It’s a momentous Cannes for Cairo-based film professionals Alaa Karkouti and Maher Diab as they mark the 15th anniversary of the creation of marketing and distribution company Mad Solutions and the 10th anniversary of spin-off the Arab Cinema Center (Acc).
Under these banners, the pair have been at the forefront of promoting Arab cinema internationally and played a part in growing its prominence on the world stage.
Acc kicks off its 10th Cannes program on Friday with a panel entitled “The Arab New Wave: The Actors” on the market’s Plage des Palmes venue.
Speakers on the panel will include iconic Egyptian actress Yousra, Mbc Studios Saudi Arabia General Manager Zeinab Abu Alsamh, top Lebanese TV presenter Raya Abi Rashed, Egyptian superstar Ahmed Malek and Yagoub Alfarhan, star of Saudi Arabia’s first film in Official Selection Norah as well as casting director Cassandra Han.
The swanky location and...
Under these banners, the pair have been at the forefront of promoting Arab cinema internationally and played a part in growing its prominence on the world stage.
Acc kicks off its 10th Cannes program on Friday with a panel entitled “The Arab New Wave: The Actors” on the market’s Plage des Palmes venue.
Speakers on the panel will include iconic Egyptian actress Yousra, Mbc Studios Saudi Arabia General Manager Zeinab Abu Alsamh, top Lebanese TV presenter Raya Abi Rashed, Egyptian superstar Ahmed Malek and Yagoub Alfarhan, star of Saudi Arabia’s first film in Official Selection Norah as well as casting director Cassandra Han.
The swanky location and...
- 5/17/2024
- by Melanie Goodfellow
- Deadline Film + TV
The Cannes Film Festival has named the eight members of its main Competition jury who will join previously announced president Greta Gerwig in deciding the Palme d’Or and other key prizes at 77th edition running from May 14 to 25.
They are Turkish screenwriter and photographer Ebru Ceylan, U.S. actress Lily Gladstone, French actress Eva Green, Lebanese director and screenwriter Nadine Labaki, Spanish director and screenwriter J.A. Bayona, Italian actor Pierfrancisco Favino, Japanese director Hirokazu Kore-eda and French actor and producer Omar Sy.
The wife and long-time collaborator of Nuri Bilge Ceylan, screenwriter and photographer Ceylan co-wrote 2014 Palme d’Or winner Winter Sleep and also took co-writing credits on Cannes selected films Three Monkeys (Best Director Prize 2008), Once upon a time in Anatolia (Grand Prix 2011), The Wild Pear Tree (2018) and About Dry Grasses (2023).
Ceylan also appeared as an actress and took art director credits on her husband’s early films...
They are Turkish screenwriter and photographer Ebru Ceylan, U.S. actress Lily Gladstone, French actress Eva Green, Lebanese director and screenwriter Nadine Labaki, Spanish director and screenwriter J.A. Bayona, Italian actor Pierfrancisco Favino, Japanese director Hirokazu Kore-eda and French actor and producer Omar Sy.
The wife and long-time collaborator of Nuri Bilge Ceylan, screenwriter and photographer Ceylan co-wrote 2014 Palme d’Or winner Winter Sleep and also took co-writing credits on Cannes selected films Three Monkeys (Best Director Prize 2008), Once upon a time in Anatolia (Grand Prix 2011), The Wild Pear Tree (2018) and About Dry Grasses (2023).
Ceylan also appeared as an actress and took art director credits on her husband’s early films...
- 4/29/2024
- by Melanie Goodfellow
- Deadline Film + TV
French mini-major Pathé has acquired Les Films des Tournelles, the production company founded by Anne-Dominique Toussaint whose recent credits include Louis Garrel’s Cesar-winning “The Innocent.”
Besides Garrel, Les Films des Tournelles has worked with a flurry of auteurs on some of their most successful films, including Riad Sattouf’s “The French Kissers,” which won the Cesar for best first film in 2010; Nadine Labaki’s “Caramel”; Emanuele Crialese’s “Respiro”; Valeria Golino’s “Miele”; and Mona Achache’s “The Hedgehog.” “The Innocent” won two prizes at last year’s Cesar Awards and screened at Cannes on the 75th anniversary of the festival.
Toussaint has also worked with Philippe Le Guay and Emmanuel Carrère. Toussaint, whose career spans over three decades, has produced 27 films so far, including iconic French movies such as Martine Dugowson’s “Mina Tannenbaum.”
As part of the deal, Pathé is acquiring Films des Tournelles’ full library while...
Besides Garrel, Les Films des Tournelles has worked with a flurry of auteurs on some of their most successful films, including Riad Sattouf’s “The French Kissers,” which won the Cesar for best first film in 2010; Nadine Labaki’s “Caramel”; Emanuele Crialese’s “Respiro”; Valeria Golino’s “Miele”; and Mona Achache’s “The Hedgehog.” “The Innocent” won two prizes at last year’s Cesar Awards and screened at Cannes on the 75th anniversary of the festival.
Toussaint has also worked with Philippe Le Guay and Emmanuel Carrère. Toussaint, whose career spans over three decades, has produced 27 films so far, including iconic French movies such as Martine Dugowson’s “Mina Tannenbaum.”
As part of the deal, Pathé is acquiring Films des Tournelles’ full library while...
- 1/25/2024
- by Elsa Keslassy
- Variety Film + TV
Freida Pinto took a break from her jury duties at the Red Sea Film Festival to talk to Variety about her career and her hopes for the future.
The Indian actor shot to world fame for her starring role in Danny Boyle’s “Slumdog Millionaire” (2008) and remains committed to the breadth of cinema. “I’ve always looked at cinema globally,” she tells Variety. “After ‘Slumdog,’ I could have easily played all the Indian roles, the girlfriends and sidekicks, or just gone and done something only in India.”
Instead, she sought out challenging roles, often playing non-Indian characters such as Iranian or Arab women, for example a Palestinian girl in “Miral,” a choice that she recognizes is now controversial.
“I know it’s not okay these days, because the world has opened up and there’s so much talent,” Pinto says. “But — and I don’t mean this in a pompous...
The Indian actor shot to world fame for her starring role in Danny Boyle’s “Slumdog Millionaire” (2008) and remains committed to the breadth of cinema. “I’ve always looked at cinema globally,” she tells Variety. “After ‘Slumdog,’ I could have easily played all the Indian roles, the girlfriends and sidekicks, or just gone and done something only in India.”
Instead, she sought out challenging roles, often playing non-Indian characters such as Iranian or Arab women, for example a Palestinian girl in “Miral,” a choice that she recognizes is now controversial.
“I know it’s not okay these days, because the world has opened up and there’s so much talent,” Pinto says. “But — and I don’t mean this in a pompous...
- 12/3/2023
- by John Bleasdale
- Variety Film + TV
The Toronto International Film Festival kicked off its TIFF Visionaries talks, one-on-one discussions with leading figures in international cinema, with Nadine Labaki, the acclaimed Lebanese director of Caramel, Where Do We Go Now? and Capernaum. The Hollywood Reporter is the media partner of the TIFF Visionaries series.
Born in a small village in Lebanon in 1974, Labaki grew up during the country’s civil war — “which robbed me of my childhood” — where movies were her only escape. “The highlight of my day was the moment we had power so that we could watch a film,” she said, speaking onstage at the Glenn Gould Studio at the CBC headquarters in Toronto. “Very early on, I knew I wanted to become a filmmaker, to create stories that can allow me to escape my reality.”
In a wide-ranging talk, Labaki traced her career path, first through directing advertising and music videos — “where I learned...
Born in a small village in Lebanon in 1974, Labaki grew up during the country’s civil war — “which robbed me of my childhood” — where movies were her only escape. “The highlight of my day was the moment we had power so that we could watch a film,” she said, speaking onstage at the Glenn Gould Studio at the CBC headquarters in Toronto. “Very early on, I knew I wanted to become a filmmaker, to create stories that can allow me to escape my reality.”
In a wide-ranging talk, Labaki traced her career path, first through directing advertising and music videos — “where I learned...
- 9/8/2023
- by Scott Roxborough
- The Hollywood Reporter - Movie News
Orange Studio is launching several French projects at the Cannes Film Market, including Simon Bouisson’s “Drone,” a thriller produced by Haut et Court (“The Night of the 12th”), and “Miss Violet,” a period drama directed by Eric Besnard (“Delicious”) and starring Alexandra Lamy (“Rolling to You”).
Bouisson, who is directing “Drone,” previously penned and directed the short-format series “Stalk” which was hit on France Televisions’ youth-centered service and has been optioned for a remake in the U.S. The thriller stars Marion Barbeau, the dancer-turned-actor who broke through in Cedric Klapisch’s “Rise,” as well as Eugénie Derouand (“Paris Police”), Cédric Kahn (“November”) and Stefan Crepon (“Peter Von Kant”)
“Drone” follows Emilie who has freshly arrived in Paris to study architecture. At night, to make ends meet, she works as a cam-girl, something which she keeps to herself. One evening, a mysterious drone appears at her apartment window. From then on,...
Bouisson, who is directing “Drone,” previously penned and directed the short-format series “Stalk” which was hit on France Televisions’ youth-centered service and has been optioned for a remake in the U.S. The thriller stars Marion Barbeau, the dancer-turned-actor who broke through in Cedric Klapisch’s “Rise,” as well as Eugénie Derouand (“Paris Police”), Cédric Kahn (“November”) and Stefan Crepon (“Peter Von Kant”)
“Drone” follows Emilie who has freshly arrived in Paris to study architecture. At night, to make ends meet, she works as a cam-girl, something which she keeps to herself. One evening, a mysterious drone appears at her apartment window. From then on,...
- 5/12/2023
- by Elsa Keslassy
- Variety Film + TV
The 5 Seconds of Summer Show, the tenth anniversary celebration that the pop-rock band hosted at the close of 2021, was part career-spanning concert film and part Saturday Night Live skit poking fun at their decade-long evolution. It featured a recreation of the video for one of their earliest releases — 2012’s “Gotta Get Out” — alongside their biggest hits, like “Youngblood” and “She Looks So Perfect,” and a funeral for their faded black skinny jeans. But the one thing that has never changed about 5Sos is their commitment to delivering an unrelenting live show.
- 4/6/2023
- by Larisha Paul
- Rollingstone.com
There were hearts aflame both nights that Colombian popetón star Karol G played New York City as part of her trip Love Tour — literally. The Colombian singer, who recently kicked off her second headlining tour across North America, took the stage at Madison Square Garden on Sept. 13, marking her debut show at the hallowed venue, and then went on to Brooklyn’s Barclays Center on Sept. 15. Both shows started with flames igniting the upper rungs of the heart-shaped stage and the audience cheering “Bi-cho-ta!” The woman of the hour appeared...
- 9/16/2022
- by E.R. Pulgar
- Rollingstone.com
Puerto Rican singer Ozuna stepped out in a shiny silver jacket and moved through clouds of blue-tinted smoke that rose from the Latin Grammys stage during a performance that included his uptempo track “Del Mar.” He transitioned to “Señor Juez” as the background turned from a dim blue to rose red and Antony Santos took his place alongside him. Their performance was a dramatic one as they passionately sang their bachata track.
Ozuna is nominated for two Latin Grammy Awards this year: His song “Caramelo” was up for Best Reggaeton...
Ozuna is nominated for two Latin Grammy Awards this year: His song “Caramelo” was up for Best Reggaeton...
- 11/19/2021
- by kiko martinez
- Rollingstone.com
Anne-Dominique Toussaint, a Belgian-born revered yet discreet film producer based in Paris, has uncovered and championed many promising filmmakers through her company Les Films des Tournelles. And the best is yet to come.
Since launching her company 32 years ago, Toussaint, who is known for her spot-on artistic taste and elegant demeanor, has nurtured long-term relationships with talent such as Nadine Labaki (“Caramel”), Riad Sattouf (“The French Kissers”), Louis Garrel (“Les deux amis”) and Philippe Le Guay (“The Cost of Living”). She produced their debuts and kept up with them, giving them the necessary freedom to deliver original movies that found an international audience.
Always on the lookout for stimulating challenges, Toussaint is now getting ready to produce the feature debut of one of France’s best-known actors, Emmanuelle Devos (“Read My Lips”).
Devos’ project “On the Road Again” is an ambitious 1913-set movie headlined by two female protagonists, which will be played by Anais Demoustier,...
Since launching her company 32 years ago, Toussaint, who is known for her spot-on artistic taste and elegant demeanor, has nurtured long-term relationships with talent such as Nadine Labaki (“Caramel”), Riad Sattouf (“The French Kissers”), Louis Garrel (“Les deux amis”) and Philippe Le Guay (“The Cost of Living”). She produced their debuts and kept up with them, giving them the necessary freedom to deliver original movies that found an international audience.
Always on the lookout for stimulating challenges, Toussaint is now getting ready to produce the feature debut of one of France’s best-known actors, Emmanuelle Devos (“Read My Lips”).
Devos’ project “On the Road Again” is an ambitious 1913-set movie headlined by two female protagonists, which will be played by Anais Demoustier,...
- 1/12/2021
- by Elsa Keslassy
- Variety Film + TV
Nadine Labaki, the Lebanese actress and filmmaker who landed an Oscar nomination as director of 2018’s record-smashing feature Capernaum, has been cast in the upcoming Arabic language remake of hit Italian drama Perfect Strangers.
Labaki joins an impressive lineup of Arabic stars, including Mona Zaki (30 Years Ago, Scheherazade: Tell Me A Story, Escaping Tel Aviv), Adel Karam (The Insult, Caramel, Netflix’s Live From Beirut), Eyad Nassar (The Looming Tower, Sons of Rizk 2, The Blue Elephant 2), Diamand Bou Abboud (The Insult, The Sculptor, The Fixer) and Lebanese legend, actor screen and playwright George Khabbaz (Under the Bombs, Ghadi, and co-writer of Capernaum).
First announced in late 2018, the Perfect ...
Labaki joins an impressive lineup of Arabic stars, including Mona Zaki (30 Years Ago, Scheherazade: Tell Me A Story, Escaping Tel Aviv), Adel Karam (The Insult, Caramel, Netflix’s Live From Beirut), Eyad Nassar (The Looming Tower, Sons of Rizk 2, The Blue Elephant 2), Diamand Bou Abboud (The Insult, The Sculptor, The Fixer) and Lebanese legend, actor screen and playwright George Khabbaz (Under the Bombs, Ghadi, and co-writer of Capernaum).
First announced in late 2018, the Perfect ...
- 12/29/2020
- The Hollywood Reporter - Film + TV
Nadine Labaki, the Lebanese actress and filmmaker who landed an Oscar nomination as director of 2018’s record-smashing feature Capernaum, has been cast in the upcoming Arabic language remake of hit Italian drama Perfect Strangers.
Labaki joins an impressive lineup of Arabic stars, including Mona Zaki (30 Years Ago, Scheherazade: Tell Me A Story, Escaping Tel Aviv), Adel Karam (The Insult, Caramel, Netflix’s Live From Beirut), Eyad Nassar (The Looming Tower, Sons of Rizk 2, The Blue Elephant 2), Diamand Bou Abboud (The Insult, The Sculptor, The Fixer) and Lebanese legend, actor screen and playwright George Khabbaz (Under the Bombs, Ghadi, and co-writer of Capernaum).
First announced in late 2018, the Perfect Strangers...
Labaki joins an impressive lineup of Arabic stars, including Mona Zaki (30 Years Ago, Scheherazade: Tell Me A Story, Escaping Tel Aviv), Adel Karam (The Insult, Caramel, Netflix’s Live From Beirut), Eyad Nassar (The Looming Tower, Sons of Rizk 2, The Blue Elephant 2), Diamand Bou Abboud (The Insult, The Sculptor, The Fixer) and Lebanese legend, actor screen and playwright George Khabbaz (Under the Bombs, Ghadi, and co-writer of Capernaum).
First announced in late 2018, the Perfect Strangers...
- 12/29/2020
- The Hollywood Reporter - Movie News
Netflix, as it ramps up Middle East operations, has announced two initiatives to reach out to Lebanon’s film and TV community: an emergency fund providing grants to below-the-line crew facing economic hardship, and a “Made in Lebanon” package of films playing on the giant streamer.
The $500,000 relief fund set up by Netflix in collaboration with the Arab Fund for Arts & Culture (Afac) will be open for applications starting next week. It will provide financial support in the form of individual grants worth $2,000 per grant, a sum that, especially given Lebanon’s current economic constraints, is worth plenty more locally than it would be in the U.S.
From Oct. 26 until Nov. 9, below-the-line crew, craftspeople, and freelancers in the Lebanese film and television industry can apply for the fund by filling out an online application form. They must provide supporting documentation including a list of the five most recent projects they worked on,...
The $500,000 relief fund set up by Netflix in collaboration with the Arab Fund for Arts & Culture (Afac) will be open for applications starting next week. It will provide financial support in the form of individual grants worth $2,000 per grant, a sum that, especially given Lebanon’s current economic constraints, is worth plenty more locally than it would be in the U.S.
From Oct. 26 until Nov. 9, below-the-line crew, craftspeople, and freelancers in the Lebanese film and television industry can apply for the fund by filling out an online application form. They must provide supporting documentation including a list of the five most recent projects they worked on,...
- 10/23/2020
- by Nick Vivarelli
- Variety Film + TV
Less than two months after Beirut was blasted by one of the biggest non-nuclear explosions ever recorded, director Nadine Labaki has taken to the streets of the Lebanese capital with her camera.
“I don’t know where it’s going to lead, or if it will ever lead anywhere,” says Labaki, whose latest film, the Oscar-nominated “Capernaum,” shed light on Beirut’s preexisting desperation. But as teams of volunteers clear rubble, feed survivors and try to rebuild — and the country’s “corrupt” government, Labaki points out, does the bare minimum — Lebanon’s most prominent filmmaker isn’t staying idle.
The only positive development since Aug. 4, when 2,750 tons of neglected ammonium nitrate detonated in the city’s port, leaving 190 dead, more than 6,500 injured and roughly 300,000 homeless, is that civil society and volunteers, many of whom are young Lebanese, have been working ceaselessly.
The fact that a network of unpaid workers “got...
“I don’t know where it’s going to lead, or if it will ever lead anywhere,” says Labaki, whose latest film, the Oscar-nominated “Capernaum,” shed light on Beirut’s preexisting desperation. But as teams of volunteers clear rubble, feed survivors and try to rebuild — and the country’s “corrupt” government, Labaki points out, does the bare minimum — Lebanon’s most prominent filmmaker isn’t staying idle.
The only positive development since Aug. 4, when 2,750 tons of neglected ammonium nitrate detonated in the city’s port, leaving 190 dead, more than 6,500 injured and roughly 300,000 homeless, is that civil society and volunteers, many of whom are young Lebanese, have been working ceaselessly.
The fact that a network of unpaid workers “got...
- 10/8/2020
- by Nick Vivarelli
- Variety Film + TV
In the past few months during quarantine, we’ve seen filmmakers creating a number of different short-form projects and self-releasing them on their own channels. Now, the biggest project yet is arriving from Netflix as they’ve teamed with nearly 20 filmmakers who each made their own new short. They will now be released next week as part of the anthology film Homemade.
Featuring films by Pablo Larraín and Kristen Stewart (who will team together for their next film) as well as Ana Lily Amirpour, Antonio Campos, Rachel Morrison, Naomi Kawase, David Mackenzie, Maggie Gyllenhaal, Paolo Sorrentino, and more, it’s an eclectic batch of work from all over the world.
“For once in our careers, this wasn’t about money, agencies, lawyers or the Hollywood structure,” producer Juan de Dios Larrain tells Variety. “This was a simple idea of [conveying] one message in five to seven minutes, and the idea was...
Featuring films by Pablo Larraín and Kristen Stewart (who will team together for their next film) as well as Ana Lily Amirpour, Antonio Campos, Rachel Morrison, Naomi Kawase, David Mackenzie, Maggie Gyllenhaal, Paolo Sorrentino, and more, it’s an eclectic batch of work from all over the world.
“For once in our careers, this wasn’t about money, agencies, lawyers or the Hollywood structure,” producer Juan de Dios Larrain tells Variety. “This was a simple idea of [conveying] one message in five to seven minutes, and the idea was...
- 6/23/2020
- by Leonard Pearce
- The Film Stage
Cannes’ Un Certain Regard jury president Nadine Labaki announced Thursday that she is working on a documentary about the making of her jury prize-winning “Capernaum” from last year. At a Variety-Kering Women in Motion talk at the Majestic Hotel, she also admitted she wouldn’t turn down the chance to direct a Hollywood superhero film.
Her 2018 Cannes entry has become an unexpected phenomenon in China, where it is currently still third at the box office even after more than two weeks in theaters and has so far grossed over $44 million.
“It’s a big surprise for me,” she said of its success, but said the film had likely resonated because of its universal themes and the fact that her actors had really lived through the circumstances they re-created onscreen — making it an unusually visceral viewing experience.
She wouldn’t have been able to elicit the same performances if her own...
Her 2018 Cannes entry has become an unexpected phenomenon in China, where it is currently still third at the box office even after more than two weeks in theaters and has so far grossed over $44 million.
“It’s a big surprise for me,” she said of its success, but said the film had likely resonated because of its universal themes and the fact that her actors had really lived through the circumstances they re-created onscreen — making it an unusually visceral viewing experience.
She wouldn’t have been able to elicit the same performances if her own...
- 5/16/2019
- by Rebecca Davis
- Variety Film + TV
Cannes Un Certain Regard jury president Nadine Labaki as she appeared in her film Caramel Photo: Unifrance Nadine Labaki, who was garlanded with praise and prizes for her third feature Capernaum, nominated in the Oscars and the Golden Globes as well as the recipient of the jury prize at last year’s Cannes Film Festival, will be back on the Croisette this year as president of the Un Certain Regard jury.
The Lebanese director, actress and screenwriter, succeeds Benicio Del Toro in the role. Her three feature films all bowed at the Cannes film Festival. She has the distinction of being the first Arab female filmmaker to be nominated for an Oscar.
Nadine Labaki, Un Certain Regard jury president Photo: Fares Sokhn After the Festival announced her participation in the 72nd edition today she said: "I remember back when I used to come to Cannes as a film student, I...
The Lebanese director, actress and screenwriter, succeeds Benicio Del Toro in the role. Her three feature films all bowed at the Cannes film Festival. She has the distinction of being the first Arab female filmmaker to be nominated for an Oscar.
Nadine Labaki, Un Certain Regard jury president Photo: Fares Sokhn After the Festival announced her participation in the 72nd edition today she said: "I remember back when I used to come to Cannes as a film student, I...
- 3/26/2019
- by Richard Mowe
- eyeforfilm.co.uk
Directors of this year’s foreign-language Oscar nominees felt compelled to tell tales of universal themes.
Capernaum Lebanon
The Oscar race has fueled the ongoing protest against the industry’s sidelining of woman directors, serving up no female-helmed films in the best picture or director categories. That leaves Lebanon’s Nadine Labaki as the only distaff director nominated for a narrative feature film this year. “Capernaum,” a sprawling, dirt-on-the-lens labor of love about refugee children surviving on the mean streets of Beirut, is the most emotionally abrasive contender in the category. Centered on a destitute 12-year-old Syrian boy suing his parents for giving him life, it left many hardened critics weeping in the aisles at Cannes, where it duly won the Jury Prize. Variety’s Jay Weissberg was among them, deeming it “a splendid addition to the ranks of great guttersnipe dramas”; an Oscar nomination was widely predicted then and there.
Capernaum Lebanon
The Oscar race has fueled the ongoing protest against the industry’s sidelining of woman directors, serving up no female-helmed films in the best picture or director categories. That leaves Lebanon’s Nadine Labaki as the only distaff director nominated for a narrative feature film this year. “Capernaum,” a sprawling, dirt-on-the-lens labor of love about refugee children surviving on the mean streets of Beirut, is the most emotionally abrasive contender in the category. Centered on a destitute 12-year-old Syrian boy suing his parents for giving him life, it left many hardened critics weeping in the aisles at Cannes, where it duly won the Jury Prize. Variety’s Jay Weissberg was among them, deeming it “a splendid addition to the ranks of great guttersnipe dramas”; an Oscar nomination was widely predicted then and there.
- 2/6/2019
- by Guy Lodge
- Variety Film + TV
Chicago – One of the best films of 2018 is “Capernaum.” The title means “Chaos,” and co-writer/director Nadine Labaki certainly created a form of that action in the crazy quilt journey of the main character of Zain, an undocumented immigrant boy in Lebanon. From a story that takes us from his street survival to a court of law… suing his parents, “Capernaum” is a multi-layered masterpiece.
The film is framed by the trial. Zain, portrayed with amazing purpose by the similarly named Zain Al Rafeea, is a boy who felt that he shouldn’t have been born into his family of poor Syrian refugees in Lebanon, and sues his parents on that basis. His only respite in the family was with his beloved sister Sahar. When she was sold into marriage, Zain ran away, only to end up in the streets. An African woman with a baby took pity on him,...
The film is framed by the trial. Zain, portrayed with amazing purpose by the similarly named Zain Al Rafeea, is a boy who felt that he shouldn’t have been born into his family of poor Syrian refugees in Lebanon, and sues his parents on that basis. His only respite in the family was with his beloved sister Sahar. When she was sold into marriage, Zain ran away, only to end up in the streets. An African woman with a baby took pity on him,...
- 1/5/2019
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Launching new specialized films on this pre-Christmas weekend is always tricky, even when there isn’t a new “Star Wars” opening. Even so, Annapurna’s James Baldwin adaptation “If Beale Street Could Talk,” the acclaimed awards contender starring frontrunner Supporting Actress Regina King, delivered a strong initial platform debut in two cities.
Steady as they go: the second weekend expansion of “Mary, Queen of Scots” (Focus) and continued strong showings for “The Favourite” (Fox Searchlight) and “Green Book” (Universal).
Next weekend will also be a challenge, but so far multiple films are successfully positioning themselves to benefit from the holidays ahead.
Opening
If Beale Street Could Talk (Annapurna) – Metacritic: 86; Festivals include: Toronto, New York 2018
$219,173 in 4 theaters; PTA (per theater average): $54,793
Barry Jenkins’ first film since his Oscar winning “Moonlight” had a strong initial showing in four prime New York/Los Angeles theaters, boosted by several Q & As. This would...
Steady as they go: the second weekend expansion of “Mary, Queen of Scots” (Focus) and continued strong showings for “The Favourite” (Fox Searchlight) and “Green Book” (Universal).
Next weekend will also be a challenge, but so far multiple films are successfully positioning themselves to benefit from the holidays ahead.
Opening
If Beale Street Could Talk (Annapurna) – Metacritic: 86; Festivals include: Toronto, New York 2018
$219,173 in 4 theaters; PTA (per theater average): $54,793
Barry Jenkins’ first film since his Oscar winning “Moonlight” had a strong initial showing in four prime New York/Los Angeles theaters, boosted by several Q & As. This would...
- 12/16/2018
- by Tom Brueggemann
- Indiewire
Audience reactions at the Cannes Film Festival aren’t always the best indicator of a film’s quality — many of the best films have inspired walk-outs — but a 15-minute standing ovation tends to bode pretty well. For “Capernaum,” Nadine Labaki’s Beirut-set drama which just released its first official trailer, that standing ovation catapulted the film to the top of the competition heap, eventually earning it the Jury Prize at the annual summer festival.
The film, according to the official synopsis, “tells the story of Zain (Zain al Rafeea), a Lebanese boy who sues his parents for the ‘crime’ of giving him life. A gutsy streetwise child as he flees his negligent parents, [Zain] survives through his wits on the streets, takes care of Ethiopian refugee Rahil (Yordanos Shiferaw) and her baby son, Yonas (Boluwatife Treasure Bankole), being jailed for a crime, and finally, seeks justice in a courtroom.”
Labaki used...
The film, according to the official synopsis, “tells the story of Zain (Zain al Rafeea), a Lebanese boy who sues his parents for the ‘crime’ of giving him life. A gutsy streetwise child as he flees his negligent parents, [Zain] survives through his wits on the streets, takes care of Ethiopian refugee Rahil (Yordanos Shiferaw) and her baby son, Yonas (Boluwatife Treasure Bankole), being jailed for a crime, and finally, seeks justice in a courtroom.”
Labaki used...
- 11/6/2018
- by Jude Dry
- Indiewire
With the 87 wide official list of foreign Oscar submissions released to consider, we thought we'd dig a little deeper this week into various aspects of the race. We've already shared all the trailers so let's break down how the directors shake out with the rich and promising topic of women behind the camera.
Female Directors
Contrary to popular internet belief, very generally speaking of course, female directors overseas are not as rare or as systemically unsupported as they have historically been in the Us. There are usually at least a handful of female-helmed films in the long official submission list. This year we have the second most we've ever had in the run up to the nominations. Of the 87 movies in contention, 20 were directed or co-directed by women.
Rungano Nyoni was born in Zambia but emigrated to the UK when she was a little girl. Her debut feature is the...
Female Directors
Contrary to popular internet belief, very generally speaking of course, female directors overseas are not as rare or as systemically unsupported as they have historically been in the Us. There are usually at least a handful of female-helmed films in the long official submission list. This year we have the second most we've ever had in the run up to the nominations. Of the 87 movies in contention, 20 were directed or co-directed by women.
Rungano Nyoni was born in Zambia but emigrated to the UK when she was a little girl. Her debut feature is the...
- 10/9/2018
- by NATHANIEL R
- FilmExperience
Cannes Film Festival’s Jury Prize winner, “Capernaum,” is so “shocking” that its director Nadine Labaki was concerned “people will not be able to handle it.”
When TheWrap sat down with Labaki at the Toronto International Film Festival to talk about “Capernaum” — the story of a 12-year-old boy, Zein, who takes his parents to court for giving him life in a world full of pain and suffering — she said she was reluctant to show everything that happens to these kids on the streets because the truth is just so horrible.
“It’s too shocking and people will not be able to handle it. People don’t handle the truth because it’s too much,” Labaki told TheWrap. “That’s what I’m seeing as a reaction to this film — people say it’s too much… and it’s nothing compared to what the reality is.”
Also Read: 'Capharnaum' Film Review:...
When TheWrap sat down with Labaki at the Toronto International Film Festival to talk about “Capernaum” — the story of a 12-year-old boy, Zein, who takes his parents to court for giving him life in a world full of pain and suffering — she said she was reluctant to show everything that happens to these kids on the streets because the truth is just so horrible.
“It’s too shocking and people will not be able to handle it. People don’t handle the truth because it’s too much,” Labaki told TheWrap. “That’s what I’m seeing as a reaction to this film — people say it’s too much… and it’s nothing compared to what the reality is.”
Also Read: 'Capharnaum' Film Review:...
- 9/22/2018
- by Trey Williams
- The Wrap
The 2018 Cannes Film Festival has ended, but the movies are very much still with us. This year’s festival started with a Netflix controversy and hosted major activism around women in the film industry. But despite the many conversations swirling around the festival environment, Cannes was still a film festival. So how were those movies, anyway?
Early on, this year’s program was assailed for lacking star power and many A-list auteurs, but in retrospect, not of that skepticism really gelled with a selection that ranged from newcomers to veterans, and from stars to fresh faces — and it all cast an exciting spotlight on movies from around the world. Here are the best of the bunch.
“Arctic”
This may be a low bar to clear, but Joe Penna’s directorial feature debut is one of the best movies ever made about a man stranded in the wilderness. Mads Mikkelsen, throwing...
Early on, this year’s program was assailed for lacking star power and many A-list auteurs, but in retrospect, not of that skepticism really gelled with a selection that ranged from newcomers to veterans, and from stars to fresh faces — and it all cast an exciting spotlight on movies from around the world. Here are the best of the bunch.
“Arctic”
This may be a low bar to clear, but Joe Penna’s directorial feature debut is one of the best movies ever made about a man stranded in the wilderness. Mads Mikkelsen, throwing...
- 5/20/2018
- by Eric Kohn, David Ehrlich and Anne Thompson
- Indiewire
The Cannes Film Festival just wrapped up its 71st edition and the film with the biggest Oscar potential got a big boost at the closing ceremony. Spike Lee’s, “BlacKkKlansman,” the true story of an African-American cop who infiltrated the Kkk, took home the Grand Prix, the second highest prize of the festival. It was Lee’s first time competing on the Croisette since 1991 when “Jungle Fever” was in competition and was a bit of retribution for Lee after his widely acclaimed 1989 film, “Do the Right Thing,” received nothing from the jury.
If “BlacKkKlansman” were to get nominated for Best Picture at the Oscars, it would be the second time a Grand Prix winner has gotten into the race for Oscar’s top honor. The first was “Life is Beautiful” in 1998. Thirteen past Grand Prix winners went on to earn 22 total Oscar nominations with five films scoring seven wins. Each...
If “BlacKkKlansman” were to get nominated for Best Picture at the Oscars, it would be the second time a Grand Prix winner has gotten into the race for Oscar’s top honor. The first was “Life is Beautiful” in 1998. Thirteen past Grand Prix winners went on to earn 22 total Oscar nominations with five films scoring seven wins. Each...
- 5/20/2018
- by Charles Bright
- Gold Derby
Nothing in director Nadine Labaki’s first two pleasant but tonally inconsistent features, “Caramel” and “Where Do We Go Now?,” approaches the power and skill of “Capernaum,” which represents a major leap forward in all departments. Proving herself an astonishingly accomplished director of non-professional performers as well as a measured storyteller, Labaki draws attention to the plight of children in Beirut’s slums and the Kafka-esque bind of people without ID cards. While this is unquestionably an issue film, it tackles its subject with intelligence and heart.
Prizes are almost a certainty, and not just because juries might be more prone to awarding women directors in this particular moment in history — no wonder Sony Pictures Classics snapped it up in the Cannes market for Stateside distribution, since this is one Lebanese film sure to do significant business at art-house cinemas nationwide.
There’s one liability however, and that’s the title.
Prizes are almost a certainty, and not just because juries might be more prone to awarding women directors in this particular moment in history — no wonder Sony Pictures Classics snapped it up in the Cannes market for Stateside distribution, since this is one Lebanese film sure to do significant business at art-house cinemas nationwide.
There’s one liability however, and that’s the title.
- 5/18/2018
- by Jay Weissberg
- Variety Film + TV
According to one definition found online, Capharnaum means a "disorderly accumulation of objects." Although that's a fantastically uncommercial title for a movie, the concept suits this latest work from actor-writer-director Nadine Labaki (Caramel, Where Do We Go Now?). She's made up a grab bag of ideas and plot elements that work surprisingly effectively as a melodrama with a message. Several messages, in fact, all illustrated through the ordeals suffered by 12-year-old Zain (Zain Al Rafeea), a child fighting to survive in the slums and shanty towns of Lebanon. Although the narrative is structured through a highly unbelievable instigating ...
- 5/17/2018
- The Hollywood Reporter - Film + TV
According to one definition found online, Capharnaum means a "disorderly accumulation of objects." Although that's a fantastically uncommercial title for a movie, the concept suits this latest work from actor-writer-director Nadine Labaki (Caramel, Where Do We Go Now?). She's made up a grab bag of ideas and plot elements that work surprisingly effectively as a melodrama with a message. Several messages, in fact, all illustrated through the ordeals suffered by 12-year-old Zain (Zain Al Rafeea), a child fighting to survive in the slums and shanty towns of Lebanon. Although the narrative is structured through a highly unbelievable instigating ...
- 5/17/2018
- The Hollywood Reporter - Movie News
With only a couple days left before the Cannes jury announces this year’s prizewinners, the festival may have saved the biggest Palme d’Or contender for the end. “Capernaum,” the new drama from Lebanese director Nadine Labaki, earned a massive 15-minute standing ovation following its May 17 premiere at the festival, according to the glowing first reactions. Numerous members of the press reacted strongly to the film on Twitter following the screening, with many predicting “Capernaum” walks home with the Palme d’Or.
“Capernaum” is billed as a “politically-charged fable” that follows a child who sues his own family. The movie is notable for being one of only three films directed by women to compete for the Palme d’Or at this year’s festival. If Labaki ends up winning Cannes’ top honor on Saturday, she will become only the second female director to win the prize following Jane Campion for “The Piano.
“Capernaum” is billed as a “politically-charged fable” that follows a child who sues his own family. The movie is notable for being one of only three films directed by women to compete for the Palme d’Or at this year’s festival. If Labaki ends up winning Cannes’ top honor on Saturday, she will become only the second female director to win the prize following Jane Campion for “The Piano.
- 5/17/2018
- by Zack Sharf
- Indiewire
Exclusive: Award-winning filmmaker and actress Nadine Labaki has signed with CAA in all areas. She doesn’t get here until next week, but this has already been a strong Cannes for Labaki. Yesterday, her new film Capernaum sold in a seven-figure deal to Sony Pictures Classics before it is to premiere Thursday in competition for the Palme d’Or. Sales on the film are being brokered by CAA Media Finance and Wild Bunch.
Labaki is a Lebanese actress-turned-director who will be bringing her third film to Cannes. That started with her directorial debut Caramel, which she also wrote and co-starred in, and which premiered at the 2007 Cannes Film Festival, in the Directors’ Fortnight section. It was also Lebanon’s official Academy Award submission for Best Foreign Film. She directed and starred in her second feature, Where Do We go Now?, which also premiered at Cannes and won the Audience Award...
Labaki is a Lebanese actress-turned-director who will be bringing her third film to Cannes. That started with her directorial debut Caramel, which she also wrote and co-starred in, and which premiered at the 2007 Cannes Film Festival, in the Directors’ Fortnight section. It was also Lebanon’s official Academy Award submission for Best Foreign Film. She directed and starred in her second feature, Where Do We go Now?, which also premiered at Cannes and won the Audience Award...
- 5/11/2018
- by Mike Fleming Jr
- Deadline Film + TV
Distributors are buying films faster at this year’s Cannes Film Festival than they did at the last Sundance or Toronto fests.
On Thursday, Saban Films bought Gerard Butler’s “Keepers,” Sony Pictures Classics picked up the rights to Lebanese director Nadine Labaki’s “Capernaum,” and Jessica Chastain’s all-female thriller “355” landed a French distributor.
Two clear highlights from the film festival’s third day: “Black Panther” director Ryan Coogler talking about how he loved working with women on his films, and Paweł Pawlikowski’s film “Cold War,” which received mostly glowing reviews. Many early viewers even called it the best film to come out of Cannes yet this year (so far).
Also Read: Cannes Report, Day 2: 'Rafiki' Makes History, 'Don Quixote' Scores Legal Victory
Films screening on Friday include “Ash Is Purest White” and Jean-Luc Godard’s “The Image Book,” the latter of which should get some buzz.
See below for highlights from Cannes, day three:
Saban Films Plays the Game
Saban Films picked up the North American rights to Gerard Butler’s “Keepers,” the distributor announced Thursday.
Kristoffer Nyholm directed the film which also stars Peter Mullan and Connor Swindells. The thriller is inspired by the Flannan Isle mystery where three lighthouse keepers arrive on an uninhabited island for a six-week shift but then discover something life-changing that isn’t theirs to keep. Soon, they have to battle paranoia and isolation to survive.
Saban Films has been at the forefront of the acquisitions game at festivals lately — at Sundance earlier this year, Saban picked up the rights to buzzy film “Lizzie,” which stars Chloe Sevigny and Kristen Stewart.
Also Read: Terry Gilliam's Epically Troubled 'The Man Who Killed Don Quixote:' A Brief History
Sony Classics
Sony Classics Flips for “Capernaum”
On Thursday, Sony Pictures Classics acquired the North American and Latin American rights to Lebanese director Nadine Labaki’s “Capernaum,” which is set to premiere at Cannes next Thursday in competition.
The Lebanese director previously had two films, titled “Caramel” and “Where Do We Go Now?” premiere at the festival. “Where Do We Go Now?” won the Audience Award at the 2011 Toronto Film Festival and was also distributed by Sony Classics.
Labaki also wrote and also appears in “Capernaum,” which tells the story of a child who rebels against the life that’s been imposed on him and decides to bring a lawsuit against his parents.
Getty Images
Ryan Coogler’s Panel
“Black Panther” director Ryan Coogler took part in a panel on Thursday, one of the hottest tickets on the Croisette. Vulture senior editor Kyle Buchanan posted a thread on Twitter about the conversation — and the filmmaker’s comments about working with strong women were the talk of the town.
When interviewer Elvis Mitchell praised him for working with female cinematographers and female editors for all three of his films, which also include “Fruitvale Station” and “Creed,” Coogler said, “It’s not something to brag about. Honestly, for my first film, I was looking for the best cinematographer I could find. Rachel Morrison was that. She was the best d.p. we could get at the time, and I thought I was getting somebody amazing, but she turned out to be incredible.”
Also Read: Cannes Report, Day 1: 'Everybody Knows' Premieres, Cate Blanchett Shines on the Croisette
He also said that the women are “more important” than the men in Wakanda, and he would be into making a film just about the characters played by Lupita Nyong’o, Letitia Wright, Angela Bassett and Gurira.
“A lot of times, in comic books, it’s a little bit of tokenism: You’ve got one black person, you’ve got one woman that fights,” added Coogler. “I was fired up about that, and I didn’t want to blow the opportunity.”
Jessica Chastain’s All-Star ‘355’ Gets French Deal
In general, the topic of female empowerment seems to be the rage at this year’s festival. Cate Blanchett and the rest of the jury faced questions questions about #TimesUp and the number of films directed by women during a press conference on the first day. And on Thursday, Jessica Chastain’s all-star film “355” got French distribution from Snd.
The film is a female-led spy thriller that also stars Lupita Nyong’o, Marion Cotillard, Penelope Cruz and Fan Bingbing. Simon Kinberg (“X-Men; Dark Phoenix”) will direct.
“355” centers on the five top agents from organizations around the world uniting to stop a global syndicate from acquiring a weapon that could plunge an already unstable world into total chaos. They have to overcome cultural and political differences to form a bond and work together.
However, TheWrap’s Steve Pond reported that the Cannes Film Festival has had a dismal record of showcasing the work of female directors for decades. Over the first 71 years of Cannes, a paltry 4.3 percent of the competition films have been directed by women.
‘Sorry Angel’ Debuts to (Mostly) Glowing Reviews
Christophe Honoré has impressed most with his new film, “Sorry Angel,” which debuted at Cannes on Thursday. The film follows a male student from Britanny who has a love affair with a 39-year0old man. Vincent Lacoste, Pierre Deladonchamps and Denis Podalydes star.
Vanity Fair’s Richard Lawson wrote that ‘Sorry Angel” is a “rich and thoughtful romantic drama that is less about politics than it is about matters of the heart and body. A chewy, handsomely staged novel of a movie, ‘Sorry Angel’ contains moments of piercing intelligence and heartbreaking beauty.”
IndieWire’s Eric Kohn wrote: “The most emotional and understated work from French director Christophe Honoré is a touching tribute to the art and culture of early ’90s France, charting creative obsessions young and old, and strikes a note that’s life-affirming and melancholic.”
However, Peter Bradshaw from The Guardian said “it is often poignant and humorous but also placid and complacent, with performances bordering on the self-regarding and even faintly insufferable.”
‘Cold War’ Also Debuts
Four years after his film “Ida” won the foreign-language Oscar, Paweł Pawlikowski’s film “Cold War” also debuted on Thursday, and The Telegraph’s Tim Robey declared: “By a distance, the best film in Cannes competition so far…” Another Twitter user agreed, writing, “Pawlikowski’s ‘Cold War’ the best feature of Cannes so far. Beautifully shot and performed and with the right amount of fatalism.”
Vulture’s Kyle Buchanan revealed that there was “lots of well-deserved praise for Cannes entry ‘Cold War,'” and TheWrap’s Steve Pond called it “ravishing” and “haunting” in his review.
See some more reactions to the movie below.
Cold War doesn’t waste a frame. Ida had more mystery and wonder, but this is a natural continuation, visually and thematically, for a fimmmaker obsessed with exploring the post-wwii fracturing of European identity. A concise treat. #cannes
— erickohn (@erickohn) May 11, 2018
Cold War: the first truly great film I’ve seen at Cannes this year. Delicate and forceful when it’s supposed to be, a tragic romance that reminds you why we find tragedy romantic.
— Charles Bramesco (@intothecrevasse) May 11, 2018
Having now seen Cold War I can report back that it is absolutely brilliant – a heartbreaking story, with astonishing performances and a hauntingly beautiful soundtrack. I would recommend it to all. Cate Blanchett, it’s got my vote! ???????????? #cannes2018 @Festival_Cannes
— Margot James (@margot_james_mp) May 10, 2018
The buzz ahead of Cannes around Pawel Pawlikowski's 'Cold War' is strong. Have heard from a few people that it will be in contention for awards. Certainly looks beautiful and if it approaches 'Ida' we're in for a treat. pic.twitter.com/xANuF9htV5
— Andreas Wiseman (@AndreasWiseman) May 3, 2018
Cold War by Pawlikowski is superb, by some distance the best in the main competition thus far @IFI_Dub @Festival_Cannes pic.twitter.com/2zA289aNGO
— David O Mahony (@David_O_Mahony) May 11, 2018
Read original story Cannes Report, Day 3: Women Rule, ‘Cold War’ Hailed as ‘Best Film’ Yet At TheWrap...
On Thursday, Saban Films bought Gerard Butler’s “Keepers,” Sony Pictures Classics picked up the rights to Lebanese director Nadine Labaki’s “Capernaum,” and Jessica Chastain’s all-female thriller “355” landed a French distributor.
Two clear highlights from the film festival’s third day: “Black Panther” director Ryan Coogler talking about how he loved working with women on his films, and Paweł Pawlikowski’s film “Cold War,” which received mostly glowing reviews. Many early viewers even called it the best film to come out of Cannes yet this year (so far).
Also Read: Cannes Report, Day 2: 'Rafiki' Makes History, 'Don Quixote' Scores Legal Victory
Films screening on Friday include “Ash Is Purest White” and Jean-Luc Godard’s “The Image Book,” the latter of which should get some buzz.
See below for highlights from Cannes, day three:
Saban Films Plays the Game
Saban Films picked up the North American rights to Gerard Butler’s “Keepers,” the distributor announced Thursday.
Kristoffer Nyholm directed the film which also stars Peter Mullan and Connor Swindells. The thriller is inspired by the Flannan Isle mystery where three lighthouse keepers arrive on an uninhabited island for a six-week shift but then discover something life-changing that isn’t theirs to keep. Soon, they have to battle paranoia and isolation to survive.
Saban Films has been at the forefront of the acquisitions game at festivals lately — at Sundance earlier this year, Saban picked up the rights to buzzy film “Lizzie,” which stars Chloe Sevigny and Kristen Stewart.
Also Read: Terry Gilliam's Epically Troubled 'The Man Who Killed Don Quixote:' A Brief History
Sony Classics
Sony Classics Flips for “Capernaum”
On Thursday, Sony Pictures Classics acquired the North American and Latin American rights to Lebanese director Nadine Labaki’s “Capernaum,” which is set to premiere at Cannes next Thursday in competition.
The Lebanese director previously had two films, titled “Caramel” and “Where Do We Go Now?” premiere at the festival. “Where Do We Go Now?” won the Audience Award at the 2011 Toronto Film Festival and was also distributed by Sony Classics.
Labaki also wrote and also appears in “Capernaum,” which tells the story of a child who rebels against the life that’s been imposed on him and decides to bring a lawsuit against his parents.
Getty Images
Ryan Coogler’s Panel
“Black Panther” director Ryan Coogler took part in a panel on Thursday, one of the hottest tickets on the Croisette. Vulture senior editor Kyle Buchanan posted a thread on Twitter about the conversation — and the filmmaker’s comments about working with strong women were the talk of the town.
When interviewer Elvis Mitchell praised him for working with female cinematographers and female editors for all three of his films, which also include “Fruitvale Station” and “Creed,” Coogler said, “It’s not something to brag about. Honestly, for my first film, I was looking for the best cinematographer I could find. Rachel Morrison was that. She was the best d.p. we could get at the time, and I thought I was getting somebody amazing, but she turned out to be incredible.”
Also Read: Cannes Report, Day 1: 'Everybody Knows' Premieres, Cate Blanchett Shines on the Croisette
He also said that the women are “more important” than the men in Wakanda, and he would be into making a film just about the characters played by Lupita Nyong’o, Letitia Wright, Angela Bassett and Gurira.
“A lot of times, in comic books, it’s a little bit of tokenism: You’ve got one black person, you’ve got one woman that fights,” added Coogler. “I was fired up about that, and I didn’t want to blow the opportunity.”
Jessica Chastain’s All-Star ‘355’ Gets French Deal
In general, the topic of female empowerment seems to be the rage at this year’s festival. Cate Blanchett and the rest of the jury faced questions questions about #TimesUp and the number of films directed by women during a press conference on the first day. And on Thursday, Jessica Chastain’s all-star film “355” got French distribution from Snd.
The film is a female-led spy thriller that also stars Lupita Nyong’o, Marion Cotillard, Penelope Cruz and Fan Bingbing. Simon Kinberg (“X-Men; Dark Phoenix”) will direct.
“355” centers on the five top agents from organizations around the world uniting to stop a global syndicate from acquiring a weapon that could plunge an already unstable world into total chaos. They have to overcome cultural and political differences to form a bond and work together.
However, TheWrap’s Steve Pond reported that the Cannes Film Festival has had a dismal record of showcasing the work of female directors for decades. Over the first 71 years of Cannes, a paltry 4.3 percent of the competition films have been directed by women.
‘Sorry Angel’ Debuts to (Mostly) Glowing Reviews
Christophe Honoré has impressed most with his new film, “Sorry Angel,” which debuted at Cannes on Thursday. The film follows a male student from Britanny who has a love affair with a 39-year0old man. Vincent Lacoste, Pierre Deladonchamps and Denis Podalydes star.
Vanity Fair’s Richard Lawson wrote that ‘Sorry Angel” is a “rich and thoughtful romantic drama that is less about politics than it is about matters of the heart and body. A chewy, handsomely staged novel of a movie, ‘Sorry Angel’ contains moments of piercing intelligence and heartbreaking beauty.”
IndieWire’s Eric Kohn wrote: “The most emotional and understated work from French director Christophe Honoré is a touching tribute to the art and culture of early ’90s France, charting creative obsessions young and old, and strikes a note that’s life-affirming and melancholic.”
However, Peter Bradshaw from The Guardian said “it is often poignant and humorous but also placid and complacent, with performances bordering on the self-regarding and even faintly insufferable.”
‘Cold War’ Also Debuts
Four years after his film “Ida” won the foreign-language Oscar, Paweł Pawlikowski’s film “Cold War” also debuted on Thursday, and The Telegraph’s Tim Robey declared: “By a distance, the best film in Cannes competition so far…” Another Twitter user agreed, writing, “Pawlikowski’s ‘Cold War’ the best feature of Cannes so far. Beautifully shot and performed and with the right amount of fatalism.”
Vulture’s Kyle Buchanan revealed that there was “lots of well-deserved praise for Cannes entry ‘Cold War,'” and TheWrap’s Steve Pond called it “ravishing” and “haunting” in his review.
See some more reactions to the movie below.
Cold War doesn’t waste a frame. Ida had more mystery and wonder, but this is a natural continuation, visually and thematically, for a fimmmaker obsessed with exploring the post-wwii fracturing of European identity. A concise treat. #cannes
— erickohn (@erickohn) May 11, 2018
Cold War: the first truly great film I’ve seen at Cannes this year. Delicate and forceful when it’s supposed to be, a tragic romance that reminds you why we find tragedy romantic.
— Charles Bramesco (@intothecrevasse) May 11, 2018
Having now seen Cold War I can report back that it is absolutely brilliant – a heartbreaking story, with astonishing performances and a hauntingly beautiful soundtrack. I would recommend it to all. Cate Blanchett, it’s got my vote! ???????????? #cannes2018 @Festival_Cannes
— Margot James (@margot_james_mp) May 10, 2018
The buzz ahead of Cannes around Pawel Pawlikowski's 'Cold War' is strong. Have heard from a few people that it will be in contention for awards. Certainly looks beautiful and if it approaches 'Ida' we're in for a treat. pic.twitter.com/xANuF9htV5
— Andreas Wiseman (@AndreasWiseman) May 3, 2018
Cold War by Pawlikowski is superb, by some distance the best in the main competition thus far @IFI_Dub @Festival_Cannes pic.twitter.com/2zA289aNGO
— David O Mahony (@David_O_Mahony) May 11, 2018
Read original story Cannes Report, Day 3: Women Rule, ‘Cold War’ Hailed as ‘Best Film’ Yet At TheWrap...
- 5/11/2018
- by Beatrice Verhoeven
- The Wrap
Arab cinema is gaining greater international traction amid constant flux in the Middle-East film industry.
With two works competing for the Palme d’Or at the Cannes festival — Lebanese director Nadine Labaki’s “Capernaum” and Egyptian-Austrian first-time filmmaker Abu Bakr Shawky’s “Yomeddine” — plus three more pics sprinkled throughout other sections, the Arab contingent at Cannes has achieved representation on a scale rarely seen before. The rise of cinematic artists in the Middle East stems from a multi-cultural mindset and a conscious drive to transcend geographical borders while remaining rooted locally.
Shawky, whose “Yomeddine” is a road movie about a man raised in a leper colony who embarks on a journey across Egypt to try and reconnect with his family, is an alumnus of NYU’s graduate film program. This passion project was produced by American-Egyptian producer Dina Emam, who is one of Variety’s 10 Producers to Watch, and supported by the Tribeca Film Institute,...
With two works competing for the Palme d’Or at the Cannes festival — Lebanese director Nadine Labaki’s “Capernaum” and Egyptian-Austrian first-time filmmaker Abu Bakr Shawky’s “Yomeddine” — plus three more pics sprinkled throughout other sections, the Arab contingent at Cannes has achieved representation on a scale rarely seen before. The rise of cinematic artists in the Middle East stems from a multi-cultural mindset and a conscious drive to transcend geographical borders while remaining rooted locally.
Shawky, whose “Yomeddine” is a road movie about a man raised in a leper colony who embarks on a journey across Egypt to try and reconnect with his family, is an alumnus of NYU’s graduate film program. This passion project was produced by American-Egyptian producer Dina Emam, who is one of Variety’s 10 Producers to Watch, and supported by the Tribeca Film Institute,...
- 5/11/2018
- by Nick Vivarelli
- Variety Film + TV
Sony Pictures Classics has nabbed North American and Latin American rights to Cannes competition title “Capernaum,” a drama from Lebanese director Nadine Labaki about a boy who sues his parents.
CAA Media Finance brokered the distribution deal on behalf of the filmmakers with Wild Bunch, which represents the international rights.
Sony Pictures Classics distributed Labaki’s previous film, “Where Do We Go Now?,” which world-premiered in Cannes’ Un Certain Regard and won a special mention in 2011.
“Capernaum” centers on 12-year-old Zein, who takes his parents to court “for giving me life” in a world of pain and suffering. It is written by Labaki, along with Jihad Hojeily, Michelle Kesrouani, Georges Khabbaz and Labaki’s husband, Khaled Mouzanar, who also produced the film and composed the music.
The movie stars Labaki, Zain Alrafeea, Yordanos Shifera and Treasure Bankole.
“It is wonderful to have the opportunity to collaborate once again with Sony Pictures Classics.
CAA Media Finance brokered the distribution deal on behalf of the filmmakers with Wild Bunch, which represents the international rights.
Sony Pictures Classics distributed Labaki’s previous film, “Where Do We Go Now?,” which world-premiered in Cannes’ Un Certain Regard and won a special mention in 2011.
“Capernaum” centers on 12-year-old Zein, who takes his parents to court “for giving me life” in a world of pain and suffering. It is written by Labaki, along with Jihad Hojeily, Michelle Kesrouani, Georges Khabbaz and Labaki’s husband, Khaled Mouzanar, who also produced the film and composed the music.
The movie stars Labaki, Zain Alrafeea, Yordanos Shifera and Treasure Bankole.
“It is wonderful to have the opportunity to collaborate once again with Sony Pictures Classics.
- 5/10/2018
- by Elsa Keslassy
- Variety Film + TV
Distributor handled Where Do We Go Now?
Sony Pictures Classics (Spc) has acquired North American and Latin American rights to Nadine Labaki’s Capernaum ahead of its world premiere in Cannes competition next Thursday and plans an awards-qualifying Us release in December.
Capernaum marks a return to Cannes for the Lebanese filmmaker, whose two previous films, Caramel and Toronto audience award winner Where Do We Go Now? premiered on the Croisette and reunites Labaki with Spc, who distributed Where Do We Go Now?
The film tells the story of a child who rebels against the life imposed on him and...
Sony Pictures Classics (Spc) has acquired North American and Latin American rights to Nadine Labaki’s Capernaum ahead of its world premiere in Cannes competition next Thursday and plans an awards-qualifying Us release in December.
Capernaum marks a return to Cannes for the Lebanese filmmaker, whose two previous films, Caramel and Toronto audience award winner Where Do We Go Now? premiered on the Croisette and reunites Labaki with Spc, who distributed Where Do We Go Now?
The film tells the story of a child who rebels against the life imposed on him and...
- 5/10/2018
- by Jeremy Kay
- ScreenDaily
Sony Pictures Classics has acquired North American and Latin American rights to Nadine Labaki’s Cannes competition title “Capernaum,” which will premiere at the festival next Thursday. Spc previously distributed Labaki’s second film, “Where Do We Go Now?” Her latest feature is billed as a “politically-charged fable” that follows a child who sues his own family. It is one of three films directed by women to compete for the Palme d’Or at this year’s festival.
Sony Pictures Classics plans to open the film in December qualifying the movie for year-end awards consideration.
“It is wonderful to have the opportunity to collaborate once again with Sony Pictures Classics. ‘Capernaum’ is very special to me, and with the passion Tom and Michael have for this film, I know this is the ideal partnership,” said Labaki in an official statement.
Actress-turned-fimmaker Labaki is a Cannes regular, a graduate of the festival’s Residence program,...
Sony Pictures Classics plans to open the film in December qualifying the movie for year-end awards consideration.
“It is wonderful to have the opportunity to collaborate once again with Sony Pictures Classics. ‘Capernaum’ is very special to me, and with the passion Tom and Michael have for this film, I know this is the ideal partnership,” said Labaki in an official statement.
Actress-turned-fimmaker Labaki is a Cannes regular, a graduate of the festival’s Residence program,...
- 5/10/2018
- by Kate Erbland
- Indiewire
Sony Pictures Classics has acquired the North American and Latin American rights to Lebanese director Nadine Labaki’s “Capernaum,” the studio announced Thursday.
The film is set to premiere next Thursday at the Cannes Film Festival, where it is screening in competition.
The Lebanese director previously had two films, titled “Caramel” and “Where Do We Go Now?” premiere at the festival. “Where Do We Go Now?” won the Audience Award at the 2011 Toronto Film Festival and was also distributed by Sony Classics.
Labaki also wrote and also appears in “Capernaum,” which tells the story of a child who rebels against the life that’s been imposed on him and decides to bring a lawsuit against his parents.
The film is set to premiere next Thursday at the Cannes Film Festival, where it is screening in competition.
The Lebanese director previously had two films, titled “Caramel” and “Where Do We Go Now?” premiere at the festival. “Where Do We Go Now?” won the Audience Award at the 2011 Toronto Film Festival and was also distributed by Sony Classics.
Labaki also wrote and also appears in “Capernaum,” which tells the story of a child who rebels against the life that’s been imposed on him and decides to bring a lawsuit against his parents.
- 5/10/2018
- by Beatrice Verhoeven
- The Wrap
Sony Pictures Classics has acquired North American and Latin American rights to Capernaum, the Nadine Labaki-directed drama that is playing in competition for the Palme d’Or at the Cannes Film Festival. Sources said Spc pays $1.3 million for a film it will get behind and launch in December for Oscar season.
The film, Labaki’s third to play Cannes after Caramel and Where Do We Go Now?, focuses on a 12-year-old boy (Zain Alrafeea) in a fictitious Middle Eastern village who sues his parents for bringing him into a world of such suffering. The film premiered in competition next Thursday.
Labaki, a Lebanese actress-turned-director, wrote the script to focus on powerless, disenfranchised and illiterate children and created a drama about one who tries to do something about it. Khaled Mouzanar produced. CAA Media Finance Group and Wild Bunch are handling the sales.
This becomes the second in the Cannes...
The film, Labaki’s third to play Cannes after Caramel and Where Do We Go Now?, focuses on a 12-year-old boy (Zain Alrafeea) in a fictitious Middle Eastern village who sues his parents for bringing him into a world of such suffering. The film premiered in competition next Thursday.
Labaki, a Lebanese actress-turned-director, wrote the script to focus on powerless, disenfranchised and illiterate children and created a drama about one who tries to do something about it. Khaled Mouzanar produced. CAA Media Finance Group and Wild Bunch are handling the sales.
This becomes the second in the Cannes...
- 5/10/2018
- by Mike Fleming Jr
- Deadline Film + TV
After her Directors’ Fortnight bowing debut Caramel (2007) and her follow-up, Where Do We Go Now?, which premiered in Un Certain Regard in 2011, Lebanese actress turned director Nadine Labaki completes the Cannes set with her third feature, Capernaum, heading into the Official Competition. Set in a fictitious Middle Eastern village (much like Where Do We Go Now?), Capernaum takes Labaki’s unique cinematic microscope to the region’s countless neglected children “excluded from society” — the youths who fall through the cracks in the system and are left to fend for themselves. At its heart is a 12-year-old (Zain Alrafeea) who...
- 5/10/2018
- by Alex Ritman
- The Hollywood Reporter - Movie News
Girl Talk is a weekly look at women in film — past, present, and future.
While the Cannes Film Festival has long struggled to put together a Competition slate that includes more than a fraction of female filmmakers, there are major signs of diverse life throughout the rest of this year’s slate, which includes 20 female filmmakers set to debut new films at the lauded festival. At least said Competition includes a trio of intriguing (and very different-sounding) offerings, including films from both Cannes regulars and a newbie. Elsewhere, there’s still more exciting new work to be found from filmmakers both established and emerging.
The Un Certain Regard section — which often touts high numbers of female filmmakers — nearly reached parity with its slate, as six of its 13 films were directed by women. In the International Critics’ Week (Aka Semaine de la Critique) sidebar, they’re actually leading the way. In...
While the Cannes Film Festival has long struggled to put together a Competition slate that includes more than a fraction of female filmmakers, there are major signs of diverse life throughout the rest of this year’s slate, which includes 20 female filmmakers set to debut new films at the lauded festival. At least said Competition includes a trio of intriguing (and very different-sounding) offerings, including films from both Cannes regulars and a newbie. Elsewhere, there’s still more exciting new work to be found from filmmakers both established and emerging.
The Un Certain Regard section — which often touts high numbers of female filmmakers — nearly reached parity with its slate, as six of its 13 films were directed by women. In the International Critics’ Week (Aka Semaine de la Critique) sidebar, they’re actually leading the way. In...
- 5/4/2018
- by Kate Erbland
- Indiewire
There was a lot of head-scratching (and complaining) when the Cannes 2018 lineup was first announced. A lot of major auteurs were nowhere to be found, while the Competition roster — generally accepted as the world’s most prestigious slate of new films — was littered with unfamiliar names. And though sidebars like Director’s Fortnight and Un Certain Regard are known for turning up the volume on unheralded voices, even those sections seemed to be unusually lacking in star power.
So what? Festivals are all about the joy of discovery, and it’s been a mighty long time since Cannes has provided attendees so many chances for attendees to find (and help coronate) their new favorite filmmakers. That being said, this is still Cannes, and the directors whose work has been included in the program aren’t coming from nowhere. They may not possess the pedigree of Jean-Luc Godard (or boast the...
So what? Festivals are all about the joy of discovery, and it’s been a mighty long time since Cannes has provided attendees so many chances for attendees to find (and help coronate) their new favorite filmmakers. That being said, this is still Cannes, and the directors whose work has been included in the program aren’t coming from nowhere. They may not possess the pedigree of Jean-Luc Godard (or boast the...
- 5/3/2018
- by David Ehrlich
- Indiewire
Cannes Film Festival chief Thierry Frémaux said this morning that the finishing touches on the lineup announced today were honed until about 3 Am local time. It’s not unusual for him to go down to the wire, and there will be more titles announced in the coming weeks as the 71st edition of the venerable seaside shindig approaches. But what we got today was a mixed bag of new and familiar faces with a number of tipped movies not in the preliminary cut.
The selection looks “light on paper” was a refrain I heard coming out of the press conference and throughout the day. But critics and longtime attendees cautioned there might be gems therein. For now, only the selection committee knows — though Frémaux said that none of the films they saw was completed.
Frémaux called the selection a “generational renewal.” There is a sense that some titles to be added could raise the pulse.
The selection looks “light on paper” was a refrain I heard coming out of the press conference and throughout the day. But critics and longtime attendees cautioned there might be gems therein. For now, only the selection committee knows — though Frémaux said that none of the films they saw was completed.
Frémaux called the selection a “generational renewal.” There is a sense that some titles to be added could raise the pulse.
- 4/12/2018
- by Nancy Tartaglione
- Deadline Film + TV
This year’s Cannes Film Festival competition announcement continues a worrying trend in the history of the lauded festival: a slate dominated by male directors. The 2018 competition lineup includes the highest number of films from female filmmakers since 2011 — but that’s only a sign of growth due to the even smaller number of films from women in the 2017 lineup.
This year’s festival will play home to new works from Nadine Labaki, Eva Husson, and Alice Rohrwacher, who will compete in a smaller competition section (although the festival may add more films in the days ahead).
As happened last year, when the festival’s competition slate also included just three female directors, the 2018 edition of the event cut down slightly on the competition entries. The section typically vacillates between 23 and 18 offerings each year, which means the total percentage of competing female filmmakers was yet again nominally bumped up even though...
This year’s festival will play home to new works from Nadine Labaki, Eva Husson, and Alice Rohrwacher, who will compete in a smaller competition section (although the festival may add more films in the days ahead).
As happened last year, when the festival’s competition slate also included just three female directors, the 2018 edition of the event cut down slightly on the competition entries. The section typically vacillates between 23 and 18 offerings each year, which means the total percentage of competing female filmmakers was yet again nominally bumped up even though...
- 4/12/2018
- by Kate Erbland
- Indiewire
Yasmine Al Massri is lending a voice on behalf of refugees around the globe.
Growing up as a Palestinian refugee, the Quantico star opened up to People about the cruel realities and hardships she faced, and her decision to speak at the United Nations World Humanitarian Day Gala on Friday.
"The biggest misconception is that refugees are dirty people who don't take a shower, who come to your house, eat your food and then spit on you," the actress said. "There is an inhuman, selfish, uneducated idea of what a refugee is – a very negative image that was built because of lack of information,...
Growing up as a Palestinian refugee, the Quantico star opened up to People about the cruel realities and hardships she faced, and her decision to speak at the United Nations World Humanitarian Day Gala on Friday.
"The biggest misconception is that refugees are dirty people who don't take a shower, who come to your house, eat your food and then spit on you," the actress said. "There is an inhuman, selfish, uneducated idea of what a refugee is – a very negative image that was built because of lack of information,...
- 8/18/2016
- by Christina Dugan, @Christina_Dugan
- People.com - TV Watch
Yasmine Al Massri is lending a voice on behalf of refugees around the globe. Growing up as a Palestinian refugee, the Quantico star opened up to People about the cruel realities and hardships she faced, and her decision to speak at the United Nations World Humanitarian Day Gala on Friday. "The biggest misconception is that refugees are dirty people who don't take a shower, who come to your house, eat your food and then spit on you," the actress said. "There is an inhuman, selfish, uneducated idea of what a refugee is - a very negative image that was built because of lack of information,...
- 8/18/2016
- by Christina Dugan, @Christina_Dugan
- PEOPLE.com
Yasmine Al Massri is lending a voice on behalf of refugees around the globe. Growing up as a Palestinian refugee, the Quantico star opened up to People about the cruel realities and hardships she faced, and her decision to speak at the United Nations World Humanitarian Day Gala on Friday. "The biggest misconception is that refugees are dirty people who don't take a shower, who come to your house, eat your food and then spit on you," the actress said. "There is an inhuman, selfish, uneducated idea of what a refugee is - a very negative image that was built because of lack of information,...
- 8/18/2016
- by Christina Dugan, @Christina_Dugan
- PEOPLE.com
You probably know how these [City], I Love You films work: a collection of directors — and some very prestigious ones, at that — create short films that are set in and, perhaps in some way, defined by the area in question. This is a great idea that most would say has never exactly taken off, considering the tepid reception afforded Paris, je t’aime and New York, I Love You, as well as the absolute lack of attention paid to Tbilisi, I Love You. For better or for worse, there’s now Rio, I Love You, which collects the likes of Paolo Sorrentino, José Padilha, Fernando Meirelles, Guillermo Arriaga, and John Turturro to direct, among others, Harvey Keitel, Emily Mortimer, Vincent Cassel, Jason Isaacs, and Turturro himself.
The latest trailer — which arrives more than 18 months after an initial pair and the film’s premiere — is more promising, if only because it displays...
The latest trailer — which arrives more than 18 months after an initial pair and the film’s premiere — is more promising, if only because it displays...
- 3/1/2016
- by Nick Newman
- The Film Stage
Doha Film Institute flew me in via Istanbul to attend the Ajyal Youth Film Festival. My first time in Doha Qatar, I am stunned by the luxury of it all. The area is filled with large buildings, modern and yet very Arabic in style, from the huge gleaming glass and steel airport with its marble floors and empty, at least at 1:30 Am. Awaiting in the posh Al Mira Lounge for my drive to take me to the St. Regis Hotel -- again -- huge, with its arches and arabesque style towers, to the people, elegantly enshrouded women in black and men in gleaming white.
After a day to recuperate from my 24 hour flight, we, the press, had a welcome dinner and the next day was devoted to “The Idol” Opening Night Film’s press screening and press conference and to Opening Night itself with a lovely party and a band playing American movie tunes.
"Designed to inspire, and it works!" This Palestine/ UK/ Qatar/ Dubai/ Abu Dhabi/ Netherlands coproduction "The Idol" premiered at Toronto’s Tiff this September. After Doha, it won Antalya's Best Director Award before going on to Dubai Film Festival. This is a feel-good movie which gives a human voice to the Palestinian dilemma without being political or religious. It’s pure heart.
Read my interview with Hany Abu-Assad during Tiff.
“The Idol” was coproduced by Image Nation of Abu Dhabi, Enjaaz -- a Dubai Film Market initiative -- Doha Film institute with support from the Netherlands Film Fund. Mbc (Middle East Broadcasting Company) also coproduced and is handling the film’s release in the Middle East and North Africa. September’s Hans de Wolf was the Dutch coproducer and is distributing it in Benelux.
Speaking in Doha with producers Ali Jaafar, Amira Diab in the patio of Al Jazeera Press Center I was given an in-depth look at the origin of this production which will be seen across the Arab lands both theatrically and through Mbc. Mbc was the first to come on board when producer Ali pitched them the idea of making a movie of the phenomenal success story of Mohammed Assaf, a Palestinian who grew up in Gaza and whose voice became the voice of the nation when he won the Arab Idol contest in 2013.
Sydney Levine: Where did you come from? IMDb only lists one credit for you and that’s for “The Idol”.
Ali Jaafar: I was executive director of Tarak Ben Ammar’s Quinta Communications' film division for five years. The company co-produced Rachid Bouchareb’s Oscar Nominated “Outside The Law’”; Julian Schnabel’s “Miral”; Jean-Jacques Annaud’s “Black Gold” aka “Day of the Falcon” starring Antonio Banderas, Tahar Rahim and Freida Pinto, which was distributed by Warner Bros and Universal Pictures and was Doha Film Institute’s first film investment and the first major film to shoot in Qatar. It was an attempt to tell an epic Arabian story for the international audience. Filming took place in Tunisia during the Jasmine Revolution that led to the overthrow of President Zine El Abidine Ben Ali. Filming finished on schedule and on budget with no interference, but it was a very difficult time for such a film to break out.
Quinta also co-produced “Where Do We Go Now” by Nadine Labaki known first for Caramel (2007) and more recently for Rio, I Love You(2014). “Where Do We Go Now” was the first Arabic film to win the prestigious Audience Award at the Toronto International Film Festival.
Sl: How did you hook up with “The Idol”?
Ali: When the major pop TV show Arab Idol awarded its top prize to Mohammed Assaf, the next morning the media went wild. It was during the toughest time yet in the Arab world, with Tunisia’s Revolution igniting insurgencies in Libya, Egypt, Palestine. It was a great story. I spoke to Mbc suggesting they make a movie about it. They said yes and were onboard from the very beginning.
This was my first movie as a producer. I learned so much from Tarak. One of the things I learned was to have the best partners and Mbc was just that. They offered critical support, PR support all the way through filming, support in releasing and guidance in what works in the Middle East region.
Mbc helped with script development. Sameh Zoabi wrote the first two drafts of the film. With the Number One Media (Mbc) company on board, I was able to enlist others to help as well.
Sl: How did you get Hany on board as director?
Ali: Hany was my number one choice as director, but during my first year working on “The Idol”, he was busy promoting “Omar” and lining up a project with a big U.S. studio. He was a friend and I was hoping he might at least co-produce; he read the script and gradually, one year later we met in London. He said that the American movie had been pushed back one year so he was available, but he needed to start in January – which gave me three months to put it together.
Sl: Amira, so you’re Hany’s wife…where were you working before this film?
Amira: I had been living in London but we’re now living in L.A. My background is in financing.
Ali: Yes she brought in a major part of the financing on the film too.
Amira: I met Hany who said we need more women producers and the timing was right. When Ali called Hany, Hany brought me in to meet Ali. I spent a lot of time on the set with the line producer Baher Agbariya who became a coproducer. I also worked on the rewrite and worked with the kids.
Sl: And is it true that TV does not usually show movies? That is what I heard someone say during the Q&A.
Ali: This film is an important bridge in a very crowded marketplace. Cinema is more challenging for breaking out of borders. Usually what is Lebanese stays in Lebanon, what is Jordanian stays in Jordan, etc. Films do not easily cross borders – except for Egyptian films. And usually independent films are more arthouse rather than commercial. “The Idol” about a big pop star has breakout potential.
Sl: When Hany came on board, what did he do first?
Ali: He worked on the script, strengthening the relationship between the sister and brother, adding some elements.
Hany insisted on shooting on location in both Beirut and Cairo for the exterior scenes set in those cities so that the film would look and feel real. He was only given a three day permit to film in Gaza. Set in the devastated landscapes of a Gaza still reeling from the month-long bombardment in 2014, Abu-Assad and his crew were still able to find great moments of beauty and surprise. The Gaza Parkour Team, for example, supplies its amazing acrobatic display in the most surprising way in one moment, proving that art can thrive in even the most challenging of situations.
That desire for authenticity is also why Hany insisted on finding and employing real kids from Gaza to act in the film. The crew did a Gaza-wide search, holding casting sessions and rehearsals in schools across the area. Ultimately, the production was blessed to find four amazing Gazan children to star in the film, all first time actors, and all incredible natural performers.
The first half of the film takes place in a war-torn Gaza city which, for Mohammed Assaf, his sister Nour and their best friends Ahmad and Omar. is a playground where they freely ride their bikes, play music, football and dare to dream big. Their band might play on second hand, beat-up instruments but their ambitions are sky-high. Their ambition is to play at the world famous Cairo Opera Hall.
The world around Mohammed shatters. Through it all, however, he retains the hope that his voice will somehow deliver him from the pain that surrounds him and bring joy to others. He sings at weddings, he drives a taxi to pay for his university studies. Even as the siege around Gaza intensifies, the prison around them ever more forbidding, Mohammed knows he has a rare gift, the ability to make people smile and forget their anxieties about day to day living.
Sl: How did eOne become your international sales agent?
Ali: The international sales agent was critical for us as filmmakers. We had interest from a number of established European sales agents who would’ve done a good job but when EOne expressed their strong passion for the project it provided us with a great opportunity to position the film in a more commercial space in the marketplace.
EOne’s arthouse arm Seville took it to Afm and they presold almost all the territories, even China and Australia based on the powerful package of the script, Mbc, Hany and a great story.
Sl: I know international sales by Seville were made before Tiff to some 20 territories including Benelux (September Films -- the former Wild Bunch Benelux), France (TF1), Germany (Koch), Japan (New Select), Hong Kong (Edko), Hungary (Mtva), Australia (Umbrella), Latin America (California Filmes), Portugal (Outsider Films), South Africa (Times Media) Switzerland (Praesens), China (Beijing Xiangjiang YiHua Films), India (PVR), Indonesia, Malaysia, Singapore (Red Pictures), Taiwan (Spring International), Former Yugoslavia (Discovery Films), Romania (Independenta), South Korea (Kaon Contents & Media) and Airlines (Captive). eOne will directly release the film in Spain. Mbc will distribute throughout the Middle East, including Palestine and North Africa.
Ali: We filmed “The Idol” with no advance publicity outside of the Middle East. When it premiered at Tiff, we announced the sales. After it premiered in Toronto we sealed the American deal with Adopt Films which had released Hany’s film “Omar” and a U.K. deal. That concluded world sales to every territory.
Sl: Where will it play next?
Ali: After Toronto it played London, Warsaw and Torino Film Festivals. It will go on to play in Turkey and Dubai Film Festivals. Eagle will release the film on December 24th in the Gulf states (Gcc) and on January 14th in the Levant (Lebanon, Palestine and Jordan). On the 21st it opens in Egypt. Mbc will release on its pan-Arab television network.
Also in January Rotterdam Film Festival will screen it Its U.S. release by Adopt will be sometime between spring and summer.
After a day to recuperate from my 24 hour flight, we, the press, had a welcome dinner and the next day was devoted to “The Idol” Opening Night Film’s press screening and press conference and to Opening Night itself with a lovely party and a band playing American movie tunes.
"Designed to inspire, and it works!" This Palestine/ UK/ Qatar/ Dubai/ Abu Dhabi/ Netherlands coproduction "The Idol" premiered at Toronto’s Tiff this September. After Doha, it won Antalya's Best Director Award before going on to Dubai Film Festival. This is a feel-good movie which gives a human voice to the Palestinian dilemma without being political or religious. It’s pure heart.
Read my interview with Hany Abu-Assad during Tiff.
“The Idol” was coproduced by Image Nation of Abu Dhabi, Enjaaz -- a Dubai Film Market initiative -- Doha Film institute with support from the Netherlands Film Fund. Mbc (Middle East Broadcasting Company) also coproduced and is handling the film’s release in the Middle East and North Africa. September’s Hans de Wolf was the Dutch coproducer and is distributing it in Benelux.
Speaking in Doha with producers Ali Jaafar, Amira Diab in the patio of Al Jazeera Press Center I was given an in-depth look at the origin of this production which will be seen across the Arab lands both theatrically and through Mbc. Mbc was the first to come on board when producer Ali pitched them the idea of making a movie of the phenomenal success story of Mohammed Assaf, a Palestinian who grew up in Gaza and whose voice became the voice of the nation when he won the Arab Idol contest in 2013.
Sydney Levine: Where did you come from? IMDb only lists one credit for you and that’s for “The Idol”.
Ali Jaafar: I was executive director of Tarak Ben Ammar’s Quinta Communications' film division for five years. The company co-produced Rachid Bouchareb’s Oscar Nominated “Outside The Law’”; Julian Schnabel’s “Miral”; Jean-Jacques Annaud’s “Black Gold” aka “Day of the Falcon” starring Antonio Banderas, Tahar Rahim and Freida Pinto, which was distributed by Warner Bros and Universal Pictures and was Doha Film Institute’s first film investment and the first major film to shoot in Qatar. It was an attempt to tell an epic Arabian story for the international audience. Filming took place in Tunisia during the Jasmine Revolution that led to the overthrow of President Zine El Abidine Ben Ali. Filming finished on schedule and on budget with no interference, but it was a very difficult time for such a film to break out.
Quinta also co-produced “Where Do We Go Now” by Nadine Labaki known first for Caramel (2007) and more recently for Rio, I Love You(2014). “Where Do We Go Now” was the first Arabic film to win the prestigious Audience Award at the Toronto International Film Festival.
Sl: How did you hook up with “The Idol”?
Ali: When the major pop TV show Arab Idol awarded its top prize to Mohammed Assaf, the next morning the media went wild. It was during the toughest time yet in the Arab world, with Tunisia’s Revolution igniting insurgencies in Libya, Egypt, Palestine. It was a great story. I spoke to Mbc suggesting they make a movie about it. They said yes and were onboard from the very beginning.
This was my first movie as a producer. I learned so much from Tarak. One of the things I learned was to have the best partners and Mbc was just that. They offered critical support, PR support all the way through filming, support in releasing and guidance in what works in the Middle East region.
Mbc helped with script development. Sameh Zoabi wrote the first two drafts of the film. With the Number One Media (Mbc) company on board, I was able to enlist others to help as well.
Sl: How did you get Hany on board as director?
Ali: Hany was my number one choice as director, but during my first year working on “The Idol”, he was busy promoting “Omar” and lining up a project with a big U.S. studio. He was a friend and I was hoping he might at least co-produce; he read the script and gradually, one year later we met in London. He said that the American movie had been pushed back one year so he was available, but he needed to start in January – which gave me three months to put it together.
Sl: Amira, so you’re Hany’s wife…where were you working before this film?
Amira: I had been living in London but we’re now living in L.A. My background is in financing.
Ali: Yes she brought in a major part of the financing on the film too.
Amira: I met Hany who said we need more women producers and the timing was right. When Ali called Hany, Hany brought me in to meet Ali. I spent a lot of time on the set with the line producer Baher Agbariya who became a coproducer. I also worked on the rewrite and worked with the kids.
Sl: And is it true that TV does not usually show movies? That is what I heard someone say during the Q&A.
Ali: This film is an important bridge in a very crowded marketplace. Cinema is more challenging for breaking out of borders. Usually what is Lebanese stays in Lebanon, what is Jordanian stays in Jordan, etc. Films do not easily cross borders – except for Egyptian films. And usually independent films are more arthouse rather than commercial. “The Idol” about a big pop star has breakout potential.
Sl: When Hany came on board, what did he do first?
Ali: He worked on the script, strengthening the relationship between the sister and brother, adding some elements.
Hany insisted on shooting on location in both Beirut and Cairo for the exterior scenes set in those cities so that the film would look and feel real. He was only given a three day permit to film in Gaza. Set in the devastated landscapes of a Gaza still reeling from the month-long bombardment in 2014, Abu-Assad and his crew were still able to find great moments of beauty and surprise. The Gaza Parkour Team, for example, supplies its amazing acrobatic display in the most surprising way in one moment, proving that art can thrive in even the most challenging of situations.
That desire for authenticity is also why Hany insisted on finding and employing real kids from Gaza to act in the film. The crew did a Gaza-wide search, holding casting sessions and rehearsals in schools across the area. Ultimately, the production was blessed to find four amazing Gazan children to star in the film, all first time actors, and all incredible natural performers.
The first half of the film takes place in a war-torn Gaza city which, for Mohammed Assaf, his sister Nour and their best friends Ahmad and Omar. is a playground where they freely ride their bikes, play music, football and dare to dream big. Their band might play on second hand, beat-up instruments but their ambitions are sky-high. Their ambition is to play at the world famous Cairo Opera Hall.
The world around Mohammed shatters. Through it all, however, he retains the hope that his voice will somehow deliver him from the pain that surrounds him and bring joy to others. He sings at weddings, he drives a taxi to pay for his university studies. Even as the siege around Gaza intensifies, the prison around them ever more forbidding, Mohammed knows he has a rare gift, the ability to make people smile and forget their anxieties about day to day living.
Sl: How did eOne become your international sales agent?
Ali: The international sales agent was critical for us as filmmakers. We had interest from a number of established European sales agents who would’ve done a good job but when EOne expressed their strong passion for the project it provided us with a great opportunity to position the film in a more commercial space in the marketplace.
EOne’s arthouse arm Seville took it to Afm and they presold almost all the territories, even China and Australia based on the powerful package of the script, Mbc, Hany and a great story.
Sl: I know international sales by Seville were made before Tiff to some 20 territories including Benelux (September Films -- the former Wild Bunch Benelux), France (TF1), Germany (Koch), Japan (New Select), Hong Kong (Edko), Hungary (Mtva), Australia (Umbrella), Latin America (California Filmes), Portugal (Outsider Films), South Africa (Times Media) Switzerland (Praesens), China (Beijing Xiangjiang YiHua Films), India (PVR), Indonesia, Malaysia, Singapore (Red Pictures), Taiwan (Spring International), Former Yugoslavia (Discovery Films), Romania (Independenta), South Korea (Kaon Contents & Media) and Airlines (Captive). eOne will directly release the film in Spain. Mbc will distribute throughout the Middle East, including Palestine and North Africa.
Ali: We filmed “The Idol” with no advance publicity outside of the Middle East. When it premiered at Tiff, we announced the sales. After it premiered in Toronto we sealed the American deal with Adopt Films which had released Hany’s film “Omar” and a U.K. deal. That concluded world sales to every territory.
Sl: Where will it play next?
Ali: After Toronto it played London, Warsaw and Torino Film Festivals. It will go on to play in Turkey and Dubai Film Festivals. Eagle will release the film on December 24th in the Gulf states (Gcc) and on January 14th in the Levant (Lebanon, Palestine and Jordan). On the 21st it opens in Egypt. Mbc will release on its pan-Arab television network.
Also in January Rotterdam Film Festival will screen it Its U.S. release by Adopt will be sometime between spring and summer.
- 12/3/2015
- by Sydney Levine
- Sydney's Buzz
The Lebanese Culture Ministry has selected the film "Void" (وينن) as the nation's Oscar entry in the Best Foreign Language Film category at the 88th Academy Awards.
Read More; The Czech Republic Taps 'Home Care' as Oscar Submission
Written by Georges Khabbaz, who also wrote and directed, "Ghadi," the country's last submission, "Void" was directed by seven young graduates from the Notre Dame University – Louaize: Naji Bechara, Jad Beyrouthy, Zeina Makki, Tarek Korkomaz, Christelle Ighniades, Maria Abdel Karim and Salim Habr.
"Void" revolves around six women searching for their loved ones who went missing during the Lebanese Civil War that took place from 1975 to 1990. While their stories offer diverse perspectives on the issue, all of them are pushing for the country's Parliament to reopen their cases and give them some answers.
The film is a Notre Dame University Production. U.S. rights are still available.
Read More: Mexico Picks '600 Miles' Starring Tim Roth as Oscar Entry
The Middle Eastern country has submitted films since 1978 but has yet to be nominated. Lebanon's highest profile submission was 2007's "Caramel" by Nadine Labaki, which eventually became the first Lebanese film to get a major U.S. theatrical release when it was picked up by Roadside Attractions. Labaki's followup "Where Do We Go Now?" was also submitted for AMPAS consideration and released stateside by Sony Pictures Classics but with less success that its predecessor.
Read More; The Czech Republic Taps 'Home Care' as Oscar Submission
Written by Georges Khabbaz, who also wrote and directed, "Ghadi," the country's last submission, "Void" was directed by seven young graduates from the Notre Dame University – Louaize: Naji Bechara, Jad Beyrouthy, Zeina Makki, Tarek Korkomaz, Christelle Ighniades, Maria Abdel Karim and Salim Habr.
"Void" revolves around six women searching for their loved ones who went missing during the Lebanese Civil War that took place from 1975 to 1990. While their stories offer diverse perspectives on the issue, all of them are pushing for the country's Parliament to reopen their cases and give them some answers.
The film is a Notre Dame University Production. U.S. rights are still available.
Read More: Mexico Picks '600 Miles' Starring Tim Roth as Oscar Entry
The Middle Eastern country has submitted films since 1978 but has yet to be nominated. Lebanon's highest profile submission was 2007's "Caramel" by Nadine Labaki, which eventually became the first Lebanese film to get a major U.S. theatrical release when it was picked up by Roadside Attractions. Labaki's followup "Where Do We Go Now?" was also submitted for AMPAS consideration and released stateside by Sony Pictures Classics but with less success that its predecessor.
- 9/20/2015
- by Carlos Aguilar
- Sydney's Buzz
The Tribeca Film Festival announced its jurors for this year’s event, which runs from April 16-27. The list includes Toni Collette, Lake Bell, Whoopi Goldberg, Catherine Hardwicke, Heather Graham, Anton Yelchin, Paul Wesley and 26 other leaders of the filmmaking community.
In addition to the Festival’s main competition juries in seven categories, Tribeca named Delia Ephron, Natasha Lyonne, and Gary Ross to select the second annual Nora Ephron Prize, which awards $25,000 to a female writer or director.
Click below for the entire list of jurors, with biographical information courtesy of the Tribeca festival:
World Competition Categories
The jurors for...
In addition to the Festival’s main competition juries in seven categories, Tribeca named Delia Ephron, Natasha Lyonne, and Gary Ross to select the second annual Nora Ephron Prize, which awards $25,000 to a female writer or director.
Click below for the entire list of jurors, with biographical information courtesy of the Tribeca festival:
World Competition Categories
The jurors for...
- 4/8/2014
- by Jeff Labrecque
- EW - Inside Movies
After making her feature debut as an actress in Bosta (2005), a film about a travelling dance troupe and their eponymous bus, Nadine Labaki went on to direct her own films, in which she also stars, always as a seductive but independent-minded character. She began 4 years ago with Caramel (Sukkar banat), a romantic comedy set in a beauty salon. The film focused on friendships and sisterly support among the regulars at the salon. Labaki’s second feature, Where Do We Go Now? (Et maintenant, on va où?, 2011), takes place in a village, far from Caramel‘s setting in urban Beirut, but the film is similarly female-centric. As in Caramel, the female characters tend to be direct in their interactions with each other, trading cheeky insults, but also putting their heads together to overcome problems created by the men in their lives. Not having a salon to meet at, the women of...
- 10/19/2011
- by Alison Frank
- The Moving Arts Journal
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