Oscar-winners Helen Hunt and Dustin Hoffman have signed on to star in the new, still-untitled feature from British director Peter Greenaway (The Cook, the Thief, His Wife and Her Lover).
Principal photography for the film has begun in Lucca, Italy.
Sofia Boutella (Kingsman), Giacomo Gianniotti (Grey’s Anatomy), Jonno Davies (Kingsman: The Secret Service) and Laura Morante (The Son’s Room) co-star in the drama, the first feature from Greenaway since 2015’s Eisenstein in Guanajuato.
Based on Greenaway’s original script, the film is the story of an intelligent man whose final big adventure is intended to be his own death, which he wants to organize in an elegant, sensible and tidy manner, with as few loose ends as possible.
“The theme of this film is highly relevant and topical in these times, where the end-of-life topic is headline news on a daily basis,” said Greenaway. “As such, I am very excited...
Principal photography for the film has begun in Lucca, Italy.
Sofia Boutella (Kingsman), Giacomo Gianniotti (Grey’s Anatomy), Jonno Davies (Kingsman: The Secret Service) and Laura Morante (The Son’s Room) co-star in the drama, the first feature from Greenaway since 2015’s Eisenstein in Guanajuato.
Based on Greenaway’s original script, the film is the story of an intelligent man whose final big adventure is intended to be his own death, which he wants to organize in an elegant, sensible and tidy manner, with as few loose ends as possible.
“The theme of this film is highly relevant and topical in these times, where the end-of-life topic is headline news on a daily basis,” said Greenaway. “As such, I am very excited...
- 4/12/2024
- by Scott Roxborough
- The Hollywood Reporter - Movie News
Oscar winners Dustin Hoffman and Helen Hunt are attached to star in Peter Greenaway’s drama “Lucca Mortis,” which has started filming in the Tuscan city of Lucca.
The new film by the 81-year-old iconoclastic British filmmaker and artist — known for arthouse hits such as “The Draughtsman’s Contract,” “The Cook, the Thief, His Wife and Her Lover” and “The Pillow Book” — is the tale of a New York writer (Hoffman), who in in 2001, following the attack on the Twin Towers in New York, takes a sabbatical to visit Lucca in search of his distant Italian origins. “Lucca Mortis” creates a sort of parallelism between the Twin Towers and the towers of Lucca, according to the Tuscany Film Commission website. Other details, including Hunt’s role, are being kept under wraps.
Tuscany Film Commission head Stefania Ippoliti said cameras started rolling earlier this month in Lucca, which is known for its medieval walls and towers,...
The new film by the 81-year-old iconoclastic British filmmaker and artist — known for arthouse hits such as “The Draughtsman’s Contract,” “The Cook, the Thief, His Wife and Her Lover” and “The Pillow Book” — is the tale of a New York writer (Hoffman), who in in 2001, following the attack on the Twin Towers in New York, takes a sabbatical to visit Lucca in search of his distant Italian origins. “Lucca Mortis” creates a sort of parallelism between the Twin Towers and the towers of Lucca, according to the Tuscany Film Commission website. Other details, including Hunt’s role, are being kept under wraps.
Tuscany Film Commission head Stefania Ippoliti said cameras started rolling earlier this month in Lucca, which is known for its medieval walls and towers,...
- 12/11/2023
- by Nick Vivarelli
- Variety Film + TV
Who would have ever thought the guy who directed a movie about Colin Farrell possibly turning into a Lobster would become an Oscar darling? But in spite of all the taboos he’s determined to break, that’s exactly the career trajectory Yorgos Lanthimos has had.
An idiosyncratic filmmaker, Lanthimos’ filmmaking quirks — stilted speech, deadpan acting, painstakingly framed cinematography, and pessimistic stories about the cruelty of men, both on a singular and societal level — haven’t disappeared since he made the leap to Hollywood. But the Greek director has slowly found himself an awards season staple. After a Best Foreign Language Film nomination for his breakout “Dogtooth” and a screenplay nod for his English-language debut “The Lobster,” Lanthimos ended up with ten nominations at the Oscars in 2019 for his darkly comedic period drama “The Favourite.” An acidic and subversive love story about the rule of Queen Anne (Olivia Colman) and her scheming court favorites,...
An idiosyncratic filmmaker, Lanthimos’ filmmaking quirks — stilted speech, deadpan acting, painstakingly framed cinematography, and pessimistic stories about the cruelty of men, both on a singular and societal level — haven’t disappeared since he made the leap to Hollywood. But the Greek director has slowly found himself an awards season staple. After a Best Foreign Language Film nomination for his breakout “Dogtooth” and a screenplay nod for his English-language debut “The Lobster,” Lanthimos ended up with ten nominations at the Oscars in 2019 for his darkly comedic period drama “The Favourite.” An acidic and subversive love story about the rule of Queen Anne (Olivia Colman) and her scheming court favorites,...
- 12/7/2023
- by Wilson Chapman
- Indiewire
White NoiseCOMPETITIONWhite Noise (Noah Baumbach)Il Signore Delle Formiche (Gianni Amelio)The Whale (Darren Aronofsky)L’Immensita (Emanuele Crialese)Saint Omer (Alice Diop)Blonde (Andrew Dominik)Tár (Todd Field)Love Life (Koji Fukada)Bardo, False Chronicle Of A Handful Of Truths (Alejandro G. Inarritu)Athena (Romain Gavras)Bones & All (Luca Guadagnino)The Eternal Daughter (Joanna Hogg)Beyond The Wall (Vahid Jalilvand)The Banshees Of Inisherin (Martin McDonagh)Argentina, 1985 (Santiago Mitre)Chiara (Susanna Nicchiarelli)Monica (Andrea Pallaoro)No Bears (Jafar Panahi)All The Beauty And The Bloodshed (Laura Poitras)A Couple (Frederick Wiseman)The Son (Florian Zeller)Our Ties (Roschdy Zem)Other People’s Children (Rebecca Zlotowski)Out Of COMPETITIONFictionThe Hanging Sun (Francesco Carrozzini)When The Waves Are Gone (Lav Diaz)Living (Oliver Hermanus)Dead For A Dollar (Walter Hill)Call Of God (Kim Ki-duk)Dreamin’ Wild (Bill Pohlad)Master Gardener (Paul Schrader)Siccità (Paolo Virzi)Pearl (Ti West)Don’t Worry Darling...
- 7/28/2022
- MUBI
Right off the bat, Peter Greenaway wants to make clear that he’s never really taken himself seriously as a filmmaker — although like so many of the paradoxes that comprise Greenaway’s identity, it’s not wise to take such a claim too seriously.
“This is a terrible confession to speak to you,” he says via Skype from a tiny house on the Atlantic coast where he goes on weekends. “There’s always that sense of being removed from the activity, of taking a step back and trying to look at it with not a sarcastic or derivative attitude, but certainly a considerable irony.”
Such cheekiness is plenty apparent in Greenaway’s filmography, which spans 16 features, ranging from the Terry Gilliam-esque irreverence of “The Falls” (1980), a three-hour catalog of eccentric survivors of an imaginary cataclysm, to the obsessive brain-dump that is “The Tulse Luper Suitcases” (2003-04), a tricksy trio...
“This is a terrible confession to speak to you,” he says via Skype from a tiny house on the Atlantic coast where he goes on weekends. “There’s always that sense of being removed from the activity, of taking a step back and trying to look at it with not a sarcastic or derivative attitude, but certainly a considerable irony.”
Such cheekiness is plenty apparent in Greenaway’s filmography, which spans 16 features, ranging from the Terry Gilliam-esque irreverence of “The Falls” (1980), a three-hour catalog of eccentric survivors of an imaginary cataclysm, to the obsessive brain-dump that is “The Tulse Luper Suitcases” (2003-04), a tricksy trio...
- 5/14/2022
- by Peter Debruge
- Variety Film + TV
Acclaimed writer/director David Lowery joins Josh and Joe to discuss the films that inspired The Green Knight.
Show Notes: Movies Referenced In This Episode
The Green Knight (2021)
Peter Pan & Wendy (2022)
Lawrence Of Arabia (1962)
The Old Man And The Gun (2018)
A Ghost Story (2017)
Pete’s Dragon (1977)
Pete’s Dragon (2016) – Glenn Erickson’s review
Ain’t Them Bodies Saints (2013)
Ghost Story (1974)
Sword of the Valiant (1984)
Gawain and the Green Knight (1973)
Electric Boogaloo: The Wild, Untold Story of Cannon Films (2014)
Masters of the Universe (1987) – Josh Olson’s trailer commentary
Andrei Rublev (1966) – Glenn Erickson’s Criterion Blu-ray review, Dennis Cozzalio’s Muriel Awards blurb
War And Peace (1966) – Glenn Erickson’s Blu-ray review
Heaven’s Gate (1980)
The Passion Of Joan Of Arc (1928) – Charlie Largent’s Criterion Blu-ray review
The Devils (1971)
Space Jam: A New Legacy (2021)
A Clockwork Orange (1971)
The Conjuring (2013)
Jubilee (1978)
Benedetta (2021)
Dune (1984)
Dune (2021)
Hard To Be A God (2013)
Jodorowsky’s Dune (2013)
Moby Dick (1956) – Ernest Dickerson’s trailer commentary,...
Show Notes: Movies Referenced In This Episode
The Green Knight (2021)
Peter Pan & Wendy (2022)
Lawrence Of Arabia (1962)
The Old Man And The Gun (2018)
A Ghost Story (2017)
Pete’s Dragon (1977)
Pete’s Dragon (2016) – Glenn Erickson’s review
Ain’t Them Bodies Saints (2013)
Ghost Story (1974)
Sword of the Valiant (1984)
Gawain and the Green Knight (1973)
Electric Boogaloo: The Wild, Untold Story of Cannon Films (2014)
Masters of the Universe (1987) – Josh Olson’s trailer commentary
Andrei Rublev (1966) – Glenn Erickson’s Criterion Blu-ray review, Dennis Cozzalio’s Muriel Awards blurb
War And Peace (1966) – Glenn Erickson’s Blu-ray review
Heaven’s Gate (1980)
The Passion Of Joan Of Arc (1928) – Charlie Largent’s Criterion Blu-ray review
The Devils (1971)
Space Jam: A New Legacy (2021)
A Clockwork Orange (1971)
The Conjuring (2013)
Jubilee (1978)
Benedetta (2021)
Dune (1984)
Dune (2021)
Hard To Be A God (2013)
Jodorowsky’s Dune (2013)
Moby Dick (1956) – Ernest Dickerson’s trailer commentary,...
- 8/31/2021
- by Kris Millsap
- Trailers from Hell
Ladies & Gentlemen, directed by Mostofa Sarwar Farooki and shot by Alexey Kosorukov, is the story of an ordinary girl and her emotional journey towards becoming the voice of every working woman in Bangladesh. The eight-episode series places strong women at the forefront, highlighting the complexities of male-female dynamics and issues like misogyny that are sure to resonate with ZEE5 Global’s audiences across the 190+ countries where the platform reaches.
Following the success of Bangladeshi originals like “Mainkar Chipay,” “WTFry, Contract,” “Jodi Kintu Tobuo,” and the recently released “Thanda,” ZEE5 Global promises to deliver yet another compelling story.
Following the success of Bangladeshi originals like “Mainkar Chipay,” “WTFry, Contract,” “Jodi Kintu Tobuo,” and the recently released “Thanda,” ZEE5 Global promises to deliver yet another compelling story.
- 6/21/2021
- by Don Anelli
- AsianMoviePulse
In early 2003, the American Society of Cinematographers held the first meeting of its Motion Imaging Technology Council, made up of Asc members, associates and entertainment technology leaders. Since then, the group chaired by member Curtis Clark has done pioneering work in advancing entertainment technology. For instance, in 2010, Asc began a collaboration with AMPAS on the development of a color management system called Academy Color Encoding System (Aces), which received a Sci-Tech Award from AMPAS in 2015.
Clark, 72, whose credits as a cinematographer include Peter Greenaway's The Draughtsman's Contract, will receive the Academy of Motion Picture Arts ...
Clark, 72, whose credits as a cinematographer include Peter Greenaway's The Draughtsman's Contract, will receive the Academy of Motion Picture Arts ...
In early 2003, the American Society of Cinematographers held the first meeting of its Motion Imaging Technology Council, made up of Asc members, associates and entertainment technology leaders. Since then, the group chaired by member Curtis Clark has done pioneering work in advancing entertainment technology. For instance, in 2010, Asc began a collaboration with AMPAS on the development of a color management system called Academy Color Encoding System (Aces), which received a Sci-Tech Award from AMPAS in 2015.
Clark, 72, whose credits as a cinematographer include Peter Greenaway's The Draughtsman's Contract, will receive the Academy of Motion Picture Arts ...
Clark, 72, whose credits as a cinematographer include Peter Greenaway's The Draughtsman's Contract, will receive the Academy of Motion Picture Arts ...
Very few people can pull off wearing a navy blue pinstripe suit paired with a dark lined open-neck shirt. Yet not everyone is Peter Greenaway. The veteran British director, an intriguing, eloquent and eminently likeable subject, has been based in Amsterdam for the last twenty years. In a conversation as eclectic as his latest film, Eisenstein in Guanajuato, he spoke with CineVue's Matt Anderson about his admiration for the cinema of Sergei Eisenstein, intertextuality, film as propaganda, nudity and Donald Duck.
Matt Anderson: What is your earliest recollection of watching an Eisenstein film? Peter Greenaway: I was 15 - we're talking 1957. At the bottom end of Leytonstone there was a little grubby cinema called The State and it became our sort of Mecca. When you're a 15 year old adolescent you're very, very keen to see a naked woman and the chances are you're not going to see it in English cinema,...
Matt Anderson: What is your earliest recollection of watching an Eisenstein film? Peter Greenaway: I was 15 - we're talking 1957. At the bottom end of Leytonstone there was a little grubby cinema called The State and it became our sort of Mecca. When you're a 15 year old adolescent you're very, very keen to see a naked woman and the chances are you're not going to see it in English cinema,...
- 4/20/2016
- by CineVue UK
- CineVue
The cult director presented award by Juliet Stevenson, who praised his commitment to reinventing cinema
Peter Greenaway has been awarded the outstanding contribution award at the Baftas, for a body of work that includes 8½ Women, The Draughtsman's Contract, and The Cook, The Thief, His Wife and Her Lover.
Juliet Stevenson presented the award to the director, remembering that for his film Drowning by Numbers she swam in freezing water, did "surprising things with an ice lolly" and "had to push a large naked woman in a wheelbarrow up a slippery slope in five-inch heels."
Calling him "visionary and inspirational", Stevenson championed Greenaway's rejection of the orthodoxy and his respect for actors, describing the "beauty and invention" in every shot. Alluding to the director's early desire to be a painter, she said that the "art world's loss is our great and lasting gain. None of [his films] come easily to the watcher, but once watched,...
Peter Greenaway has been awarded the outstanding contribution award at the Baftas, for a body of work that includes 8½ Women, The Draughtsman's Contract, and The Cook, The Thief, His Wife and Her Lover.
Juliet Stevenson presented the award to the director, remembering that for his film Drowning by Numbers she swam in freezing water, did "surprising things with an ice lolly" and "had to push a large naked woman in a wheelbarrow up a slippery slope in five-inch heels."
Calling him "visionary and inspirational", Stevenson championed Greenaway's rejection of the orthodoxy and his respect for actors, describing the "beauty and invention" in every shot. Alluding to the director's early desire to be a painter, she said that the "art world's loss is our great and lasting gain. None of [his films] come easily to the watcher, but once watched,...
- 2/17/2014
- by Ben Beaumont-Thomas
- The Guardian - Film News
The arthouse director says it is 'a pleasure and a delight' to be honoured for his years of effort and experiment
• Peter Greenaway: 'I plan to kill myself when I'm 80'
Peter Greenaway is to receive the outstanding British contribution to cinema award at this Sunday's Bafta film awards.
The director of The Draughtsman's Contract, Drowning by Numbers and The Cook, The Thief, His Wife and Her Lover will be honoured for more than three decades of film-making. He made his debut in 1980 with The Falls, a post-apocalyptic mock-documentary in 92 short sections.
Greenaway, who is known for his collaborations with the composer Michael Nyman, said: "Given the always complex effort involved, to be permitted in the first place to make films with so many collaborators always astonishes me, and to be permitted the licence to do so with such freedom to continually experiment even more so. Everyone agrees that...
• Peter Greenaway: 'I plan to kill myself when I'm 80'
Peter Greenaway is to receive the outstanding British contribution to cinema award at this Sunday's Bafta film awards.
The director of The Draughtsman's Contract, Drowning by Numbers and The Cook, The Thief, His Wife and Her Lover will be honoured for more than three decades of film-making. He made his debut in 1980 with The Falls, a post-apocalyptic mock-documentary in 92 short sections.
Greenaway, who is known for his collaborations with the composer Michael Nyman, said: "Given the always complex effort involved, to be permitted in the first place to make films with so many collaborators always astonishes me, and to be permitted the licence to do so with such freedom to continually experiment even more so. Everyone agrees that...
- 2/15/2014
- by Ben Child
- The Guardian - Film News
Long the standard-bearer of avant garde British cinema, Peter Greenaway -- director of such unhinged works as "The Cook, the Thief, His Wife and Her Lover," "The Draughtsman's Contract" and "The Pillow Book" -- has never even been nominated for a BAFTA. (Nope, not even in the days before they tried to out-Oscar the Oscars.) As of Sunday, however, he'll have one, as he's been named the recipient of this year's Outstanding Contribution to British Cinema Award at the ceremony. Says Greenaway: "Everyone agrees that cinema is changing its characteristics very fast and to be awarded a BAFTA for trying to...
- 2/14/2014
- by Guy Lodge
- Hitfix
BAFTA has revealed that award-winning writer-director Peter Greenaway will receive the Outstanding British Contribution to Cinema Award at the upcoming British Academy Film Awards on February 16.Greenaway (“The Pillow Book,” “Drowning By Numbers,” "The Draughtsman's Contract"), who originally trained as a painter, is known for his exploration in film of eroticism and death, and for his ability to integrate Renaissance art into his work. His latest film, “Eisenstein in Guanajuato,” is slated for release later this year.Previous recipients of the award include Mike Leigh, Kenneth Branagh, Derek Jarman, Mary Selway, Ridley and Tony Scott, Working Title Films, Lewis Gilbert, John Hurt and the "Harry Potter" franchise. Meanwhile, Helen Mirren will be the recipient of the Fellowship at the February 16 ceremony.
- 2/13/2014
- by Beth Hanna
- Thompson on Hollywood
Peter Greenaway will be honoured with the Outstanding British Contribution to Cinema prize at this weekend's BAFTAs.
The award has previously been given to British cinema icons such as Mike Leigh, Kenneth Branagh, Ridley and Tony Scott, John Hurt and the Harry Potter film series.
Last year's winner was Tessa Ross, head of Film 4 and controller of film and drama at Channel 4.
Greenaway's films include The Draughtsman's Contract, The Cook, the Thief, His Wife & Her Lover and the Cannes Palme d'Or winner Drowning by Numbers.
"Given the always complex effort involved, to be permitted in the first place to make films with so many collaborators always astonishes me, and to be permitted the licence to do so with such freedom to continually experiment even more so," Greenaway said of his BAFTA honour.
"Everyone agrees that cinema is changing its characteristics very fast and to be awarded a BAFTA for...
The award has previously been given to British cinema icons such as Mike Leigh, Kenneth Branagh, Ridley and Tony Scott, John Hurt and the Harry Potter film series.
Last year's winner was Tessa Ross, head of Film 4 and controller of film and drama at Channel 4.
Greenaway's films include The Draughtsman's Contract, The Cook, the Thief, His Wife & Her Lover and the Cannes Palme d'Or winner Drowning by Numbers.
"Given the always complex effort involved, to be permitted in the first place to make films with so many collaborators always astonishes me, and to be permitted the licence to do so with such freedom to continually experiment even more so," Greenaway said of his BAFTA honour.
"Everyone agrees that cinema is changing its characteristics very fast and to be awarded a BAFTA for...
- 2/13/2014
- Digital Spy
Images Of Black Women Film Festival | London Palestine Film Festival | Marcel L'Herbier: Fabricating Dreams
Images Of Black Women Film Festival, London
This festival has a clear mission: to promote women of African descent, in front of and behind the camera. The result is a spread of films from around the globe that you're unlikely to see anywhere else. Family drama Elza is the first female-directed feature from Guadeloupe; Pariah charts the coming out of a Brooklyn lesbian; and Black is a polished Senegalese action-thriller. There are docs on Nigerian women who protest against oil companies by threatening to strip naked, plus various art and children's events.
Various venues, Sat to 11 May
London Palestine Film Festival
History inevitably weighs heavily on Palestinian culture, but this festival regularly finds fresh perspectives on what feels like an age-old issue, both from the past and the present. Director David Koff revisits his once-controversial...
Images Of Black Women Film Festival, London
This festival has a clear mission: to promote women of African descent, in front of and behind the camera. The result is a spread of films from around the globe that you're unlikely to see anywhere else. Family drama Elza is the first female-directed feature from Guadeloupe; Pariah charts the coming out of a Brooklyn lesbian; and Black is a polished Senegalese action-thriller. There are docs on Nigerian women who protest against oil companies by threatening to strip naked, plus various art and children's events.
Various venues, Sat to 11 May
London Palestine Film Festival
History inevitably weighs heavily on Palestinian culture, but this festival regularly finds fresh perspectives on what feels like an age-old issue, both from the past and the present. Director David Koff revisits his once-controversial...
- 5/4/2013
- by Steve Rose
- The Guardian - Film News
The recent biopic, The Iron Lady, doesn't tell the whole story of Margaret Thatcher's impact on British cinema: for that you have to go back to the difficult, confrontational days of the 1980s. But it's safe to say, nothing was the same again
Only recently, filmgoers had been invited to believe in Margaret Thatcher as post-feminist victim-heroine, an image which bemused those who remembered the Pm in her pomp. In Phyllida Lloyd's 2011 film The Iron Lady, she had become a lonely and confused old dear, whose flashes of grandeur and hauteur at political soirées were the more poignant for being so fleeting. The leader once reviled by the liberal classes now had the ultimate distinction of being impersonated — with eerie accuracy — by Meryl Streep. Andrea Riseborough's "underdog" portrayal of young Margaret's battle for a parliamentary seat was similarly sympathetic in the 2008 TV movie The Long Walk to Finchley.
Only recently, filmgoers had been invited to believe in Margaret Thatcher as post-feminist victim-heroine, an image which bemused those who remembered the Pm in her pomp. In Phyllida Lloyd's 2011 film The Iron Lady, she had become a lonely and confused old dear, whose flashes of grandeur and hauteur at political soirées were the more poignant for being so fleeting. The leader once reviled by the liberal classes now had the ultimate distinction of being impersonated — with eerie accuracy — by Meryl Streep. Andrea Riseborough's "underdog" portrayal of young Margaret's battle for a parliamentary seat was similarly sympathetic in the 2008 TV movie The Long Walk to Finchley.
- 4/9/2013
- by Peter Bradshaw
- The Guardian - Film News
The Guardian's season of British cult classics continues with a moving family drama set in Liverpool and an offbeat tale of twin zoologists obsessed with death
Sick of Twilight? Can't bear the thought of Skyfall? In what can only be described as an inspired bit of counter-programming, the Guardian brings you the second in our series of British cult classics double bills, in conjuction with the BFI. The absolute acme of 1980s British auteurist cinema, Distant Voices, Still Lives and A Zed & Two Noughts couldn't be more different to the current breed of blockbuster: both intensely personal, inward-looking, and defiantly unconventional.
That's not to say these two films run on similar tracks; they themselves are practically polar opposites. Distant Voices was the 1988 feature debut of Terence Davies, the intensely neurotic Liverpudlian who would go on to make The House of Mirth and The Deep Blue Sea. Davies had already acquired...
Sick of Twilight? Can't bear the thought of Skyfall? In what can only be described as an inspired bit of counter-programming, the Guardian brings you the second in our series of British cult classics double bills, in conjuction with the BFI. The absolute acme of 1980s British auteurist cinema, Distant Voices, Still Lives and A Zed & Two Noughts couldn't be more different to the current breed of blockbuster: both intensely personal, inward-looking, and defiantly unconventional.
That's not to say these two films run on similar tracks; they themselves are practically polar opposites. Distant Voices was the 1988 feature debut of Terence Davies, the intensely neurotic Liverpudlian who would go on to make The House of Mirth and The Deep Blue Sea. Davies had already acquired...
- 11/16/2012
- by Andrew Pulver
- The Guardian - Film News
As his latest heady mix of art and sex premieres in Rome, Peter Greenaway says he'd actually rather be a painter – and plans to end it all in 10 years anyway
When Peter Greenaway's new film screens late at night at the Rome film festival it sheds nearly a third of its audience in the opening hour. On screen sits a lavish spread of nude bodies and looping calligraphy, while off-screen comes the quiet flap of seat-backs as maybe 30 punters bail out and run for cover. In the meantime I'm wondering about the punters that remain. How many are staying for the art and how many for the sex?
Or could it be that there's no real difference between the two? Goltzius and the Pelican Company spins a tale of eroticism and religious hypocrisy; an examination of the symbiotic relationship between art and sex. The hero is Hendrik Goltzius (Ramsey Nasr...
When Peter Greenaway's new film screens late at night at the Rome film festival it sheds nearly a third of its audience in the opening hour. On screen sits a lavish spread of nude bodies and looping calligraphy, while off-screen comes the quiet flap of seat-backs as maybe 30 punters bail out and run for cover. In the meantime I'm wondering about the punters that remain. How many are staying for the art and how many for the sex?
Or could it be that there's no real difference between the two? Goltzius and the Pelican Company spins a tale of eroticism and religious hypocrisy; an examination of the symbiotic relationship between art and sex. The hero is Hendrik Goltzius (Ramsey Nasr...
- 11/16/2012
- by Xan Brooks
- The Guardian - Film News
'Jane locked me in a hotel room with a piano and said she wouldn't let me out until I'd finished'
Michael Nyman, composer
Jane Campion called me while I was in the middle of watching Neighbours one lunchtime. We had never met, so I asked her "Why me?" She said she thought I was the one who could present a visual emotional world with the smallest number of notes in the shortest space. Then there was a slight pause and she said: "I don't want any of that Greenaway shit." She wanted a different style from the music I'd written for The Draughtsman's Contract, and the three other films I'd scored for Peter Greenaway in the 1980s.
Jane had the vision to see, through that music, that I could do the emotion she wanted. I read the first couple of pages of the script and realised, from the compelling way she'd written the opening,...
Michael Nyman, composer
Jane Campion called me while I was in the middle of watching Neighbours one lunchtime. We had never met, so I asked her "Why me?" She said she thought I was the one who could present a visual emotional world with the smallest number of notes in the shortest space. Then there was a slight pause and she said: "I don't want any of that Greenaway shit." She wanted a different style from the music I'd written for The Draughtsman's Contract, and the three other films I'd scored for Peter Greenaway in the 1980s.
Jane had the vision to see, through that music, that I could do the emotion she wanted. I read the first couple of pages of the script and realised, from the compelling way she'd written the opening,...
- 7/31/2012
- by Anna Tims
- The Guardian - Film News
Tweet This! Share this on Facebook Stumble upon something good? Share it on StumbleUpon Share this on del.icio.us
With so many movie streaming options now cropping up, we thought it would be worth drawing your attention to one of the best: Curzon on Demand. Our main reason for the love being that Curzon focus predominately on often neglected art-house cinema, plus their films are available to stream from the moment they are released at the cinema.
The In Cinemas – On Curzon catalogue is pleasingly diverse, particularly from a costume point of view. Incorporating period features such as Wuthering Heights (2011), The Young Victoria (2009) and Peter Greenaway’s classic The Draughtsman's Contract (1982), to the subtextual delights of We Need to Talk About Kevin (2011) and Melancholia (2011). Perhaps most impressive is the inclusion of Finnish dramedy Le Havre (2011), which only began screening theatrically in the UK from 6th April.
We watched 13 Assassins...
With so many movie streaming options now cropping up, we thought it would be worth drawing your attention to one of the best: Curzon on Demand. Our main reason for the love being that Curzon focus predominately on often neglected art-house cinema, plus their films are available to stream from the moment they are released at the cinema.
The In Cinemas – On Curzon catalogue is pleasingly diverse, particularly from a costume point of view. Incorporating period features such as Wuthering Heights (2011), The Young Victoria (2009) and Peter Greenaway’s classic The Draughtsman's Contract (1982), to the subtextual delights of We Need to Talk About Kevin (2011) and Melancholia (2011). Perhaps most impressive is the inclusion of Finnish dramedy Le Havre (2011), which only began screening theatrically in the UK from 6th April.
We watched 13 Assassins...
- 4/14/2012
- by Chris Laverty
- Clothes on Film
That headline is not a typo. Peter Greenaway, who is among the most art-oriented directors alive (Prospero's Books, The Cook, the Thief, His Wife & Her Lover) is set to write and direct his first romantic comedy. The film is called 4 Storms and 2 Babies, and is scheduled to shoot in Amsterdam later this year. Has the whole world gone crazy? Variety [1] says the film is "an unconventional love story about two men and a woman who becomes pregnant after a night of three-way sex with them." Whew! So 4 Storms and 2 Babies won't quite be The Proposal. In fact, this sounds very much like something Peter Greenaway might do. It actually sounds like something the Peter Greenaway of 1988 might do. That's kind of striking, since the director has of late been more interested in films that are either more conceptual art than narrative (The Tulse Luper Suitcases) or rooted in centuries-old art more than anything else.
- 2/14/2011
- by Russ Fischer
- Slash Film
Original star Jeff Bridges is digitally recreated in a belated and unnecessary follow-up to the 1982 film. By Peter Bradshaw
The addition of that stately "legacy" to the title strains to confer a retrospective classic status on Disney's virtual reality sci-fi thriller from 1982, about people trapped in a computer game and forced to engage in gladiatorial combat. It might have come as a surprise to some that Tron had much of a legacy; the film was overshadowed by Spielberg's Et in that year, and in the UK suffered the mortification of being upstaged by Peter Greenaway's The Draughtsman's Contract. Yet a generation grew up prizing Tron for being audacious, ahead of its time, a futurist trailblazer about games culture and the digital world. Its most famous legatee is Christopher Nolan, creator of Inception, and maybe that's the movie that original Tron fans would still prefer to watch.
This hog-whimperingly expensive...
The addition of that stately "legacy" to the title strains to confer a retrospective classic status on Disney's virtual reality sci-fi thriller from 1982, about people trapped in a computer game and forced to engage in gladiatorial combat. It might have come as a surprise to some that Tron had much of a legacy; the film was overshadowed by Spielberg's Et in that year, and in the UK suffered the mortification of being upstaged by Peter Greenaway's The Draughtsman's Contract. Yet a generation grew up prizing Tron for being audacious, ahead of its time, a futurist trailblazer about games culture and the digital world. Its most famous legatee is Christopher Nolan, creator of Inception, and maybe that's the movie that original Tron fans would still prefer to watch.
This hog-whimperingly expensive...
- 12/17/2010
- by Peter Bradshaw
- The Guardian - Film News
Problematic, directionlessness or just plain nonsensical – here are the inexplicable arthouse films you love to hate
@DrGiggles Without a doubt Primer is the most obtuse film I've ever seen – it was as entertaining as reading a book on advanced calculus.
@SladeKincald For me it has to be Jim Jarmusch's Dead Man. Love it, no idea what it's about. Death, maybe?
@dothestrand Andrzej Zulawski's Possession … Isabelle Adjani's Cannes-winning performance was described by Time Out as like that of a rabies victim. Wonderful film, though.
@DrJackDevlin Pirates of the Caribbean III. Completely baffling. Radical stuff.
@DrTumnus Thomas Vinterberg's It's All About Love reeks of folly, but I find it oddly compelling: glistening in the memory bank are Sean Penn literally phoning in his performance from an orbiting jumbo jet and an ice rink full of dead clones. Fab.
@jaiebey Delicatessen – featuring a circus performer, cannibalism and radical vegetarian-terrorists,...
@DrGiggles Without a doubt Primer is the most obtuse film I've ever seen – it was as entertaining as reading a book on advanced calculus.
@SladeKincald For me it has to be Jim Jarmusch's Dead Man. Love it, no idea what it's about. Death, maybe?
@dothestrand Andrzej Zulawski's Possession … Isabelle Adjani's Cannes-winning performance was described by Time Out as like that of a rabies victim. Wonderful film, though.
@DrJackDevlin Pirates of the Caribbean III. Completely baffling. Radical stuff.
@DrTumnus Thomas Vinterberg's It's All About Love reeks of folly, but I find it oddly compelling: glistening in the memory bank are Sean Penn literally phoning in his performance from an orbiting jumbo jet and an ice rink full of dead clones. Fab.
@jaiebey Delicatessen – featuring a circus performer, cannibalism and radical vegetarian-terrorists,...
- 10/20/2010
- The Guardian - Film News
This drama about Rembrandt is Peter Greenaway's best film since Prospero's Books in 1991, writes Philip French
This is Peter Greenaway's first movie to be released here in a decade and his best since Prospero's Books in 1991. Characteristically intelligent and ludic, he meditates on life, death and art in a manner that goes back 20 years to his remarkable breakthrough into the popular consciousness with The Draughtsman's Contract. The film unfolds in a series of spare, elegant tableaux and stars Martin Freeman as a puckish young Rembrandt, very different from Laughton's 1935 version. It deals with his unruly household, his relationships with three women – Saskia Uylenburgh (his wife and niece of his dealer), Geertje Dircks (cunning servant and mistress), and Hendrickje Stoffels (young model, servant and last love) – and most of all with the origins and meaning of Rembrandt's gigantic 1642 masterwork The Night Watch.
In a close reading of the painting's sometimes arcane symbols and iconography,...
This is Peter Greenaway's first movie to be released here in a decade and his best since Prospero's Books in 1991. Characteristically intelligent and ludic, he meditates on life, death and art in a manner that goes back 20 years to his remarkable breakthrough into the popular consciousness with The Draughtsman's Contract. The film unfolds in a series of spare, elegant tableaux and stars Martin Freeman as a puckish young Rembrandt, very different from Laughton's 1935 version. It deals with his unruly household, his relationships with three women – Saskia Uylenburgh (his wife and niece of his dealer), Geertje Dircks (cunning servant and mistress), and Hendrickje Stoffels (young model, servant and last love) – and most of all with the origins and meaning of Rembrandt's gigantic 1642 masterwork The Night Watch.
In a close reading of the painting's sometimes arcane symbols and iconography,...
- 3/28/2010
- by Philip French
- The Guardian - Film News
More familiar with life on the fringes of British cinema, director Sally Potter finds herself the subject of a BFI retrospective. But she has no interest in looking back
In the late 1980s, Sally Potter was scratching around for funding to make Orlando, the Virginia Woolf adaptation widely considered her finest film, as well as a formative moment in the career of its star, Tilda Swinton. Potter's friend, the visionary director Michael Powell, had secured her a 10-minute meeting with Martin Scorsese, in which she hoped to convince him to extend a helping hand to a fellow maverick.
"Tilda and I went with our producer to meet Scorsese in New York," says the 60-year-old Potter, seated at a table in her east London office. "We walked into his place and nearly fainted with admiration. He then proceeded to spend the entire 10 minutes talking about how incredibly difficult life was for...
In the late 1980s, Sally Potter was scratching around for funding to make Orlando, the Virginia Woolf adaptation widely considered her finest film, as well as a formative moment in the career of its star, Tilda Swinton. Potter's friend, the visionary director Michael Powell, had secured her a 10-minute meeting with Martin Scorsese, in which she hoped to convince him to extend a helping hand to a fellow maverick.
"Tilda and I went with our producer to meet Scorsese in New York," says the 60-year-old Potter, seated at a table in her east London office. "We walked into his place and nearly fainted with admiration. He then proceeded to spend the entire 10 minutes talking about how incredibly difficult life was for...
- 12/4/2009
- by Ryan Gilbey
- The Guardian - Film News
It's been hard to forgive Peter Greenaway, above all, for the howling miscreant-ism of "8 1/2 Women" (1999). His particularized brand of hyper-structural art cinema -- and Greenaway's movies have always been stylistically distinctly his, which is no mean achievement -- had already been in self-involved decline ("The Pillow Book," etc.), but "8 1/2 Women" was a cliff edge, a film beyond which any globally respected career would have to take a good stoning, creep shamefacedly into a crawlspace somewhere and work on a sensibility overhaul while hoping we'd soon forget all about it. Greenaway has more or less hibernated since -- a short here or there, and beginning in 2003 he churned out four connected features known as "The Tulse Luper Suitcases" that saw only festival screens, and went unreleased everywhere.
I still appreciate Greenaway, even if his movies are sometimes unbearable -- his obviously honest compulsion to construct intricate Erector Set narrative contraptions, and...
I still appreciate Greenaway, even if his movies are sometimes unbearable -- his obviously honest compulsion to construct intricate Erector Set narrative contraptions, and...
- 9/15/2009
- by Michael Atkinson
- ifc.com
London -- Online film hub Jaman has landed in the U.K., tapping former MySpace U.K. managing director David Fischer to lead its movie download and streaming service in the territory.
Fischer and his team said Wednesday that Jaman U.K. already has partnered with Pathe Films here to promote the digital campaign for Danny Boyle's "Slumdog Millionaire" and hopes the relationship with the French-owned, British-based company "grows over time."
Jaman U.K. also has partnered with the British Film Institute on a range of activities, including rights deals on BFI catalog titles.
"Jaman's international ambition is to build upon our leadership position serving a discerning, independently minded global audience," Fischer said.
To bolster the international rollout ambitions, Jaman U.K. will be premiering the Michael Douglas, Liam Neeson starrer "Trumbo." Jaman will be the film's exclusive distributor in the U.K for a six-week premiere period that begins Thursday.
Fischer and his team said Wednesday that Jaman U.K. already has partnered with Pathe Films here to promote the digital campaign for Danny Boyle's "Slumdog Millionaire" and hopes the relationship with the French-owned, British-based company "grows over time."
Jaman U.K. also has partnered with the British Film Institute on a range of activities, including rights deals on BFI catalog titles.
"Jaman's international ambition is to build upon our leadership position serving a discerning, independently minded global audience," Fischer said.
To bolster the international rollout ambitions, Jaman U.K. will be premiering the Michael Douglas, Liam Neeson starrer "Trumbo." Jaman will be the film's exclusive distributor in the U.K for a six-week premiere period that begins Thursday.
- 1/14/2009
- by By Stuart Kemp
- The Hollywood Reporter - Movie News
A couple of months ago, Kevin Lee asked me to watch Peter Greenaway'sThe Draughtsman's Contract, #922 on the They Shoot Pictures, Don't They? list of the 1,000 Greatest Films of all time, so that I could contribute to his series of video essays devoted to the films on the list. I've actually been known in the past as something of a Greenaway apologist, but for whatever reason, I found Draughtsman's ...
- 8/18/2008
- by Karina Longworth
- Spout
LONDON -- House star Hugh Laurie was awarded an Order of the British Empire award in the Queen's New Year's Honors list, it was announced Monday.
The British actor was recognized for his contribution to drama in a career that has spanned over 20 years. The actor began his career as a sketch comedian in A Bit of Fry and Laurie and later played a series of English upper class twits in such shows as Jeeves and Wooster and Blackadder before crossing the pond to take U.S. audiences by storm as the curmudgeonly but brilliant medic.
Also honored in the Royal list was director Peter Greenaway who was named a Commander of the British Empire for a career featuring such textured and intricate films as The Draughtman's Contract, Drowning by Numbers, A Zed and Two Noughts and Prospero's Books.
Other leading media figures named in the annual honors list include singer Rod Stewart, television actress Penelope Keith and former Ofcom chief executive Stephen Carter, who were awarded CBEs.
The British actor was recognized for his contribution to drama in a career that has spanned over 20 years. The actor began his career as a sketch comedian in A Bit of Fry and Laurie and later played a series of English upper class twits in such shows as Jeeves and Wooster and Blackadder before crossing the pond to take U.S. audiences by storm as the curmudgeonly but brilliant medic.
Also honored in the Royal list was director Peter Greenaway who was named a Commander of the British Empire for a career featuring such textured and intricate films as The Draughtman's Contract, Drowning by Numbers, A Zed and Two Noughts and Prospero's Books.
Other leading media figures named in the annual honors list include singer Rod Stewart, television actress Penelope Keith and former Ofcom chief executive Stephen Carter, who were awarded CBEs.
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.