More Cannes coverage
Cannes -- Los Angeles-based Cinema Libre Studio has struck a production partnership with Belgium-based Corsan to produce three feature films a year through new production entity Global Talent Laboratory.
The projects will focus on the work of new directors with fresh perspectives.
The first film, to begin production in November, is Philippe Diaz's "The Last Days of Karl Marx," a co–production between Paul Breuls' Corsan and Jean-Jacques Beineix's Cargo Films. Diaz, based in Los Angeles, is the founder of Cinema Libre.
Production responsibilities will be shared by Cargo's Carine Leblanc and Corsan's Catherine Vandeleene.
Two other projects will help launch Global Talent Lab: Robert Leroy will direct a film about the death penalty, based on his original screenplay "Toy Soldier," and a project about euthanasia, based on the screenplay "The Sacrifice," by Hope Perello.
Under the agreement, three projects budgeted at $1 million-...
Cannes -- Los Angeles-based Cinema Libre Studio has struck a production partnership with Belgium-based Corsan to produce three feature films a year through new production entity Global Talent Laboratory.
The projects will focus on the work of new directors with fresh perspectives.
The first film, to begin production in November, is Philippe Diaz's "The Last Days of Karl Marx," a co–production between Paul Breuls' Corsan and Jean-Jacques Beineix's Cargo Films. Diaz, based in Los Angeles, is the founder of Cinema Libre.
Production responsibilities will be shared by Cargo's Carine Leblanc and Corsan's Catherine Vandeleene.
Two other projects will help launch Global Talent Lab: Robert Leroy will direct a film about the death penalty, based on his original screenplay "Toy Soldier," and a project about euthanasia, based on the screenplay "The Sacrifice," by Hope Perello.
Under the agreement, three projects budgeted at $1 million-...
- 5/19/2009
- by By Gregg Kilday
- The Hollywood Reporter - Movie News
From John Huston's "The Dead" to Thomas Vinterberg's "The Celebration", large family gatherings on special occasions have been potent subject matter in the hands of an accomplished moviemaker. While rookie writer-director Hope Perello is a little woozy in her direction, the low-budget U.S. indie "St. Patrick's Day" is a satisfying mix of comedy and drama with excellent performances by headliners Piper Laurie and Joanne Baron.
St. Patrick's Day the holiday, the tradition, is a time for singing and wailing, lovemaking and fighting, drinking and praying. These activities and more occur in Perello's mostly gentle, civilized film that has no shocking family secrets like in Huston and Vinterberg's more ambitious but gloomier films.
But the payoffs in "St. Patrick's Day" are well worth spending 105 minutes with the Donnellys and McDonoughs, Irish-Americans who are not far removed from the immigrant experience. Life has been good to the dozen or so characters in the film, but in the tradition of such scenarios, many big and little crises and epiphanies occur. Perello opts for matter-of-fact portraits of individuals, their talents and failings, with some wonderfully intimate moments and singing performances.
Second cousins surrender to their lustful desires, a married couple of 15 years announce their pending divorce, the matriarch of the family declares at the start of dinner that she has taken the "pledge" and forbids any drinking of alcohol, an unpopular but cheerfully honored restriction that is eventually resolved in favor of the imbibers.
Perello keeps the pace moving along nicely but allows the actors to have many unhurried moments where the characters come into focus. The most endearing and satisfying story line relates the long-overdue coming together of widow Mary Pat (Laurie) and gentlemanly Thomas (Redmond M. Gleeson), two great friends who in a exquisitely filmed scene, the film's best, become great lovers.
Both actors are thoroughly engaging in their roles thanks more to Perello's writing than often too-conservative directing. Baron is likewise terrific as Mary Pat's daughter, who is in the middle of breaking up with her husband (Jim Metzler). He delivers a heart-felt and eloquent farewell to the assembled family in another splendid scene.
Working out the story's constraints of time and locale, Perello overall gets the job done nicely. The all-around superb cast includes David Ault, Herta Ware and Colleen Fitzpatrick.
ST. PATRICK'S DAY
Sceneries International
Sceneries Euorpe, Enrique Cerezo Producciones
Cinematograficas, Marvel Movies
Writer-director: Hope Perello
Producers: Hope Perello, Kindra Anne Ruocco
Executive producers: Philippe Diaz, Philippe Lenglet
Director of photography: Denise Brassard
Production designer: Timothy Bride Keating
Editor: Ann Nervin Job
Music: Michael Muhlfriedel
Color/stereo
Cast:
Mary Pat: Piper Laurie
Priss: Joanne Baron
Adam: Jim Metzler
Thomas: Redmond M. Gleeson
Running time -- 105 minutes
No MPAA rating...
St. Patrick's Day the holiday, the tradition, is a time for singing and wailing, lovemaking and fighting, drinking and praying. These activities and more occur in Perello's mostly gentle, civilized film that has no shocking family secrets like in Huston and Vinterberg's more ambitious but gloomier films.
But the payoffs in "St. Patrick's Day" are well worth spending 105 minutes with the Donnellys and McDonoughs, Irish-Americans who are not far removed from the immigrant experience. Life has been good to the dozen or so characters in the film, but in the tradition of such scenarios, many big and little crises and epiphanies occur. Perello opts for matter-of-fact portraits of individuals, their talents and failings, with some wonderfully intimate moments and singing performances.
Second cousins surrender to their lustful desires, a married couple of 15 years announce their pending divorce, the matriarch of the family declares at the start of dinner that she has taken the "pledge" and forbids any drinking of alcohol, an unpopular but cheerfully honored restriction that is eventually resolved in favor of the imbibers.
Perello keeps the pace moving along nicely but allows the actors to have many unhurried moments where the characters come into focus. The most endearing and satisfying story line relates the long-overdue coming together of widow Mary Pat (Laurie) and gentlemanly Thomas (Redmond M. Gleeson), two great friends who in a exquisitely filmed scene, the film's best, become great lovers.
Both actors are thoroughly engaging in their roles thanks more to Perello's writing than often too-conservative directing. Baron is likewise terrific as Mary Pat's daughter, who is in the middle of breaking up with her husband (Jim Metzler). He delivers a heart-felt and eloquent farewell to the assembled family in another splendid scene.
Working out the story's constraints of time and locale, Perello overall gets the job done nicely. The all-around superb cast includes David Ault, Herta Ware and Colleen Fitzpatrick.
ST. PATRICK'S DAY
Sceneries International
Sceneries Euorpe, Enrique Cerezo Producciones
Cinematograficas, Marvel Movies
Writer-director: Hope Perello
Producers: Hope Perello, Kindra Anne Ruocco
Executive producers: Philippe Diaz, Philippe Lenglet
Director of photography: Denise Brassard
Production designer: Timothy Bride Keating
Editor: Ann Nervin Job
Music: Michael Muhlfriedel
Color/stereo
Cast:
Mary Pat: Piper Laurie
Priss: Joanne Baron
Adam: Jim Metzler
Thomas: Redmond M. Gleeson
Running time -- 105 minutes
No MPAA rating...
- 3/17/1999
- The Hollywood Reporter - Movie News
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