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Post by mhynson27 on Jul 17, 2024 1:34:40 GMT
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Post by TylerDeneuve on Jul 17, 2024 1:41:10 GMT
I'm really only here for the Almodóvar, the Guadagnino, and the Larraín. Edit #2: And the Halina Reijn!
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Post by mhynson27 on Jul 23, 2024 10:55:45 GMT
Competition Lineup
The Room Next Door Dir. Pedro Almodovar
Campo Di Battaglia Dir. Gianni Amelio
Leurs Enfants Apres Eux Dirs. Ludovic and Zoran Boukherma
The Brutalist Dir. Brady Corbet
The Quiet Son Dirs. Delphine, Muriel Coulin
Vermiglio Dir. Maura Delpero
Sicilian Letters Dirs. Fabio Grassadonia, Antonio Piazza
Queer Dir. Luca Guadagnino
Love Dir. Dag Johan Haugerud
April Dir. Dea Kulumbegashvili
The Order Dir. Justin Kurzel
Maria Dir. Pablo Larrain
Trois Amies Dir. Emmanuel Mouret
Kill The Jockey Dir. Luis Ortega
Joker: Folie A Deux Dir. Todd Phillips
Babygirl Dir. Halina Reijn
I’m Still Here Dir. Walter Salles
Diva Futura Dir. Giulia Louise Steigerwalt
Harvest Dir. Athina Rachel Tsangari
Youth - Homecoming Dir. Wang Bing
Stranger Eyes Dir. Yeo Siew Hua
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Post by stephen on Jul 23, 2024 11:21:42 GMT
Sucks not to see Malick but I am hearing Cannes 2025 rumblings. Apparently the film is actually finished but Terry wants to let it sit a bit. Which is a shame because I think he would've had a better shot this year at a potential Director nomination (and maybe even more than that) if the film was well-received this year.
Word on the street is Corbet's film is almost four hours in length. Which just aggravates me more than he recast Rylance and Cotillard.
Glad to see Harvest, The Order and Joker: Folie a Deux (no surprise it would be here). Surprised Martel didn't make it into comp as well.
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Post by stephen on Jul 23, 2024 11:30:29 GMT
And now for my early-ass predix based on absolutely nothing:
Golden Lion: Babygirl Grand Jury Prize: Joker: Folie a Deux Special Jury Prize: I'm Still Here Silver Lion for Best Director: Brady Corbet, The Brutalist Volpi Cup for Best Actor: Caleb Landry Jones, Harvest Volpi Cup for Best Actress: Angelina Jolie, Maria Marcello Mastroianni Award: Benjamin Voisin, The Quiet Son Golden Osella for Best Screenplay: The Order
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Post by mhynson27 on Jul 23, 2024 12:19:22 GMT
Yeah, pretty sure The Brutalist is 3hr 35m.
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Post by stephen on Jul 23, 2024 12:23:42 GMT
Yeah, pretty sure The Brutalist is 3hr 35m. Everything about it just feels like '70s-era Coppola in terms of concept and scope, which only breaks my heart more that he went with the recastings (although I hope that it can get some traction for Guy Pearce).
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Post by pacinoyes on Jul 23, 2024 15:31:36 GMT
Fyi, music nerds, you know who you are ffs Alex Ross Perry’s Off-Kilter Pavement Movie Will Premiere At Venice Film Festival/
pitchfork.com/news/alex-ross-perrys-pavement-movie-to-premiere-at-venice-film-festival/
The director responded by attempting to make something “legitimate, ridiculous, real, fake, idiotic, cliché, illogical,” comparing his vision to various Bob Dylan movies combined: “You take the Todd Haynes Bob Dylan movie, the Scorsese documentary, the Pennebaker documentary, and the movie Dylan himself directed that everyone hates, and put them all in a blender.” As the article explained, he operated under this premise: “What if Pavement, the Pynchonian rock group that never had a platinum record, was the most important band of all time?”
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Post by Mattsby on Jul 23, 2024 16:48:11 GMT
Out of Competition shoutouts........ DISCLAIMER - screening in its entirety (343min). L'ORTO AMERICANO - Pupi Avati (85yo).... where's he been? he made several creepy, great-ish films over the years The House with Laughing Windows (1976), Regalo di Natale (1986), Arcane Sorcerer (1996). This one costars the main kid from The Hand of God and the iconic Rita Tushingham (whoa!). FINALEMENT - Claude Lelouch (86yo!) with a starry cast Kad Merad, Elsa Zylberstein, Sandrine Bonnaire; a comedy about a man who loses his ability to lie. CLOUD - Kiyoshi Kurosawa ![](https://pbs.twimg.com/media/GTKgVsbWkAEh8Jn?format=jpg&name=small)
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omarfr9
New Member
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Post by omarfr9 on Jul 23, 2024 17:26:08 GMT
Golden Lion: April Grand Jury Prize: Vermiglio Special Jury Prize: Stranger Eyes Silver Lion for Best Director: Brady Corbet, The Brutalist Volpi Cup for Best Actor: Daniel Craig, Queer Volpi Cup for Best Actress: Fernanda Torres, I’m Still Here Marcello Mastroianni Award: Angélina Woreth, Leurs enfants après eux Golden Osella for Best Screenplay: Love
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Post by mhynson27 on Jul 24, 2024 0:55:02 GMT
Kidman for the Volpi feels like such a Huppert pick.
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Post by TylerDeneuve on Jul 24, 2024 3:25:42 GMT
La regina di Venezia ![](https://static.ffx.io/images/$zoom_0.139%2C$multiply_2.709%2C$ratio_1.5%2C$width_756%2C$x_74%2C$y_8/t_crop_custom/q_62%2Cf_auto/dd0644b839b8202697e81d28fe4f14d32771a35f)
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Post by Mattsby on Aug 2, 2024 19:55:39 GMT
M. Son of the Century - all 8 eps, 412min are screening. Luca Marinelli hive let's goo. pacinoyes
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Post by pacinoyes on Aug 2, 2024 19:59:36 GMT
M. Son of the Century - all 8 eps, 412min are screening. Luca Marinelli hive let's goo. pacinoyes Only 39 years old.......
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Post by pacinoyes on Aug 24, 2024 21:46:34 GMT
By Farah Nayeri Aug. 24, 2024, 5:04 a.m. ET Actors often have more than one project on the boil. The French actress Isabelle Huppert takes multitasking to the next level.
For the next 11 days (Wednesday through Sept. 7), Huppert is heading up the jury of the Venice Film Festival, watching nearly two dozen movies (together with the other jurors) and handing out awards, including the coveted Golden Lion.
In the days and weeks leading up to the festival, Huppert has been working nonstop.
Earlier this week, for two nights in a row, Huppert performed alone onstage at the Ruhrtriennale festival of the arts in Germany, delivering the 100-minute monologue “Bérénice” (an adaptation by Romeo Castellucci of the 17th-century French tragedy by Jean Racine).
Days before that, she was on a film set in Belgium, playing a fictionalized version of Liliane Bettencourt — the billionaire heiress to the L’Oreal cosmetics fortune — in “La Femme la plus riche du monde” (“The World’s Richest Woman”).
Huppert’s résumé is correspondingly impressive. She has more than 120 films to her name, as well as an Academy Award nomination (best actress in 2017 for “Elle”) and quite a few theater productions. She manages to toggle between film and stage acting, appearing regularly in cinemas and theaters around the world.
Fresh off the set in Belgium, and busy relearning her lines for “Bérénice,” Huppert discussed film festivals, the future of cinema and the American stage director Robert Wilson in a recent phone interview. This interview was conducted in French and has been edited and condensed.
You’re going to be the president of the Venice Film Festival jury. How important are film festivals to the movie industry as a whole?
Festivals are more and more important. We all know that with the development of new ways of watching movies such as streaming platforms — which do have their virtues — movie theaters are somewhat threatened. So festivals are crucial ecosystems for the visibility of movies and for the film industry as a whole.
They’re a rendezvous with cinema, where movies are screened in the best possible way, and they showcase different categories of films. To me, they’re instrumental.
What makes the Venice Film Festival so special is that it’s in a magical setting — Venice — which adds to the overall magic of the event.
Movie theaters are closing down all over the world, even big ones on the Avenue des Champs-Élysées in Paris. Isn’t that worrying?
Yes, but I would like to stay optimistic. My family and I look after two small art house movie theaters in Paris: the Christine and the Écoles. Paris remains a very privileged city in terms of movie theaters.
But we live in a world where the internet seems to have taken over so many different fields and where people are increasingly staying home to watch movies on streaming platforms.
I believe people will still have a passion for going to the movies. One can sometimes ask oneself whether cinema is an everlasting art form and whether people will continue to go to the movies. My inclination would be to say yes.
You played yourself in a series, “Call My Agent!,” for one of the streaming services.
That was one episode of a series. Like many other French actors, I participated in that series. Otherwise, I don’t do series.
Series are a different way of watching and of telling stories, a different kind of narration. They’re not the same thing as cinema. Cinema is more individual: It’s a perspective on the world. A movie consists of a person giving us their vision of the world, their point of view..
I’m very happy because there are not that many actors who do it as much as I do. I sound a little pretentious when I say that.
I’m very proud of what I do in the theater because I only work with particular directors, such as Romeo Castellucci, who’s directing “Bérénice,” Ivo van Hove and Robert Wilson.
I’ll soon be reappearing in Bob Wilson’s production of “Mary Said What She Said,” a monologue inspired by the letters of Mary, Queen of Scots.
How did you meet Bob Wilson?
The first time I came across him was at a festival in Iran, the Shiraz Arts Festival, in 1972. I was still barely more than an amateur at the time and happened to be passing through, performing in a fringe show. Then I saw Bob Wilson from a distance and saw one of his shows for the first time. Staged on a hill, it was called “KA MOUNTAIN AND GUARDenia TERRACE” and it lasted seven days and seven nights.
I met him much later through friends, and he asked me to perform “Orlando,” a monologue based on the Virginia Woolf novel. We have worked together ever since.
To me, Bob Wilson is a genius — someone who has changed our vision of theater. He’s much more than a stage director. He works with space, with light, with rhythm, with silence. Above all, he’s a poet. He creates a somewhat mysterious world. He works on prompting instant sensations rather than instant understanding.
Yes. It was very flattering. Theater and film are the art of the present, the art of the instant. So you have to think a lot.
Do you mean thinking while you’re acting?
Yes, but mainly beforehand.
What do you think about when you’re performing?
I have a hard time answering that question. I don’t really know.
Because you’ve slipped into the skin of a character?
No, I don’t really believe in the notion of character. I always prefer to say that I play people rather than characters. To me, the word “character” means entering into a slightly arbitrary world. A character is someone who doesn’t exist. As actors, what we like to do is to bring people to life.
www.nytimes.com/2024/08/24/movies/isabelle-huppert-venice-film-festival.html
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Post by Martin Stett on Aug 25, 2024 1:07:25 GMT
I have had something bubbling in my mind about film festivals for a while now, and it boiled over when I watched Swing Girls on Monday. I am not basing this on any real research, just observed trends from my own filmwatching. I think that both historically and currently, festivals tend to highlight certain kinds of films - specifically, the arthouse variety. These arthouse films would not receive any attention if they didn't play at film festivals, so they are vitally important to the ecosystem in making sure that these movies get seen.
HOWEVER, I think that they often shaft "popular" entertainment from around the world. Movies that are big hits in their native countries and are very good at what they are doing don't often play at major festivals - and then the minor ones tend to pick up the hot tickets from their major colleagues to boost their selling power. Some of these films are crap, but I'm finding that many of them can be very enjoyable. But it is rare to see something like Bahubali or Swing Girls at these festivals, unless somebody involved has made a major name for themselves internationally.
The critics - the tastemakers that decide what is worth distributing - go to these festivals and report back what they find. Which is a lot of arthouse films, and many of them are great! This does create a very monolithic feel to "international" cinema, though. (Yes, there are festivals specifically designed for genre fare or to highlight a region's cinema, but they don't receive the same press.) I grew up thinking that all international films were dour and grim, like Hollywood had a monopoly on "fun." The critics can't judge every movie from all over the world, so they relied on the festivals to curate their selections - and then they would further curate the good and bad for everyone else. But because their selection is limited by the curation, we get a fairly drab, samey bunch of movies year after year. This is being compounded by the curators picking the same few directors year after year for competition slots: The most notable selections often tend towards the same directors, making similar movies to what they usually make.
Huppert says that different categories of films are screened at these festivals, but I browsed through some choices from Cannes and Venice in 2023, 2013 and 2003, and I don't see *that* much variety. I'm not talking competition lineups, but everything that plays.
I think the modern climate has made international cinema "for the masses" easier to find, and although festivals are certainly an important piece of the supply chain, but I don't have the same rosy view as some people. I think that streaming has made it possible to find hidden gems that are more along the lines of "popcorn entertainment," so long as one keeps their eyes open. Or perhaps I've misjudged how the system works entirely - I don't really keep a close eye on these things. Regardless, I'm always excited for the major festivals and what they have in store.
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Post by Martin Stett on Aug 25, 2024 1:23:26 GMT
Anyway, my totally random predictions:
Golden Lion: The Quiet Son (Delphine Coulin and Muriel Coulin) Grand Jury Prize: Queer (Luca Guadagnino) Special Jury Prize: Vermiglio (Maura Delperno) Best director: Harvest (Athina Rachel Tsangari) Best Actor: Harris Dickinson, Babygirl Best Actress: Camille Cottin, Three Friends Best Screenplay: I'm Still Here (Murilo Hauser, Heitor Lorega)
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dazed
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Post by dazed on Aug 27, 2024 20:31:11 GMT
anyone have a link to the schedule to see when each movie is premiering?
i’ve tried to look for it for the past 5 mins and i feel like i shouldn’t have to put that much work in lmao
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Post by DanQuixote on Aug 28, 2024 8:21:18 GMT
anyone have a link to the schedule to see when each movie is premiering? i’ve tried to look for it for the past 5 mins and i feel like i shouldn’t have to put that much work in lmao Just the competition films: SCHEDULE Venezia 81 Concorso— • Maria (8/29 1945 Sala Grande) • Kill the Jockey (8/29 2215 Sala Grande) - • Babygirl (08/30 1900 Sala Grande) • Trois amies (08/30 2130 Sala Grande) - • Leurs enfants après eux (08/31 1600 Sala Grande) • Campo di battaglia (08/31 1900 Sala Grande) • The Order (08/31 2130 Sala Grande) - • The Brutalist (9/1 1500 Sala Grande) • I'm Still Here (9/1 1900 Sala Grande) - • Vermiglio (9/2 1645 Sala Grande) • The Room Next Door (9/2 1915 Sala Grande) - • Harvest (9/3 1600 Sala Grande) • Queer (9/3 1845 Sala Grande) - • Jouer avec le feu (9/4 1630 Sala Grande) • Joker: Folie à deux (9/4 1900 Sala Grande) • Diva futura (9/4 2200 Sala Grande) - • April (9/5 1630 Sala Grande) • Sicilian Letters (9/5 1915 Sala Grande) • Stranger Eyes (9/5 2200 Sala Grande) - • Youth (Homecoming) (9/6 1600 Sala Grande) • Love (9/6 1900 Sala Grande)
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dazed
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Post by dazed on Aug 28, 2024 13:49:45 GMT
anyone have a link to the schedule to see when each movie is premiering? i’ve tried to look for it for the past 5 mins and i feel like i shouldn’t have to put that much work in lmao Just the competition films: SCHEDULE Venezia 81 Concorso— • Maria (8/29 1945 Sala Grande) • Kill the Jockey (8/29 2215 Sala Grande) - • Babygirl (08/30 1900 Sala Grande) • Trois amies (08/30 2130 Sala Grande) - • Leurs enfants après eux (08/31 1600 Sala Grande) • Campo di battaglia (08/31 1900 Sala Grande) • The Order (08/31 2130 Sala Grande) - • The Brutalist (9/1 1500 Sala Grande) • I'm Still Here (9/1 1900 Sala Grande) - • Vermiglio (9/2 1645 Sala Grande) • The Room Next Door (9/2 1915 Sala Grande) - • Harvest (9/3 1600 Sala Grande) • Queer (9/3 1845 Sala Grande) - • Jouer avec le feu (9/4 1630 Sala Grande) • Joker: Folie à deux (9/4 1900 Sala Grande) • Diva futura (9/4 2200 Sala Grande) - • April (9/5 1630 Sala Grande) • Sicilian Letters (9/5 1915 Sala Grande) • Stranger Eyes (9/5 2200 Sala Grande) - • Youth (Homecoming) (9/6 1600 Sala Grande) • Love (9/6 1900 Sala Grande) sick, thank you. it’s much appreciated ![:)](//storage.proboards.com/6692321/images/KAUR26Rad8w62aSMorQH.gif)
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Post by wilcinema on Aug 29, 2024 15:53:19 GMT
Angelina is really great in Maria, nomination guaranteed. Seeing the last three episodes of Disclaimer in a couple hours, I'll report back.
PS: Hi back everyone! I've had the most intense months in my life this year, so apologies for the absence.
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Post by stephen on Aug 29, 2024 16:06:41 GMT
Welcome back, man! Very excited to know your thoughts?
How would you rank the three Larrain actresses-as-historical figures (and feel free to throw in the actual best, Stella Gonet in El Conde, if you feel so inclined).
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Post by TylerDeneuve on Aug 29, 2024 16:09:19 GMT
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Post by wilcinema on Aug 29, 2024 16:14:03 GMT
Welcome back, man! Very excited to know your thoughts? How would you rank the three Larrain actresses-as-historical figures (and feel free to throw in the actual best, Stella Gonet in El Conde, if you feel so inclined). I really like the movie, it captures the essence of La Callas (Callas the diva) and Maria (Callas the woman) without forcing either persona onto the other. It's not as visually sumptuous as Spencer or as ethereal as Jackie butit doesn't need to be. It's more tragic and grounded than both, even with all the elements of magical realism that are so typical of Larrain. Favino, Rohrwacher and Golino are really good too.
Actresses:
1. Portman 2. Jolie 3. Stewart
and I'm no fan of Portman in general.
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Post by sterlingarcher86 on Aug 29, 2024 16:27:33 GMT
Angelina is really great in Maria, nomination guaranteed. Seeing the last three episodes of Disclaimer in a couple hours, I'll report back.
PS: Hi back everyone! I've had the most intense months in my life this year, so apologies for the absence.
Do you know when the embargo lifts?
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