hater says I’m superficial,” muses one of the TikTok influencers who rule the version of the world that obsesses 19-year-old Liane in Agathe Riedinger’s Cannes Competition entry Wild Diamond (Diamant Brut). “Yes, I’m superficial,” continues the influencer, “but that doesn’t mean I’m a moron.”
Maybe not, but there aren’t many prospects for young women like her fan Liane (Malou Khebizi), whose adeptness at facial contouring, applying diamantés to her towering shoes and blowing kisses to her 50,000-and-counting followers are not generally regarded as marketable skills. Not in the old-school versions of the world, anyway; she can see that her middle-aged career counsellor, for all that she is worn down by Liane’s tantrums, pities her.
Liane doesn’t see things that way. For her, being beautiful – her kind of beautiful, read: hot — is her future. It makes people look at her. They may look...
Maybe not, but there aren’t many prospects for young women like her fan Liane (Malou Khebizi), whose adeptness at facial contouring, applying diamantés to her towering shoes and blowing kisses to her 50,000-and-counting followers are not generally regarded as marketable skills. Not in the old-school versions of the world, anyway; she can see that her middle-aged career counsellor, for all that she is worn down by Liane’s tantrums, pities her.
Liane doesn’t see things that way. For her, being beautiful – her kind of beautiful, read: hot — is her future. It makes people look at her. They may look...
- 5/15/2024
- by Stephanie Bunbury
- Deadline Film + TV
After receiving some Cnc Coin back in March of ’22, French filmmaker Lucie Prost is to begin production on what sounds like if you were to mix echo-drama Haynes’ Dark Water merged with Nichols’ Take Shelter. She has been able to lasso Finnegan Oldfield (Final Cut), Daphné Patakia (Benedetta) and Florent Loiret Caille for Les truites – the French word for trout. Production is set for June and July with cinematographer Noé Bach whose recent films include A-list film festival preemed Charline Bourgeois-Tacquet’s Anaïs in Love (2021), Guillaume Gouix’s Amore mio (2022) and Sofia Alaoui’s Animalia (2023) is onboard here.…...
- 4/20/2023
- by Eric Lavallée
- IONCINEMA.com
I am of the firm belief that we are not the only forms of life out there. I don't believe that aliens have been secretly guiding humanity or anything like that — that's a conspiratorial mindset that can get really bigoted, really fast. However, I believe it's selfish to believe that humans are the only life in our vast galaxy. As to what forms these extraterrestrial beings take, that's something I'm not equipped to answer definitively. Maybe they're the little grey aliens of "Close Encounters of the Third Kind" fame, or maybe they are more humanoid. Perhaps they don't have a form at all, being invisible to the naked eye, but present nonetheless.
To "Animalia" director Sofia Alaoui, aliens can be more intertwined with humanity than we might think. The French-Moroccan filmmaker's directorial debut envisions alien invasions to be personal and abstract, truly something that can't be easily comprehended. Maybe they...
To "Animalia" director Sofia Alaoui, aliens can be more intertwined with humanity than we might think. The French-Moroccan filmmaker's directorial debut envisions alien invasions to be personal and abstract, truly something that can't be easily comprehended. Maybe they...
- 1/20/2023
- by Erin Brady
- Slash Film
Anaïs, the charmingly frustrating heroine of Charline Bourgeois-Tacquet’s directorial debut “Anaïs in Love,” is always on the run. Hair flying, sundress whipping in the wind, sandals slapping on the Paris pavement, Anaïs would be the first to admit she’s chronically late. But her constant running is more than just a consequence of her tardiness — it’s a reflection of her restless mental state.
She’s always running towards someone, but the real question is: what, or who, is she running away from? And what might happen if she stops to stay for a while?
Anaïs’ running calls to mind other cinematic heroines we’ve seen in motion, most recently Renate Reinsve’s Julie in “The Worst Person in the World,” and Greta Gerwig’s Frances in “Frances Ha.” This trio are young women with big dreams, little ambition and complicated love lives that often stymie their creative output.
She’s always running towards someone, but the real question is: what, or who, is she running away from? And what might happen if she stops to stay for a while?
Anaïs’ running calls to mind other cinematic heroines we’ve seen in motion, most recently Renate Reinsve’s Julie in “The Worst Person in the World,” and Greta Gerwig’s Frances in “Frances Ha.” This trio are young women with big dreams, little ambition and complicated love lives that often stymie their creative output.
- 4/28/2022
- by Katie Walsh
- The Wrap
Immediately setting a buoyant, vibrant tone that carries through the rest of the film, Charline Bourgeois-Tacquet’s Anaïs in Love makes one of 2022’s finest debuts. The French comedy is a story of waywardness and desire told with an optimistic view, following a spirited young woman (a great Anaïs Demoustier) who begins an affair with an older man (Denis Podalydès) and then falls in love with his novelist wife (Valeria Bruni Tedeschi).
Ahead of Anaïs‘ U.S. release I spoke with the writer-director about being inspired by Catherine Deneuve, the breathless cinematography, why she included a clip from John Cassavetes’ Opening Night, and establishing a tone.
The Film Stage: For your main character, played by Anaïs Demoustier, you kept the same first name. Did you write the film with her in mind? And how did she shape the project?
Charline Bourgeois-Tacquet: So Anaïs Demoustier and I have been working together...
Ahead of Anaïs‘ U.S. release I spoke with the writer-director about being inspired by Catherine Deneuve, the breathless cinematography, why she included a clip from John Cassavetes’ Opening Night, and establishing a tone.
The Film Stage: For your main character, played by Anaïs Demoustier, you kept the same first name. Did you write the film with her in mind? And how did she shape the project?
Charline Bourgeois-Tacquet: So Anaïs Demoustier and I have been working together...
- 4/28/2022
- by Jordan Raup
- The Film Stage
What comes to mind when you picture the likely protagonist of a film titled “Anaïs in Love?” If it’s not a flighty, free-spirited young Frenchwoman, cycling around Paris with flowers in her bike basket, completing a Masters literature thesis (long past deadline) on “17th-century descriptions of passion,” and wearing bright floral sundresses in all weathers, you’ve tried too hard to avoid the obvious — not something you could easily accuse Charline Bourgeois-Tacquet’s blithe, gossamer-light debut feature of doing in imagining said heroine. Is it too on the nose if she’s played by reliably winsome starlet Anaïs Demoustier? Don’t answer that: she is.
At first rosy blush, then, “Anaïs in Love” appears to gently parody an idealized screen vision of Gallic femininity (a manic pixie dream fille of sorts) that has endured in various incarnations from the French New Wave to “Amelie” and beyond. To what end is harder to determine,...
At first rosy blush, then, “Anaïs in Love” appears to gently parody an idealized screen vision of Gallic femininity (a manic pixie dream fille of sorts) that has endured in various incarnations from the French New Wave to “Amelie” and beyond. To what end is harder to determine,...
- 4/27/2022
- by Guy Lodge
- Variety Film + TV
At the Award Ceremony of the 24th Tallinn Black Nights Film Festival (PÖFF) awards were handed to the winners of the four competition programmes of the festival and PÖFF’s sub-festivals Youth and Children’s Film Festival Just Film and International Short Film and Animation Film Festival PÖFF Shorts.
The jury of Official Selection – Competition headed by Mark Adams selected director Ivaylo Hristov’s drama “Fear“ as their favourite, handing the film the Grand Prix of the festival. Blending drama with deadpan comedy, the film’s story is set on the Bulgarian border, on a new route for African migrants arriving from Turkey with hopes to reach Germany. The protagonist, the former school teacher, comes across an African man who will bring a dramatic turn to her life.
The Best Director award goes to Turkish director Nisan Dağ for “When I’m Done Dying“, a vibrant portrayal of an upcoming hiphop artist struggling with drug addiction.
The jury of Official Selection – Competition headed by Mark Adams selected director Ivaylo Hristov’s drama “Fear“ as their favourite, handing the film the Grand Prix of the festival. Blending drama with deadpan comedy, the film’s story is set on the Bulgarian border, on a new route for African migrants arriving from Turkey with hopes to reach Germany. The protagonist, the former school teacher, comes across an African man who will bring a dramatic turn to her life.
The Best Director award goes to Turkish director Nisan Dağ for “When I’m Done Dying“, a vibrant portrayal of an upcoming hiphop artist struggling with drug addiction.
- 12/2/2020
- by Adriana Rosati
- AsianMoviePulse
Nisan Dağ wins best director for ‘When I’m Done Dying’.
Director Ivaylo Hristov and producer Assen Vladimirov have won the Grand Prix for best film, for Bulgarian drama Fear, at Tallinn Black Nights Film Festival (PÖFF).
The event presented its awards in Tallinn, Estonia this evening. Hristov and Vladimirov share the €10,000 grant that comes with the win.
Scroll down for the full list of awards
They were awarded the prize by a jury consisting of Mark Adams, Mostofa Sarwar Farooki, Izabela Kiszka-Hoflik and Ester Kuntu.
The jury praised “a beautifully-made film that astutely balances dry humour with important contemporary drama.
Director Ivaylo Hristov and producer Assen Vladimirov have won the Grand Prix for best film, for Bulgarian drama Fear, at Tallinn Black Nights Film Festival (PÖFF).
The event presented its awards in Tallinn, Estonia this evening. Hristov and Vladimirov share the €10,000 grant that comes with the win.
Scroll down for the full list of awards
They were awarded the prize by a jury consisting of Mark Adams, Mostofa Sarwar Farooki, Izabela Kiszka-Hoflik and Ester Kuntu.
The jury praised “a beautifully-made film that astutely balances dry humour with important contemporary drama.
- 11/27/2020
- by Ben Dalton
- ScreenDaily
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