“The present came to a halt,” Bertrand Bonello writes in an ode to his teen daughter in his experimental feature Coma, “leaving us with the past and the future.” Much of this subtitled text refers to the specific circumstances of the film’s creation during the pandemic. Yet the French filmmaker’s follow-up, The Beast, which was developed before Coma but shot afterward, feels like a natural extension of his fascination with the scrambled perception of time in a digital era. In Bonello’s time-warping adaptation of Henry James’s 1903 novella The Beast in the Jungle, the present day is the Paris of 2044, where landscape and character have been warped by advances in artificial intelligence.
What’s evergreen, as a repeated aural motif so often reminds, is the twisted relationship of fear and love between Gabrielle (Léa Seydoux) and Louis (George MacKay). Bonello gives us a glance at two of...
What’s evergreen, as a repeated aural motif so often reminds, is the twisted relationship of fear and love between Gabrielle (Léa Seydoux) and Louis (George MacKay). Bonello gives us a glance at two of...
- 4/6/2024
- by Marshall Shaffer
- Slant Magazine
Every time I’ve seen The Beast there comes some point where I think Bertrand Bonello is the world’s greatest under-60 filmmaker. Not quite a new stance for me (declaring Saint Laurent the best movie of the 2010s was a lonely battle), but it’s exactly this accumulation of films through years and years of appreciation that makes his newest film’s climax so powerful, so cascading in its effects, so potent in the question of who’s even treating images and montage in service of such heady narrative frameworks and sharp-tuned performances. If I confess unique bias, having worked on Bonello’s films in the distribution realm––the theatrical and home-video release of Nocturama, the digital debut of Ingrid Caven: Music and Voice, and producing a vinyl LP of his original soundtracks––it means I’ve also seen a shift in perception, from cult figure to major figure of world cinema.
- 4/4/2024
- by Nick Newman
- The Film Stage
Fremantle has completed its acquisition of global production studio Asacha Media Group, the company confirmed today.
Fremantle acquired the group from founding partners, managers and funds managed by Oaktree Capital Management
Fremantle’s group COO and CEO for continental Europe Andrea Scrosati spearheaded the acquisition. Asacha co-founder and group CEO Gaspard de Chavagnac will continue to run the company, reporting to Scrosati. Marina Williams will continue in her role as chief content officer.
Asacha boasts a portfolio of eight labels across France, Italy and the U.K: Kabo Family, Mintee, Srab Films, Picomedia, Stand By Me, Arrow Media, Red Planet Pictures and Wag. They will continue to report to de Chavagnac.
Fremantle’s existing European businssess – including Talkback, 72 Films, Kwaï and Lux Vide – will not be affected by the acquisition. Those companies will continue in their previous reporting structure.
Lazard, Mayer Brown, Duroc partners and and Arsene advised Asacha Media Group and Oaktree.
Fremantle acquired the group from founding partners, managers and funds managed by Oaktree Capital Management
Fremantle’s group COO and CEO for continental Europe Andrea Scrosati spearheaded the acquisition. Asacha co-founder and group CEO Gaspard de Chavagnac will continue to run the company, reporting to Scrosati. Marina Williams will continue in her role as chief content officer.
Asacha boasts a portfolio of eight labels across France, Italy and the U.K: Kabo Family, Mintee, Srab Films, Picomedia, Stand By Me, Arrow Media, Red Planet Pictures and Wag. They will continue to report to de Chavagnac.
Fremantle’s existing European businssess – including Talkback, 72 Films, Kwaï and Lux Vide – will not be affected by the acquisition. Those companies will continue in their previous reporting structure.
Lazard, Mayer Brown, Duroc partners and and Arsene advised Asacha Media Group and Oaktree.
- 3/25/2024
- by K.J. Yossman
- Variety Film + TV
DJ/production duo Justice are back with a new song, “Saturnine,” featuring guest vocals from R&b singer Miguel. The track will appear on the French group’s new album, Hyperdrama, out April 26 via Ed Banger/Because Music.
Though led by some blazing, bright synth work and Miguel’s unmistakable falsetto, “Saturnine” takes some moody turns befitting its title. In a statement, Justice said, “We don’t think we’ve ever made anything that sounds remotely like this track before.”
After Gaspard Augé found the lead riff via an E-mu synthesizer guitar sound,...
Though led by some blazing, bright synth work and Miguel’s unmistakable falsetto, “Saturnine” takes some moody turns befitting its title. In a statement, Justice said, “We don’t think we’ve ever made anything that sounds remotely like this track before.”
After Gaspard Augé found the lead riff via an E-mu synthesizer guitar sound,...
- 3/20/2024
- by Jon Blistein
- Rollingstone.com
Director Emily Atef and producer Xénia Maingot paid tribute to late French actor Gaspard Ulliel on the first of anniversary of his death at a screening in London of his last feature More Than Ever on Thursday evening.
The title was the last feature film production Ulliel worked on before he died in a skiing accident in the French Alps on January 19, 2022 at the age of 37 years old.
The drama stars Vicky Krieps as a woman who retreats to the Norwegian fjords as she comes to terms with a life-threatening respiratory illness. Ulliel co-starred as her devoted husband who struggles to come to terms with her decision to strike off on her own.
“Today is a special screening. To be honest, I wouldn’t have been able to do this event in France today because Gaspard was so immensely loved in France,” Atef told the audience at the French Institute’s Lumière Cinema.
The title was the last feature film production Ulliel worked on before he died in a skiing accident in the French Alps on January 19, 2022 at the age of 37 years old.
The drama stars Vicky Krieps as a woman who retreats to the Norwegian fjords as she comes to terms with a life-threatening respiratory illness. Ulliel co-starred as her devoted husband who struggles to come to terms with her decision to strike off on her own.
“Today is a special screening. To be honest, I wouldn’t have been able to do this event in France today because Gaspard was so immensely loved in France,” Atef told the audience at the French Institute’s Lumière Cinema.
- 1/20/2023
- by Melanie Goodfellow
- Deadline Film + TV
Cannes 2022: My Favorite FilmsMy favorite films this year were small, female-centered and female-directed movies. I have never been partial to female oriented or directed films before, so perhaps the year of Covid has transformed my own understandings and/ or it has altered the directing choices women make. Or maybe they were just better than the male-made pictures this year, though only three out of 18 films competing are directed by women, four years after the festival pledged to improve gender representation. Five films directed by women — out of 15 films total — will be shown as official selections in the festival’s Un Certain Regard. Selections for the festival are chosen by the selection committee. Maybe it, like the new French Oscar Selection Committee needs to be overhauled.Mia Hansen-Løve, Alice Winocur, Emily Atef
Moreover, Cannes messed up on its online ordering system and changes in the ticketing protocols, and so I among many missed several films we wanted to see, e.g., Corsage, for which Vicky Krieps won Best Acting Award. Marie Kreutzer’s period piece in which Krieps plays Empress Sisi of Austria, one of Europe’s first celebrity royals was a coproduction of Austria, France, Germany, and Luxembourg. MK2 sold it to IFC for US and Canada. Other rights went to Austria-Panda Lichtspiele; Benelux-The Searchers; France-Ad Vitam; Hungary-Cirko; Ireland, UK-Picturehouse; Italy-Bim; Spain-Adso Films; Poland-M2; Czech Republic-Aerofilm; Ex-Yugoslavia-Demiurg. I will see it in the Berlin cinema where Alamode is releasing it. You can see it along with these favorite films of mine in Toronto!
Vicky Krieps plays Empress SIsi in ‘Corsage’. She also stars in ‘More Than Ever’
Paris Memories, One Fine Day, and More Than Ever were all about women finding their own unique path for their own unique well-being which could only be discovered by their listening to their own (rather than society’s) inner promptings.
Alice Winocur wrote and directed Revoir Paris after her brother had been in Bataclan, the night spot in Paris shot to bits by a mass murderer. However, her story is not at Bataclan or about Bataclan. A young tv reporter goes into an upscale brasserie to get out of a rain storm and the shooting occurs. The story starts as she returns to Paris after recovering for three months at her mother’s country home and notices the restaurant. It proceeds as she goes on a quest to recover her lost memory of what exactly happened to her that night. One sees Paris in a new way and the kindness of strangers creates bonds beyond the every day conventional ones we hold dear.
The second, One Fine Day, starring Lea Seydoux, is a simple story of a young widow who falls in love again. Simple, clean, quiet and beautifully depicted, it is a perfect film for Seydoux. Mia Hansen-Løve has created a jewel of a study of a woman recovering from grief and finding a way to love again. Among Seydoux’ 51 films in 18 years of acting are Inglorious Basterds, Farewell, My Queen, last year’s Cannes entry The Story of my Wife whose poor editing doomed it, and the most visible, Blue is the Warmest Color which won 2013 Cannes Palme d’Or as well as Best Actress for both her and her co-star Adele Exarchopoulos and the Fipresci Prize. One Fine Day may well be the film for which she will be most remembered by her fans.
The third, More Than Ever, by Berlin director Emily Atef (3 Days in Quiberonabout the last interview of Romy Schneider) captures the pathos of a young woman with a fatal disease and how even her beloved is unable to help. A tear-jerker but not at all melodramatic, one might say this is Krieps’ best role since Phantom Thread. (However, I have yet to see her in Corsage!) She finds her way toward peace which, in the end, is the most precious gift.
The back story of this movie is as dramatic as the film, perhaps more so because in real life, the costar died. Her costar Gaspard Ulliel had a son with his former partner, model and singer Gaëlle Piétri, born in January 2016. They split up in 2020. Filming went from 14 April 2021to 4 June 2021. Gaspard died on 19 January, 2022, in La Tronche, Isère, France, after a skiing accident. Vicky Krieps, who was Gaspard Ulliel’s last companion — a version called into question by Gaëlle Pietri, got a drubbing originally from the popular French press and populace for this dating of events in which she was judged a home breaker.
Speaking to paper jam about More than ever, “Krieps said, ‘I hope that More Than Ever won’t just be anticipated because it’s Gaspard Ulliel’s last film. Above all, it is a very beautiful film (…) The projection can only be a nice moment, since, during this film, Gaspard will be alive on screen. To be present at Cannes, in a last feature film which thus speaks of the love of a couple, and of how this love can survive death, is a beautiful analogy. Strong and deep. I hope we manage to convey some of this truth to the public…’, she confided to paper jam, not without emotion.”
After the Cannes standing ovation for Corsage, the public has forgiven Vicky for her perceived real-life position. We look forward to her next movies now in post: Bachmann & Frisch; The Three Musketeers: Milady and The Three Musketeers: D’Artagnan in which she plays Anne d’Autriche, and
The Wall in which she plays a committed and zealous border patrol agent who loses control and kills a harmless migrant in front of three witnesses.
The three films I loved most in Cannes touched my innermost emotional core. They validate my own choices and strengthen my convictions. I am sure they will encourage others to recognize and follow their own promptings as they find new pathways in our quickly changing world.
Moreover, Cannes messed up on its online ordering system and changes in the ticketing protocols, and so I among many missed several films we wanted to see, e.g., Corsage, for which Vicky Krieps won Best Acting Award. Marie Kreutzer’s period piece in which Krieps plays Empress Sisi of Austria, one of Europe’s first celebrity royals was a coproduction of Austria, France, Germany, and Luxembourg. MK2 sold it to IFC for US and Canada. Other rights went to Austria-Panda Lichtspiele; Benelux-The Searchers; France-Ad Vitam; Hungary-Cirko; Ireland, UK-Picturehouse; Italy-Bim; Spain-Adso Films; Poland-M2; Czech Republic-Aerofilm; Ex-Yugoslavia-Demiurg. I will see it in the Berlin cinema where Alamode is releasing it. You can see it along with these favorite films of mine in Toronto!
Vicky Krieps plays Empress SIsi in ‘Corsage’. She also stars in ‘More Than Ever’
Paris Memories, One Fine Day, and More Than Ever were all about women finding their own unique path for their own unique well-being which could only be discovered by their listening to their own (rather than society’s) inner promptings.
Alice Winocur wrote and directed Revoir Paris after her brother had been in Bataclan, the night spot in Paris shot to bits by a mass murderer. However, her story is not at Bataclan or about Bataclan. A young tv reporter goes into an upscale brasserie to get out of a rain storm and the shooting occurs. The story starts as she returns to Paris after recovering for three months at her mother’s country home and notices the restaurant. It proceeds as she goes on a quest to recover her lost memory of what exactly happened to her that night. One sees Paris in a new way and the kindness of strangers creates bonds beyond the every day conventional ones we hold dear.
The second, One Fine Day, starring Lea Seydoux, is a simple story of a young widow who falls in love again. Simple, clean, quiet and beautifully depicted, it is a perfect film for Seydoux. Mia Hansen-Løve has created a jewel of a study of a woman recovering from grief and finding a way to love again. Among Seydoux’ 51 films in 18 years of acting are Inglorious Basterds, Farewell, My Queen, last year’s Cannes entry The Story of my Wife whose poor editing doomed it, and the most visible, Blue is the Warmest Color which won 2013 Cannes Palme d’Or as well as Best Actress for both her and her co-star Adele Exarchopoulos and the Fipresci Prize. One Fine Day may well be the film for which she will be most remembered by her fans.
The third, More Than Ever, by Berlin director Emily Atef (3 Days in Quiberonabout the last interview of Romy Schneider) captures the pathos of a young woman with a fatal disease and how even her beloved is unable to help. A tear-jerker but not at all melodramatic, one might say this is Krieps’ best role since Phantom Thread. (However, I have yet to see her in Corsage!) She finds her way toward peace which, in the end, is the most precious gift.
The back story of this movie is as dramatic as the film, perhaps more so because in real life, the costar died. Her costar Gaspard Ulliel had a son with his former partner, model and singer Gaëlle Piétri, born in January 2016. They split up in 2020. Filming went from 14 April 2021to 4 June 2021. Gaspard died on 19 January, 2022, in La Tronche, Isère, France, after a skiing accident. Vicky Krieps, who was Gaspard Ulliel’s last companion — a version called into question by Gaëlle Pietri, got a drubbing originally from the popular French press and populace for this dating of events in which she was judged a home breaker.
Speaking to paper jam about More than ever, “Krieps said, ‘I hope that More Than Ever won’t just be anticipated because it’s Gaspard Ulliel’s last film. Above all, it is a very beautiful film (…) The projection can only be a nice moment, since, during this film, Gaspard will be alive on screen. To be present at Cannes, in a last feature film which thus speaks of the love of a couple, and of how this love can survive death, is a beautiful analogy. Strong and deep. I hope we manage to convey some of this truth to the public…’, she confided to paper jam, not without emotion.”
After the Cannes standing ovation for Corsage, the public has forgiven Vicky for her perceived real-life position. We look forward to her next movies now in post: Bachmann & Frisch; The Three Musketeers: Milady and The Three Musketeers: D’Artagnan in which she plays Anne d’Autriche, and
The Wall in which she plays a committed and zealous border patrol agent who loses control and kills a harmless migrant in front of three witnesses.
The three films I loved most in Cannes touched my innermost emotional core. They validate my own choices and strengthen my convictions. I am sure they will encourage others to recognize and follow their own promptings as they find new pathways in our quickly changing world.
- 12/18/2022
- by Sydney
- Sydney's Buzz
Click here to read the full article.
The Sundance Institute has added three new names to its board of trustees: Lulu Wang, Patrick Gaspard and Shripriya Mahesh. The trio will help guide and advise the nonprofit on its endeavors, including the prolific filmmaker labs and annual film festival.
Wang is an award winning director, producer, and writer behind titles like The Farewell. Gaspard is president and CEO of the think tank Center for American Progress. Mahesh is a filmmaker and the founding partner of venture capital firm Spero Ventures, a technology executive.
“The new trustees bring an invaluable depth of experience in government and civic engagement, technology and digital product development, and deep knowledge of the media, entertainment, and storytelling landscape,” said Sundance Institute board chair Ebs Burnough.
“We are honored to have Lulu, Patrick and Shripriya join us as Trustees on the Board of Sundance Institute. Their vision and...
The Sundance Institute has added three new names to its board of trustees: Lulu Wang, Patrick Gaspard and Shripriya Mahesh. The trio will help guide and advise the nonprofit on its endeavors, including the prolific filmmaker labs and annual film festival.
Wang is an award winning director, producer, and writer behind titles like The Farewell. Gaspard is president and CEO of the think tank Center for American Progress. Mahesh is a filmmaker and the founding partner of venture capital firm Spero Ventures, a technology executive.
“The new trustees bring an invaluable depth of experience in government and civic engagement, technology and digital product development, and deep knowledge of the media, entertainment, and storytelling landscape,” said Sundance Institute board chair Ebs Burnough.
“We are honored to have Lulu, Patrick and Shripriya join us as Trustees on the Board of Sundance Institute. Their vision and...
- 11/10/2022
- by Mia Galuppo
- The Hollywood Reporter - Movie News
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