Sony also bought the U.S. rights to Jimmy's Hall, Saint Laurent, and Wild Tales. I think that they pretty much blew through their Cannes budget, and Ceylan isn't really their jam anyway.criterion10 wrote:Sony Classics actually just picked up Leviathan. (They also have Foxcatcher and Mr. Turner.)FrauBlucher wrote:Winter Sleep hasn't been signed yet, but it'll be interesting to see who does get it. Sony Classics may be a frontrunner.
Cannes 2014
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Jeff
- Joined: Wed Nov 03, 2004 1:49 am
- Location: Denver, CO
Re: Cannes 2014
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FrauBlucher
- Joined: Tue Jul 16, 2013 12:28 am
- Location: Greenwich Village
Re: Cannes 2014
Apparently Tarantino, along with Uma Thurman didn't like Winter Sleep. I can't say I'm shocked. But if that's the case it must be a great film.
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domino harvey
- Dot Com Dom
- Joined: Wed Jan 11, 2006 6:42 pm
Re: Cannes 2014
To be honest, every description I've read of the film makes it sound like a chore to sit through and of a piece with a lot of international art house cinema of late, but the win intrigues me enough to give it a chance. Which is to say, it wouldn't surprise me either way!
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mfunk9786
- Under Chris' Protection
- Joined: Fri May 16, 2008 8:43 pm
- Location: Miami, FL
Re: Cannes 2014
Huh?FrauBlucher wrote:Apparently Tarantino, along with Uma Thurman didn't like Winter Sleep. I can't say I'm shocked. But if that's the case it must be a great film.
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Finch
- Joined: Mon Jul 07, 2008 9:09 pm
- Location: United States
Re: Cannes 2014
Nice one. That almost certainly means a Blu-Ray for Leviathan.Sony Classics actually just picked up Leviathan. (They also have Foxcatcher and Mr. Turner.)
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FrauBlucher
- Joined: Tue Jul 16, 2013 12:28 am
- Location: Greenwich Village
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FrauBlucher
- Joined: Tue Jul 16, 2013 12:28 am
- Location: Greenwich Village
Re: Cannes 2014
Is it odd that still no distribution deals for Winter Sleep in the US and UK?
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MichaelB
- Joined: Fri Aug 11, 2006 10:20 pm
- Location: Worthing
- Contact:
Re: Cannes 2014
I don't know about the US, but New Wave Films picked it up for the UK a week ago.FrauBlucher wrote:Is it odd that still no distribution deals for Winter Sleep in the US and UK?
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FerdinandGriffon
- Joined: Wed Nov 26, 2008 3:16 pm
Re: Cannes 2014
What are you worried about? It's inevitable that it'll come out in both territories.FrauBlucher wrote:Is it odd that still no distribution deals for Winter Sleep in the US and UK?
Only seen Anatolia, which was 1/2 a great movie saddled with 1/2 a dull and pretentious one. This looks a lot closer to that second 1/2.
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FrauBlucher
- Joined: Tue Jul 16, 2013 12:28 am
- Location: Greenwich Village
Re: Cannes 2014
Thanks. Missed this news.MichaelB wrote:I don't know about the US, but New Wave Films picked it up for the UK a week ago.FrauBlucher wrote:Is it odd that still no distribution deals for Winter Sleep in the US and UK?
Nah, not worried. Actually, hoping it ends up with Janus or IFC.FerdinandGriffon wrote:What are you worried about? It's inevitable that it'll come out in both territories.FrauBlucher wrote:Is it odd that still no distribution deals for Winter Sleep in the US and UK?
Only seen Anatolia, which was 1/2 a great movie saddled with 1/2 a dull and pretentious one. This looks a lot closer to that second 1/2.
For me, Once Upon a Time in Anatolia had two great halves. Can't wait to see this one!!
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FrauBlucher
- Joined: Tue Jul 16, 2013 12:28 am
- Location: Greenwich Village
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Finch
- Joined: Mon Jul 07, 2008 9:09 pm
- Location: United States
Re: Cannes 2014
It Follows has been bought for US distribution by Radius:
New York, NY (June 3, 2014) - RADiUS announced today that it has acquired U.S. rights to the critical horror hit IT FOLLOWS written and directed by David Robert Mitchell (THE MYTH OF THE AMERICAN SLEEPOVER) that recently screened in Cannes as part of Critics' Week (RADiUS also bought WHEN ANIMALS DREAM out of Critics' Week). In IT FOLLOWS - after a strange sexual encounter - a teenager finds herself plagued by disturbing visions and the inescapable sense that something is following her.
This will be the second time RADiUS has picked up the American favorite at Cannes after securing rights to breakout hit BLUE RUIN last year.
Financed by Animal Kingdom and Northern Lights, the film was produced by Rebecca Green, Laura D. Smith, Mitchell, David Kaplan and Erik Rommesmo. IT FOLLOWS features an up and coming ensemble cast that includes Maika Monroe (LABOR DAY), Keir Gilchrist (IT'S KIND OF A FUNNY STORY), Daniel Zovatto (LAGGIES), Jake Weary (ZOMBEAVERS), Olivia Luccardi ("Girls") and Lili Sepe (SPORK).
RADiUS has slated a first quarter 2015 release.
For 19-year-old Jay (Monroe), the fall should be about school, boys and weekends at the lake. Yet, after a seemingly innocent sexual encounter she suddenly finds herself plagued by nightmarish visions; she can't shake the sensation that someone, or something, is following her. As the threat closes in, Jay and her friends must somehow escape the horrors that are only a few steps behind.
With a riveting central performance from Monroe and a strikingly ominous electronic score by Disasterpeace, IT FOLLOWS was universally praised after its premiere in Cannes.
According to RADiUS co-president Tom Quinn: "American horror has an extraordinary new voice in David Robert Mitchell. IT FOLLOWS is an inspired gift for horror fans everywhere. Both haunting and beautiful, it's sure to be considered one of the best indie horror films in over a decade."
David Robert Mitchell goes on to say: "It's great to be working with such a dynamic company like RADiUS. I'm really excited for audiences to see this film. I hope it leaves a lasting impression in the form of nightmares and a general sense of dread."
Quinn and Janego negotiated the deal with Cinetic - in conjunction with Jen Dana - on behalf of the filmmakers.
New York, NY (June 3, 2014) - RADiUS announced today that it has acquired U.S. rights to the critical horror hit IT FOLLOWS written and directed by David Robert Mitchell (THE MYTH OF THE AMERICAN SLEEPOVER) that recently screened in Cannes as part of Critics' Week (RADiUS also bought WHEN ANIMALS DREAM out of Critics' Week). In IT FOLLOWS - after a strange sexual encounter - a teenager finds herself plagued by disturbing visions and the inescapable sense that something is following her.
This will be the second time RADiUS has picked up the American favorite at Cannes after securing rights to breakout hit BLUE RUIN last year.
Financed by Animal Kingdom and Northern Lights, the film was produced by Rebecca Green, Laura D. Smith, Mitchell, David Kaplan and Erik Rommesmo. IT FOLLOWS features an up and coming ensemble cast that includes Maika Monroe (LABOR DAY), Keir Gilchrist (IT'S KIND OF A FUNNY STORY), Daniel Zovatto (LAGGIES), Jake Weary (ZOMBEAVERS), Olivia Luccardi ("Girls") and Lili Sepe (SPORK).
RADiUS has slated a first quarter 2015 release.
For 19-year-old Jay (Monroe), the fall should be about school, boys and weekends at the lake. Yet, after a seemingly innocent sexual encounter she suddenly finds herself plagued by nightmarish visions; she can't shake the sensation that someone, or something, is following her. As the threat closes in, Jay and her friends must somehow escape the horrors that are only a few steps behind.
With a riveting central performance from Monroe and a strikingly ominous electronic score by Disasterpeace, IT FOLLOWS was universally praised after its premiere in Cannes.
According to RADiUS co-president Tom Quinn: "American horror has an extraordinary new voice in David Robert Mitchell. IT FOLLOWS is an inspired gift for horror fans everywhere. Both haunting and beautiful, it's sure to be considered one of the best indie horror films in over a decade."
David Robert Mitchell goes on to say: "It's great to be working with such a dynamic company like RADiUS. I'm really excited for audiences to see this film. I hope it leaves a lasting impression in the form of nightmares and a general sense of dread."
Quinn and Janego negotiated the deal with Cinetic - in conjunction with Jen Dana - on behalf of the filmmakers.
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zedz
- Joined: Sun Nov 07, 2004 11:24 pm
Re: Cannes 2014
I’ve now seen a bunch of Cannes titles, so here are some reactions.
In Competition
Winter Sleep (Ceylan) – I’ve already commented in the film’s dedicated thread. From what I’ve seen, this is a completely natural Palme winner, great filmmaking from a great filmmaker, with a much wider tonal range than its immediate competition or even the director’s previous work.
Wild Tales (Szifron) – Balls to the wall, blacker-than-black hilarity from start to finish, with only a couple of the six tales of lurid revenge dipping to average. Almodovar helped produce this, and that gives you a vague idea of the sensibility, but he hasn’t directed anything this energetic for a quarter century, and he’s never been so flat-out funny.
Adieu au Langage (Godard) – Spectacular non-naturalistic use of 3D elevates a typically simplistic intellectual structure (NATURE vs. METAPHOR, repeat incessantly). The film really soars when it indulges in pure spectacle and / or cute doggie stuff.
Leviathan (Zvyagintsev) – Typically dour and commanding drama from Zvyagintsev. In this case, a reasonable small-town facsimile of the trials of Job is visited upon a not-quite-total shit. It could do with being less humourless, but there’s no denying the directorial chops on display. The real target of the film is revealed very late in the piece and adds considerably to its sting.
Two Days, One Night (Dardennes) – More of the very good same from Los Bros. The core idea promises a very schematic narrative, since you know that Sandra is going to have to track down everybody on the list, she’ll encounter wildly varying responses, and the precise outcome will still be up in the air at the end of the process. I mean, everybody knows that she’s not going to get the same positive or negative answer from the first seven people she speaks to and then take the rest of the weekend off, right? But, the film pulls out an absolutely perfect ending that neatly sidesteps the shortcomings of the narrative format.
Maps to the Stars (Cronenberg) – OTT Hollywood satire that Cronenberg and his cast somehow manage to hold together against the odds. Julianne Moore is given a free pass for scenery-chewing and goes to town, and who doesn’t want to see that?
The Wonders (Rohrwacher) – Solid, earthy family drama that’s much darker than the media satire I anticipated. Lots of moody low-light photography and a couple of tricky, expressive plans-sequences at the very end that add a welcome aura of mystery.
So, no duds among the competition films I’ve seen, which could either be a total fluke or a sign of a decent year.
Out of Competition
Maidan (Loznitsa) – Intensive documentary of the protests in Ukraine. A big step back from the formal innovation and mastery of the director’s previous films, but there’s still a lot of craft cleverly concealed beneath the appearance of naturalism (particularly on the soundtrack, which is often telling a different story from the visuals), and over its extended duration the film, as well as the events it relates, attain a staggering grandeur.
The Rover (Michod) – A dog of a film. Woefully underthought post-apocalyptic scenario in which characters repeatedly do inane things because they’re photogenic or will extend the running time. This is a first draft for a lame short film that somehow got funded as a feature.
Un Certain Regard
Turist / Force Majeure (Ostlund) – Spectacular, deadpan comic drama that’s consistently entertaining, mortifying and tense while still addressing some pretty meaty ethical and relationship issues.
The Salt of the Earth (Wenders) – Worthy photographer doc. Looks gorgeous, but Wenders’ earnest, hagiographical approach to his subject is about the dullest approach imaginable.
White God (Mundruczo) – After a stunningly cinematic, dreamlike opening, this goes downhill fast. A girl is separated from her beloved dog by uncool adults. We follow her angst and the dog’s misadventures in parallel. As those misadventures become more and more Dickensian, the film starts to submerge under the heavy weight of contrivance. But that’s nothing compared to the preposterousness that follows:
Quinzaine de Realisateurs
National Gallery (Wiseman) – Three hours of people talking about art, and what to do with it. Utterly absorbing, a continuation of Wiseman’s wonderful purple patch of the last five years.
The Tale of Princess Kaguya (Takahata) – A very traditional subject, but the animation is simply exquisite. It’s a slightly more fleshed-out version of the expressive line drawings of My Neighbours the Yamadas, but Takahata has the flexibility to explode into pure expressionism when the story calls for it.
Semaine de la Critique
It Follows (Mitchell) – A decent enough horror film that does everything it can with its outlandish, smartly cinematic premise (so much so that I can’t imagine the inevitable sequel will be anything but redundant). Some of the window dressing is depressingly familiar (predictable ‘bus’ moments; overbearing score; generic characterizations) but some is well done (characters mostly not making incredibly stupid decisions in order to get themselves into danger).
When Animals Dream (Arnby) – Let the Right One In! With werewolves! And not very good!
In Competition
Winter Sleep (Ceylan) – I’ve already commented in the film’s dedicated thread. From what I’ve seen, this is a completely natural Palme winner, great filmmaking from a great filmmaker, with a much wider tonal range than its immediate competition or even the director’s previous work.
Wild Tales (Szifron) – Balls to the wall, blacker-than-black hilarity from start to finish, with only a couple of the six tales of lurid revenge dipping to average. Almodovar helped produce this, and that gives you a vague idea of the sensibility, but he hasn’t directed anything this energetic for a quarter century, and he’s never been so flat-out funny.
Adieu au Langage (Godard) – Spectacular non-naturalistic use of 3D elevates a typically simplistic intellectual structure (NATURE vs. METAPHOR, repeat incessantly). The film really soars when it indulges in pure spectacle and / or cute doggie stuff.
Leviathan (Zvyagintsev) – Typically dour and commanding drama from Zvyagintsev. In this case, a reasonable small-town facsimile of the trials of Job is visited upon a not-quite-total shit. It could do with being less humourless, but there’s no denying the directorial chops on display. The real target of the film is revealed very late in the piece and adds considerably to its sting.
Two Days, One Night (Dardennes) – More of the very good same from Los Bros. The core idea promises a very schematic narrative, since you know that Sandra is going to have to track down everybody on the list, she’ll encounter wildly varying responses, and the precise outcome will still be up in the air at the end of the process. I mean, everybody knows that she’s not going to get the same positive or negative answer from the first seven people she speaks to and then take the rest of the weekend off, right? But, the film pulls out an absolutely perfect ending that neatly sidesteps the shortcomings of the narrative format.
Maps to the Stars (Cronenberg) – OTT Hollywood satire that Cronenberg and his cast somehow manage to hold together against the odds. Julianne Moore is given a free pass for scenery-chewing and goes to town, and who doesn’t want to see that?
The Wonders (Rohrwacher) – Solid, earthy family drama that’s much darker than the media satire I anticipated. Lots of moody low-light photography and a couple of tricky, expressive plans-sequences at the very end that add a welcome aura of mystery.
So, no duds among the competition films I’ve seen, which could either be a total fluke or a sign of a decent year.
Out of Competition
Maidan (Loznitsa) – Intensive documentary of the protests in Ukraine. A big step back from the formal innovation and mastery of the director’s previous films, but there’s still a lot of craft cleverly concealed beneath the appearance of naturalism (particularly on the soundtrack, which is often telling a different story from the visuals), and over its extended duration the film, as well as the events it relates, attain a staggering grandeur.
The Rover (Michod) – A dog of a film. Woefully underthought post-apocalyptic scenario in which characters repeatedly do inane things because they’re photogenic or will extend the running time. This is a first draft for a lame short film that somehow got funded as a feature.
Un Certain Regard
Turist / Force Majeure (Ostlund) – Spectacular, deadpan comic drama that’s consistently entertaining, mortifying and tense while still addressing some pretty meaty ethical and relationship issues.
The Salt of the Earth (Wenders) – Worthy photographer doc. Looks gorgeous, but Wenders’ earnest, hagiographical approach to his subject is about the dullest approach imaginable.
White God (Mundruczo) – After a stunningly cinematic, dreamlike opening, this goes downhill fast. A girl is separated from her beloved dog by uncool adults. We follow her angst and the dog’s misadventures in parallel. As those misadventures become more and more Dickensian, the film starts to submerge under the heavy weight of contrivance. But that’s nothing compared to the preposterousness that follows:
Spoiler
which is part standard rape-revenge template, part Night-of-the-Living-Dead-with-Puppies, part Pied Piper of Hamelin. At this point the film also oafishly demolishes the one thing it did right by revealing that the opening fantasy sequence was just a boring flash forward to the silliest part of the movie.
Quinzaine de Realisateurs
National Gallery (Wiseman) – Three hours of people talking about art, and what to do with it. Utterly absorbing, a continuation of Wiseman’s wonderful purple patch of the last five years.
The Tale of Princess Kaguya (Takahata) – A very traditional subject, but the animation is simply exquisite. It’s a slightly more fleshed-out version of the expressive line drawings of My Neighbours the Yamadas, but Takahata has the flexibility to explode into pure expressionism when the story calls for it.
Semaine de la Critique
It Follows (Mitchell) – A decent enough horror film that does everything it can with its outlandish, smartly cinematic premise (so much so that I can’t imagine the inevitable sequel will be anything but redundant). Some of the window dressing is depressingly familiar (predictable ‘bus’ moments; overbearing score; generic characterizations) but some is well done (characters mostly not making incredibly stupid decisions in order to get themselves into danger).
When Animals Dream (Arnby) – Let the Right One In! With werewolves! And not very good!