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Post by pacinoyes on Jul 26, 2021 19:07:46 GMT
www.worldofreel.com/blog/2021/7/1czsax03o0sv27nb7wen1xuugbn07nHmmmmmmmmmmm............. Now that the cat’s out of the bag, I can finally mention that the reason why Joel Coen’s “The Tragedy of Macbeth” was not at Venice, and that I wasn’t including it in my predictions all these weeks, was due to the fact that it was rejected by the Venezia selection committee. There, I said it. This would better explain why the New York Film Festival jumped the gun last week and announced they nabbed the world premiere of ‘Macbeth.’ Sloppy seconds?More surprising, the omission of Andrew Dominik’s “Blonde,” which was 100% in competition at Venice just a few weeks ago. Suffice to say, some sort of last-minute entangled miscommunication occurred between Netflix and Venice — which resulted in festival boss Alberto Barbera deciding to nix that film as well from the lineup.I know, the balls on this man (Barbera). Can you imagine any other film festival rejecting Dominik and Coen world premieres?
Regardless, I really love the lineup the was announced. There’s a European feel to it that is very alluring. Also, isn’t it fantastic that the “Oscar Bait” is mostly relegated to trustworthy auteurs like Jane Campion, Paul Schrader and Pablo Larraín? The Out-of-Competition entries are more American-centric; “Dune,” “The Last Duel,” and “Last Night in Soho.” Those will do just fine.
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Post by stephen on Jul 26, 2021 19:12:41 GMT
The Power of the Dog and The Lost Daughter will probably get biggest boost here. Colman cannot be underestimated. The role is that good.
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Post by wilcinema on Jul 26, 2021 19:23:40 GMT
It still sounds very weird to me that someone would reject Coen’s movie, but still, multiple people are sharing the same tea so there must be some degree of credibility to it.
I agree that Colman has a great role, her chances at a nod largely depend on a Volpi Cup or on a great reception for the film.
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Post by stephen on Jul 26, 2021 19:29:18 GMT
It still sounds very weird to me that someone would reject Coen’s movie, but still, multiple people are sharing the same tea so there must be some degree of credibility to it. I agree that Colman has a great role, her chances at a nod largely depend on a Volpi Cup or on a great reception for the film. I'm not predicting Colman for the Volpi only because she just won three years ago, but if the film can score a prize outside of her, then it gives her some proper muscle.
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Post by pacinoyes on Jul 26, 2021 19:30:52 GMT
It still sounds very weird to me that someone would reject Coen’s movie, but still, multiple people are sharing the same tea so there must be some degree of credibility to it. Tbh I thought this part was more revelatory - would love to know what this is........that Blonde may have just been a Netflix snafu rather than the merit of the film..... franklin ......on your "Netflix's Venice" thing ........ "More surprising, the omission of Andrew Dominik’s “Blonde,” which was 100% in competition at Venice just a few weeks ago. Suffice to say, some sort of last-minute entangled miscommunication occurred between Netflix and Venice — which resulted in festival boss Alberto Barbera deciding to nix that film as well from the lineup."
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Post by wilcinema on Jul 26, 2021 19:39:10 GMT
Meanwhile, Barbera
Were there any films Barbera didn’t nab that he’d have liked to have in the lineup? “Like every year, there is something you can’t get because it’s not ready in time or it’s postponed. My main regret is Guillermo del Toro (with Nightmare Alley). He really wanted to be on time for Venice” where Shape Of Water debuted in 2017.
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Post by franklin on Jul 26, 2021 22:37:28 GMT
1. Macbeth must not be that good. Let's remember that this will be the first NYFF festival without Kent Jones's involvement, so i assume some choices regarding the selection of films are going to be slightly more questionable.
2. Do you think Don't Look Up will make any festival, like NYFF itself, London, or AFI??
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Post by quetee on Jul 26, 2021 22:43:27 GMT
1. Macbeth must not be that good. Let's remember that this will be the first NYFF festival without Kent Jones's involvement, so i assume some choices regarding the selection of films are going to be slightly more questionable. 2. Do you think Don't Look Up will make any festival, like NYFF itself, London, or AFI?? You can't go with that especially since number one it is like the 100th adaptation and maybe it was viewed as old hat. Has McKay every gone the festival route? Doesn't he just drop the movies?
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Deleted
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Post by Deleted on Jul 26, 2021 22:46:52 GMT
Volpi Cup winner Kristen Stewart? It has a nice ring to it.
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Post by futuretrunks on Jul 26, 2021 22:48:52 GMT
1. Macbeth must not be that good. Let's remember that this will be the first NYFF festival without Kent Jones's involvement, so i assume some choices regarding the selection of films are going to be slightly more questionable. 2. Do you think Don't Look Up will make any festival, like NYFF itself, London, or AFI?? Frankly, I found Kent Jones insufferable. How many times did he call some okay thing a "great American movie"? I think there's rumors of DLU going to Telluride.
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Post by franklin on Jul 27, 2021 0:01:31 GMT
1. Macbeth must not be that good. Let's remember that this will be the first NYFF festival without Kent Jones's involvement, so i assume some choices regarding the selection of films are going to be slightly more questionable. 2. Do you think Don't Look Up will make any festival, like NYFF itself, London, or AFI?? Has McKay every gone the festival route? Doesn't he just drop the movies? The Big Short premiered at the AFI festival
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Post by quetee on Jul 27, 2021 0:03:49 GMT
Has McKay every gone the festival route? Doesn't he just drop the movies? The Big Short premiered at the AFI festival Oh okay, wasn't "Vice" just dropped? Don't has Leo so I can see this going to AFI this year.
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flasuss
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Post by flasuss on Jul 27, 2021 2:09:41 GMT
Anyone thinking Blonde and Macbeth being rejected is proof they are bad ought to remember Cannes rejected both Vera Drake and Brokeback Mountain...
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Post by stephen on Jul 27, 2021 2:11:50 GMT
Anyone thinking Blonde and Macbeth being rejected is proof they are bad ought to remember Cannes rejected both Vera Drake and Brokeback Mountain... Say it again for those in the back. Just because a film has reshoots doesn't mean it's an unmitigated dumpster fire. Just because one festival rejects a film doesn't mean it's a lost cause. Hell, Cannes invited Sean Penn back in competition.
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Post by Deleted on Jul 27, 2021 2:14:13 GMT
It still sounds very weird to me that someone would reject Coen’s movie, but still, multiple people are sharing the same tea so there must be some degree of credibility to it. I agree that Colman has a great role, her chances at a nod largely depend on a Volpi Cup or on a great reception for the film. I'm not predicting Colman for the Volpi only because she just won three years ago, but if the film can score a prize outside of her, then it gives her some proper muscle. I don't think this matters as much with festival prizes - different voting body each year, after all. Remember when Barbara Hershey won back-to-back Cannes prizes? My library has the Spanish version of The Lost Daughter available, but not the English one. I'll look for it the next time I head to the bookstore.
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Post by stephen on Jul 27, 2021 2:18:02 GMT
I'm not predicting Colman for the Volpi only because she just won three years ago, but if the film can score a prize outside of her, then it gives her some proper muscle. I don't think this matters as much with festival prizes - different voting body each year, after all. Remember when Barbara Hershey won back-to-back Cannes prizes? My library has the Spanish version of The Lost Daughter available, but not the English one. I'll look for it the next time I head to the bookstore. It doesn't really matter in the grand scheme, but Barbara Hershey's second win was a shared ensemble prize, so that has an asterisk by it. And juries are generally more aware when they try to Tetris in their awards of where previous wins might've gone to than the Oscars; Phoenix having won for The Master might've affected Martel's jury when trying to determine Joker's prize in the end. We'll never really know but with how accessible past prize results are, I'm sure that it's something that they take into account.
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Post by Deleted on Jul 27, 2021 2:21:31 GMT
I don't think this matters as much with festival prizes - different voting body each year, after all. Remember when Barbara Hershey won back-to-back Cannes prizes? My library has the Spanish version of The Lost Daughter available, but not the English one. I'll look for it the next time I head to the bookstore. It doesn't really matter in the grand scheme, but Barbara Hershey's second win was a shared ensemble prize, so that has an asterisk by it. And juries are generally more aware when they try to Tetris in their awards of where previous wins might've gone to than the Oscars; Phoenix having won for The Master might've affected Martel's jury when trying to determine Joker's prize in the end. We'll never really know but with how accessible past prize results are, I'm sure that it's something that they take into account. I'm still kind of surprised that they didn't award Colman, Stone, and Weisz ex aequo that year - maybe she and Dakota Johnson will share the prize this year.
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Post by quetee on Jul 27, 2021 2:24:52 GMT
Anyone thinking Blonde and Macbeth being rejected is proof they are bad ought to remember Cannes rejected both Vera Drake and Brokeback Mountain... Say it again for those in the back. Just because a film has reshoots doesn't mean it's an unmitigated dumpster fire. Just because one festival rejects a film doesn't mean it's a lost cause. Hell, Cannes invited Sean Penn back in competition.And I'm still trying to figure out how that even happened.
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Post by HELENA MARIA on Jul 29, 2021 9:20:34 GMT
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Post by stephen on Jul 29, 2021 14:06:07 GMT
It wouldn't have been the first time an unfinished movie would've competed in a festival.
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havok2
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Post by havok2 on Jul 31, 2021 17:31:41 GMT
I expected to All the Saints in Newark to pop up here given Black Mass did. Seems like it may go to NYFF instead
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Post by pacinoyes on Aug 1, 2021 18:50:43 GMT
Um...........well, here ya go doubters who think Blonde was rejected on "merit" ........ again assuming this is true - again he's saying Netflix pulled it - not rejected exactlymorton will get a laugh I reckon...... www.worldofreel.com/blog/2021/8/pb7c62onztw7fr5fqg71a6lmeiqs4q Many were surprised by the omission of Andrew Dominik’s “Blonde” from the Venice competition lineup. Alas, it has now been moved by Netflix into a 2022 release date. The film was supposed to have its world premiere at the upcoming Venice Film Festival, only to then be pulled out of the Venezia lineup by Netflix. I can tell you that it was 100% in competition at Venice just a few weeks ago.
Recent rumours have pointed towards the sudden move having to do with Dominik and the streaming giant fighting over final cut.
I’ll elaborate a little further.
As it currently stands, “Blonde” would absolutely get an NC-17 rating. Netflix was absolutely horrified by the cut Dominik submitted to them. They want a new version of the film, Dominik doesn’t.
The cut Netflix saw caught them completely off-guard. They were under the impression that this was an Oscar player when, in fact, it was this vague, obtuse arthouse film. Not sure what they expected from Dominik.
Now we wait for the next move for this film. The obvious decision would be a bow at Sundance or Berlin in 2022. Both festivals will likely be hybrids of digital and in-person screenings, although, the way things are going right now in regards to COVID cases, the former is the more likely scenario.
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Post by stephen on Aug 1, 2021 19:09:40 GMT
If I were Dominik, I'd run it at Berlin.
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Post by thomasjerome on Aug 1, 2021 19:43:48 GMT
As it currently stands, “Blonde” would absolutely get an NC-17 rating. Netflix was absolutely horrified by the cut Dominik submitted to them. They want a new version of the film, Dominik doesn’t.
The cut Netflix saw caught them completely off-guard. They were under the impression that this was an Oscar player when, in fact, it was this vague, obtuse arthouse film. Not sure what they expected from Dominik.
I'm bit confused. Netflix is not new to the game, and they've probably read the script. So what are they "horrified" of? They didn't know what they're getting? Also, isn't this film finished like a year ago or something? They submitted it to the festival and THEN they realised that it's a "vague, obtuse arthouse" film all of a sudden?
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Post by Tommen_Saperstein on Aug 1, 2021 19:45:18 GMT
I definitely want to see that NC-17 cut.
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