Here’s a look at this week’s biggest premieres, parties and openings in Los Angeles and New York, including events for Oppenheimer and Haunted Mansion.
Haunted Mansion premiere
On Saturday, Disney held the first major red carpet since SAG-AFTRA went on strike, debuting Haunted Mansion at Disneyland with director Justin Simien and the film’s producers.
Phillip J. Bartell, Dan Lin, Kris Bowers, Jonathan Eirich, Nick Reynolds, Justin Simien and Jeffrey Waldron Justin Simien
Oppenheimer New York premiere
Though the New York red carpet was scrapped amid the actors strike, Oppenheimer still debuted in the city on Monday alongside director Christopher Nolan and his filmmaking team.
Christopher Nolan and Emma Thomas Andy Thompson, John Papsidera, Nilo Otero, Thomas Hayslip, Ludwig Göransson, Ruth De Jong, Emma Thomas, Christopher Nolan, Jennifer Lame, Ellen Mirojnick, Charles Roven, Kai Bird and Willie D. Burton
Armani Beauty celebration
Chase Stokes, Jonathan Daviss, Lukas Gage,...
Haunted Mansion premiere
On Saturday, Disney held the first major red carpet since SAG-AFTRA went on strike, debuting Haunted Mansion at Disneyland with director Justin Simien and the film’s producers.
Phillip J. Bartell, Dan Lin, Kris Bowers, Jonathan Eirich, Nick Reynolds, Justin Simien and Jeffrey Waldron Justin Simien
Oppenheimer New York premiere
Though the New York red carpet was scrapped amid the actors strike, Oppenheimer still debuted in the city on Monday alongside director Christopher Nolan and his filmmaking team.
Christopher Nolan and Emma Thomas Andy Thompson, John Papsidera, Nilo Otero, Thomas Hayslip, Ludwig Göransson, Ruth De Jong, Emma Thomas, Christopher Nolan, Jennifer Lame, Ellen Mirojnick, Charles Roven, Kai Bird and Willie D. Burton
Armani Beauty celebration
Chase Stokes, Jonathan Daviss, Lukas Gage,...
- 7/21/2023
- by Kirsten Chuba
- The Hollywood Reporter - Movie News
The Göteborg Film Festival’s series-focused, industry sidebar TV Drama Vision returned this week with two days of talks and panels centered on series production in Europe and the Nordic region.
The program featured over 60 on-stage speakers and was dominated by the presence of Netflix, which celebrated its 10th year in the Nordic region late last year.
“We had a great year,” Jenny Stjernströmer Björk, VP of Nordic Content at Netflix, said when asked about the streamer’s 2022 Nordic efforts on stage at the Grand Theater in Göteborg.
Björk went on to list what she described as some of the streamer’s most successful Nordic content, including the Swedish series Snabba Cash. The experienced exec also cited the Spotify origins series The Playlist, and Roar Uthaug’s folklore thriller Troll, which Björk said became the most popular non-English language film on Netflix in less than two weeks of its release.
The program featured over 60 on-stage speakers and was dominated by the presence of Netflix, which celebrated its 10th year in the Nordic region late last year.
“We had a great year,” Jenny Stjernströmer Björk, VP of Nordic Content at Netflix, said when asked about the streamer’s 2022 Nordic efforts on stage at the Grand Theater in Göteborg.
Björk went on to list what she described as some of the streamer’s most successful Nordic content, including the Swedish series Snabba Cash. The experienced exec also cited the Spotify origins series The Playlist, and Roar Uthaug’s folklore thriller Troll, which Björk said became the most popular non-English language film on Netflix in less than two weeks of its release.
- 2/3/2023
- by Zac Ntim
- Deadline Film + TV
In order to make it as a showrunner, you should be able to bear loneliness for longer periods of time, said “Skam’s” Julie Andem at Göteborg’s TV Drama Vision.
“To this day, I don’t really know what a showrunner is. Or does. But the most important thing is to have the strongest vision of the show and make sure everyone is working towards it. Make sure your collaborators have fun with it, that they get something out of it, personally,” she added.
“You have to believe in your story. It was so clear to me what ‘Skam’ was supposed to be and how it needed to be done. I knew when to say ‘no,’ right away, which makes this job easier.”
Andem opened up about her experiences, from humble beginnings in advertising – “When clients disagreed with my idea, I thought they were idiots. You can’t work like that,...
“To this day, I don’t really know what a showrunner is. Or does. But the most important thing is to have the strongest vision of the show and make sure everyone is working towards it. Make sure your collaborators have fun with it, that they get something out of it, personally,” she added.
“You have to believe in your story. It was so clear to me what ‘Skam’ was supposed to be and how it needed to be done. I knew when to say ‘no,’ right away, which makes this job easier.”
Andem opened up about her experiences, from humble beginnings in advertising – “When clients disagreed with my idea, I thought they were idiots. You can’t work like that,...
- 2/2/2023
- by Marta Balaga
- Variety Film + TV
Catherine Hardwicke’s razor-sharp blend of comedy and tragedy, Miss You Already, arrives on Blu-ray, DVD, and a variety of VOD platforms March 1. The story of best friends (played by Drew Barrymore and Toni Collette) struggling to deal with the fact that one of them has terminal cancer, it’s a film that walks a tonal tightrope: silly, devastating, sexy, angering, and bittersweet, the movie’s diverse range of effects is a testament to Hardwicke, her actors, and an ambitious script by Morwenna Banks. Pulling all of the elements together is editor Phillip J. Bartell, whose superb work on 2014’s Dear White […]...
- 2/23/2016
- by Jim Hemphill
- Filmmaker Magazine - Blog
From the very opening, we are warned that this is a film of doubling and illusion. A car slowly pulls up and to a stop in a nighttime Lima street, but we gradually realise that we are observing the scene through a large window, with the street and headlamps subtly reflecting and shifting in the pulled focus. It turns out that this sequence – man with gun stealthily enters house – forms the final chapter of Edo Celeste’s latest in a long line of successful detective novels, and he is composing it as we watch, before deleting it in disgust at his reliance on cliche – a black cat. It also turns out that later on Edo himself will repeat the exact same actions, via the same shots, trying to find the woman who can help him find the mysterious man who has posed for a photographic project depicting his works’ hero,...
- 6/22/2015
- by Tom Newth
- SoundOnSight
By Terence Johnson
Managing Editor
There are movies that manage to touch upon current issues and then there are films that speak to you, as an audience member, and your life experiences. Luckily, for me, Dear White People managed to be both of those films, and extremely successful at that. While Justin Simien does encounter some minor stumbles, in his capable hands Dear White People is a perfect film for today’s generation.
The plot for Dear White People is pretty simple. Samantha White (a revelatory Tessa Thompson), a media arts major and host of the popular show “Dear White People”, is fed up with the state of the all-black residence hall Parker/Armstrong and decides to run for Head of House against the golden boy son of the Dean of Students, and her former flame, Troy (Brandon P. Bell). She wins just as a reality TV show comes onto...
Managing Editor
There are movies that manage to touch upon current issues and then there are films that speak to you, as an audience member, and your life experiences. Luckily, for me, Dear White People managed to be both of those films, and extremely successful at that. While Justin Simien does encounter some minor stumbles, in his capable hands Dear White People is a perfect film for today’s generation.
The plot for Dear White People is pretty simple. Samantha White (a revelatory Tessa Thompson), a media arts major and host of the popular show “Dear White People”, is fed up with the state of the all-black residence hall Parker/Armstrong and decides to run for Head of House against the golden boy son of the Dean of Students, and her former flame, Troy (Brandon P. Bell). She wins just as a reality TV show comes onto...
- 1/19/2014
- by Terence Johnson
- Scott Feinberg
Strand Releasing
NEW YORK -- Style takes precedence over content in this fourth installment of Strand Releasing's popular series of gay-themed short-film compilations. Perhaps the weakest edition of the series, "Boys Life 4: Four Play" features a quartet of efforts more reflective of the filmmakers' career aspirations than of a desire for meaningful expression. The film is playing an exclusive theatrical engagement at New York's Quad Cinema.
The opener, "L.T.R.", from writer-director Phillip J. Bartell, at least displays a timeliness in its satirical look at reality TV, which this summer has been on a particularly gay-oriented bent. It depicts the unraveling of the so-called "long-term relationship" between pot-smoking, stay-at-home Riley (Weston Mueller) and the younger, party-animal Michael (Cole Williams), a relationship not at all helped by the sexual fling between Michael and the filmmaker documenting their story.
Another rocky relationship is examined in Brian Sloan's "Bumping Heads", depicting the developing friendship between thirtysomething Craig (Craig Chester) and much younger Gary (Anderson Gabrych), who meet when their noggins collide at a party. Craig wants the relationship to progress into something more romantic but is unable to act on his desire until yet another incident of head bumping lands him in the hospital.
The most serious entry, Alan Brown's "O Beautiful", uses the Matthew Shepard incident for inspiration in its depiction of the aftermath of a gay-bashing incident in which a young man (Jay Gillespie) has been left for dead in a Midwestern cornfield. One of his attackers (David Rogers) returns to help him, with his true motivations only gradually becoming clear. Its extensive use of split screen is more distracting than illuminating.
But not as distracting as it is in "This Car Up", Eric Mueller's trivial depiction of the "meet cute" between a yuppie exec (Michael Booth) and a sinewy bike messenger (Brent Doyle), in which the relentless use of split screen is as annoying gimmicky as it's been in Mike Figgis' feature-length experiments.
NEW YORK -- Style takes precedence over content in this fourth installment of Strand Releasing's popular series of gay-themed short-film compilations. Perhaps the weakest edition of the series, "Boys Life 4: Four Play" features a quartet of efforts more reflective of the filmmakers' career aspirations than of a desire for meaningful expression. The film is playing an exclusive theatrical engagement at New York's Quad Cinema.
The opener, "L.T.R.", from writer-director Phillip J. Bartell, at least displays a timeliness in its satirical look at reality TV, which this summer has been on a particularly gay-oriented bent. It depicts the unraveling of the so-called "long-term relationship" between pot-smoking, stay-at-home Riley (Weston Mueller) and the younger, party-animal Michael (Cole Williams), a relationship not at all helped by the sexual fling between Michael and the filmmaker documenting their story.
Another rocky relationship is examined in Brian Sloan's "Bumping Heads", depicting the developing friendship between thirtysomething Craig (Craig Chester) and much younger Gary (Anderson Gabrych), who meet when their noggins collide at a party. Craig wants the relationship to progress into something more romantic but is unable to act on his desire until yet another incident of head bumping lands him in the hospital.
The most serious entry, Alan Brown's "O Beautiful", uses the Matthew Shepard incident for inspiration in its depiction of the aftermath of a gay-bashing incident in which a young man (Jay Gillespie) has been left for dead in a Midwestern cornfield. One of his attackers (David Rogers) returns to help him, with his true motivations only gradually becoming clear. Its extensive use of split screen is more distracting than illuminating.
But not as distracting as it is in "This Car Up", Eric Mueller's trivial depiction of the "meet cute" between a yuppie exec (Michael Booth) and a sinewy bike messenger (Brent Doyle), in which the relentless use of split screen is as annoying gimmicky as it's been in Mike Figgis' feature-length experiments.
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