With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit platforms. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon, and more (note: U.S. only). Check out our rundown for this week’s selections below.
Beach Rats (Eliza Hittman)
Burgeoning sexuality is the basis for nearly all coming-of-age films, but with her specific eye, Eliza Hittman makes it feel like we’re watching this genre unfold for the first time. With only two features to her name, she’s captured the experience with a sensuality and intimacy nearly unprecedented in American independent filmmaking. Following 2013’s It Felt Like Love, the writer-director follows it with...
Beach Rats (Eliza Hittman)
Burgeoning sexuality is the basis for nearly all coming-of-age films, but with her specific eye, Eliza Hittman makes it feel like we’re watching this genre unfold for the first time. With only two features to her name, she’s captured the experience with a sensuality and intimacy nearly unprecedented in American independent filmmaking. Following 2013’s It Felt Like Love, the writer-director follows it with...
- 11/10/2017
- by Jordan Raup
- The Film Stage
“If I read a book and it makes my whole body so cold no fire can ever warm me, I know that is poetry.” – Emily Dickinson She is one of...
- 11/5/2017
- by Jazz Tangcay
- AwardsDaily.com
It’s Halloween time, so it’s not out of the realm of possibility that you’ve heard some Edgar Allan Poe verse in the past few weeks. “The Raven,” most likely. If you had been alive during the time when Poe was still living, your chances of hearing “Once upon a midnight dreary…” would have been just as good.
“‘The Raven’ was a massive hit. [Poe] was a huge celebrity during the time ‘The Raven.’ Everybody knew ‘The Raven.’ People did parodies of ‘The Raven.’ Kids memorized it in school,” actor and literary superfan Denis O’Hare explained in a recent interview
In Eric Stange’s new PBS film “Edgar Allan Poe: Buried Alive,” O’Hare plays Poe in surreal, reimagined moments, performing the writers’ work to empty rooms and slinking through the streets of Poe’s eventual home city of Baltimore under cover of darkness.
Read More:Ken Burns,...
“‘The Raven’ was a massive hit. [Poe] was a huge celebrity during the time ‘The Raven.’ Everybody knew ‘The Raven.’ People did parodies of ‘The Raven.’ Kids memorized it in school,” actor and literary superfan Denis O’Hare explained in a recent interview
In Eric Stange’s new PBS film “Edgar Allan Poe: Buried Alive,” O’Hare plays Poe in surreal, reimagined moments, performing the writers’ work to empty rooms and slinking through the streets of Poe’s eventual home city of Baltimore under cover of darkness.
Read More:Ken Burns,...
- 10/30/2017
- by Steve Greene
- Indiewire
[Editor’s Note: The following contains spoilers from the finale of USA Network’s “The Sinner” in addition to the book on which it was based.]
USA Network’s “The Sinner” became one of the surprise hits of the summer for its fascinating look at how hidden and unresolved traumas can manifest in disturbing or downright horrifying ways. The psychologically twisted story delved deeply into the past of a woman who seemed relatively normal and happy, but whose abuse at the hands of multiple people eventually led to her murdering a man without apparent provocation.
German crime author Petra Hammesfahr penned the 1999 novel on which “The Sinner” is based, and for the most part the central mysteries remained the same in both versions. The television adaptation naturally also had the expected number of cosmetic changes: Cora Bender is now Cora Tannetti, a song played on a cassette tape now plays on a phone, and the setting has moved from Germany to a small city in New York.
Read More:‘The Sinner’ Finale: Creator on What Season...
USA Network’s “The Sinner” became one of the surprise hits of the summer for its fascinating look at how hidden and unresolved traumas can manifest in disturbing or downright horrifying ways. The psychologically twisted story delved deeply into the past of a woman who seemed relatively normal and happy, but whose abuse at the hands of multiple people eventually led to her murdering a man without apparent provocation.
German crime author Petra Hammesfahr penned the 1999 novel on which “The Sinner” is based, and for the most part the central mysteries remained the same in both versions. The television adaptation naturally also had the expected number of cosmetic changes: Cora Bender is now Cora Tannetti, a song played on a cassette tape now plays on a phone, and the setting has moved from Germany to a small city in New York.
Read More:‘The Sinner’ Finale: Creator on What Season...
- 9/21/2017
- by Hanh Nguyen
- Indiewire
The heart of Paris beats for film industry in June. Industry Week is the professional part of the Champs-Elysées Film Festival.
The submissions for Us in Progress are now open till August 15th here.
This label includes the Us in Progress (USiP) and Les Arc Film Fesstival’s team presenting the Paris Coproduction Village and La Residence de la Cinefondation which welcomes a dozen young directors who come to Paris to work on their first or second fiction feature project for 4 and 1/2 months. All together, they offer 24 film projects at different stages, from development to post production. More than 200 professionals from the industry, producers, international sellers, distributors, etc. are welcomed.
This year Us in Progress broke out. It has become a top event for discovering American independent cinema not only for the Europeans invited to attend, but for Americans who find themselves in Paris for the event or who even...
The submissions for Us in Progress are now open till August 15th here.
This label includes the Us in Progress (USiP) and Les Arc Film Fesstival’s team presenting the Paris Coproduction Village and La Residence de la Cinefondation which welcomes a dozen young directors who come to Paris to work on their first or second fiction feature project for 4 and 1/2 months. All together, they offer 24 film projects at different stages, from development to post production. More than 200 professionals from the industry, producers, international sellers, distributors, etc. are welcomed.
This year Us in Progress broke out. It has become a top event for discovering American independent cinema not only for the Europeans invited to attend, but for Americans who find themselves in Paris for the event or who even...
- 7/26/2017
- by Sydney Levine
- Sydney's Buzz
Now available on Blu-ray, DVD, and VOD from Music Box Films, Terence Davies' A Quiet Passion is a beautiful and vivid portrait of Emily Dickinson. Our own Dustin Chang reviewed the film during its theatrical release. He wrote in part: "Davies, an ardent reader of Dickinson's poetry, composed a truly beautiful script here, imagining much of the film's dialog that lends the full view of the complicated poet and the great Cynthia Nixon personifies her in flesh and blood. ... "Davies succeeds in showing a complicated woman bound by tradition and societal rules. But however tragic and lonely her life was, he also shows us that Dickinson lived the way she wanted to, that it was her own choosing, that she was a thoroughly modern...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 7/18/2017
- Screen Anarchy
Cynthia Nixon is poet Emily Dickinson in the acclaimed biographical drama, now available!
- 7/18/2017
- by Laurence
- Disc Dish
"The Furniture" is our weekly series on Production Design. You can click on the images to see them in magnified detail.
by Daniel Walber
If you know one thing about the life of Emily Dickinson, it’s probably that she was a recluse. She spent the last years of her life cooped up in her Massachusetts home. Very few of her 1,800 poems were published during her lifetime. Up until very recently, only one picture of her was known to exist.
Yet she is now recognized as the most important American poet of the 19th century. That her universally resonant voice emerged from such isolation has seemed miraculous. A Quiet Passion peers into this conundrum and finds some strikingly poetic answers.
Unsurprisingly, the key to understanding is found in her house. Cynthia Nixon gives a brilliant performance, but the difference between Terence Davies’s film and lesser biopics is that she...
by Daniel Walber
If you know one thing about the life of Emily Dickinson, it’s probably that she was a recluse. She spent the last years of her life cooped up in her Massachusetts home. Very few of her 1,800 poems were published during her lifetime. Up until very recently, only one picture of her was known to exist.
Yet she is now recognized as the most important American poet of the 19th century. That her universally resonant voice emerged from such isolation has seemed miraculous. A Quiet Passion peers into this conundrum and finds some strikingly poetic answers.
Unsurprisingly, the key to understanding is found in her house. Cynthia Nixon gives a brilliant performance, but the difference between Terence Davies’s film and lesser biopics is that she...
- 7/17/2017
- by Daniel Walber
- FilmExperience
A haunted Kristen Stewart excels in Personal Shopper, Sônia Braga is brilliantly furious in Aquarius, while Terence Davies’s Emily Dickinson biopic is distinctly unpoetic
Doors creak, ectoplasm swirls and wind whistles through crumbling mansions in Personal Shopper (Icon, 15), but Olivier Assayas’s sharp, glassy ghost story is no retro Victorian rehash. This tale of grief taking either uncanny or deliriously illusory form amid the walking cyphers of Paris’s celebrity set is quite the most modern vision of a phantom menace in recent memory – one that sees even an instrument as soulless as the iPhone become a potential conduit of spiritual presence.
As bespoke fashion buyer Maureen (Kristen Stewart) tries to blankly continue her life of second-hand privilege in the wake of her twin brother Lewis’s death, uncertain apparitions intervene to shake her out her waking sleepwalk. Is it Lewis? Someone or something else? Or as she enters...
Doors creak, ectoplasm swirls and wind whistles through crumbling mansions in Personal Shopper (Icon, 15), but Olivier Assayas’s sharp, glassy ghost story is no retro Victorian rehash. This tale of grief taking either uncanny or deliriously illusory form amid the walking cyphers of Paris’s celebrity set is quite the most modern vision of a phantom menace in recent memory – one that sees even an instrument as soulless as the iPhone become a potential conduit of spiritual presence.
As bespoke fashion buyer Maureen (Kristen Stewart) tries to blankly continue her life of second-hand privilege in the wake of her twin brother Lewis’s death, uncertain apparitions intervene to shake her out her waking sleepwalk. Is it Lewis? Someone or something else? Or as she enters...
- 7/16/2017
- by Guy Lodge
- The Guardian - Film News
With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit platforms. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon, and more (note: U.S. only). Check out our rundown for this week’s selections below.
20th Century Women (Mike Mills)
That emotional profundity most directors try to build to across an entire film? Mike Mills achieves it in every scene of 20th Century Women. There’s such a debilitating warmness to both the vibrant aesthetic and construction of its dynamic characters as Mills quickly soothes one into his story that you’re all the more caught off-guard as the flurry of emotional wallops are presented.
20th Century Women (Mike Mills)
That emotional profundity most directors try to build to across an entire film? Mike Mills achieves it in every scene of 20th Century Women. There’s such a debilitating warmness to both the vibrant aesthetic and construction of its dynamic characters as Mills quickly soothes one into his story that you’re all the more caught off-guard as the flurry of emotional wallops are presented.
- 7/14/2017
- by Jordan Raup
- The Film Stage
Yes, we know: It’s a little premature to assemble a list of the best movies of the year when there’s so much left of it. We have yet to see a lot of exciting new work from major auteurs like Christopher Nolan (“Dunkirk”), Alexander Payne (“Downsizing”), and Guillermo del Toro (“The Shape of Water”), not to mention heavy-hitting studio-produced spectacles like “Blade Runner 2049” and “Star Wars: The Last Jedi.” But those last two wouldn’t even qualify for this list of the best independent films of the year, anyway, and they’ll have plenty of time to hog the spotlight.
Fortunately, we’ve found plenty of movies from around the world to celebrate, and while they haven’t all been box office sensations, they provide overwhelming evidence that the art form is thriving well into the second decade of the new millennium, and shows no signs of slowing down.
Fortunately, we’ve found plenty of movies from around the world to celebrate, and while they haven’t all been box office sensations, they provide overwhelming evidence that the art form is thriving well into the second decade of the new millennium, and shows no signs of slowing down.
- 7/4/2017
- by Eric Kohn, David Ehrlich, Anne Thompson, Kate Erbland and Michael Nordine
- Indiewire
'Transformers: The Last Knight'..
Moviegoers in Australia and internationally increasingly are showing signs of fatigue with the never-ending procession of Hollywood franchises.
The latest examples: The underwhelming debuts of the fifth film in the Transformers series and the third edition of Cars.
That coupled with the fast-sinking Pirates of the Caribbean 5 and The Mummy reboot indicates studios should spend more money on original content and less on tiring franchises.
The top 20 titles collectively minted $17 million last weekend, down 5 per cent on the previous frame, according to Numero..
Of the new independent releases, A Quiet Passion and Hindi drama Tubelight registered well while Una was Ok and McLaren tanked.
Paramount.s Transformers: The Last Knight rang up $4.46 million from 285 locations and $4.7 million with previews. That.s way down on the $8.8 million debut of Transformers: Age of Extinction in 2014, which finished up with $26.9 million.
Michael Bay.s bombastic action-adventure starring Mark Wahlberg,...
Moviegoers in Australia and internationally increasingly are showing signs of fatigue with the never-ending procession of Hollywood franchises.
The latest examples: The underwhelming debuts of the fifth film in the Transformers series and the third edition of Cars.
That coupled with the fast-sinking Pirates of the Caribbean 5 and The Mummy reboot indicates studios should spend more money on original content and less on tiring franchises.
The top 20 titles collectively minted $17 million last weekend, down 5 per cent on the previous frame, according to Numero..
Of the new independent releases, A Quiet Passion and Hindi drama Tubelight registered well while Una was Ok and McLaren tanked.
Paramount.s Transformers: The Last Knight rang up $4.46 million from 285 locations and $4.7 million with previews. That.s way down on the $8.8 million debut of Transformers: Age of Extinction in 2014, which finished up with $26.9 million.
Michael Bay.s bombastic action-adventure starring Mark Wahlberg,...
- 6/26/2017
- by Don Groves
- IF.com.au
Business as usual for festival unfolding on famous Paris avenue hit by two terror attacks in recent weeks.
Lauren Wolkstein and Christopher Radcliff’s thriller The Strange Ones has scooped the top prize at the sixth edition of France’s Us-focused Champs-Elysées Film Festival, which wan June 15-22.
The feature, starring Alex Pettyfer and James Freedson-Jackson as two brothers on a mysterious trip into the wilderness, premiered at SXSW earlier this year.
The American Independent Jury Prize comes with a €10,000 cash award for the French distributor of the film but, as it has yet to be acquired for France, the...
Lauren Wolkstein and Christopher Radcliff’s thriller The Strange Ones has scooped the top prize at the sixth edition of France’s Us-focused Champs-Elysées Film Festival, which wan June 15-22.
The feature, starring Alex Pettyfer and James Freedson-Jackson as two brothers on a mysterious trip into the wilderness, premiered at SXSW earlier this year.
The American Independent Jury Prize comes with a €10,000 cash award for the French distributor of the film but, as it has yet to be acquired for France, the...
- 6/23/2017
- ScreenDaily
Wild Nights With Emily, about an illicit romance, scoops €50,000 top prize.
Us playwright and director Madeleine Olnek’s Wild Nights With Emily, inspired by the secret love life of Us poet Emily Dickinson, has won the sixth edition of Us in Progress in Paris.
Taking place June 20-22 as part of the industry wing of the Champs-Elysées Film Festival, the event showcased five independent Us feature productions at the rough-cut stage.
It is a joint initiative between the festival and the American Film Festival in Wroclaw, Poland.
Wild Nights With Emily revolves around Dickinson’s hushed-up affair with her brother’s wife Susan Dickinson,...
Us playwright and director Madeleine Olnek’s Wild Nights With Emily, inspired by the secret love life of Us poet Emily Dickinson, has won the sixth edition of Us in Progress in Paris.
Taking place June 20-22 as part of the industry wing of the Champs-Elysées Film Festival, the event showcased five independent Us feature productions at the rough-cut stage.
It is a joint initiative between the festival and the American Film Festival in Wroclaw, Poland.
Wild Nights With Emily revolves around Dickinson’s hushed-up affair with her brother’s wife Susan Dickinson,...
- 6/23/2017
- ScreenDaily
Wild Nights With Emily, about an illicit romance, scoops €50,000 top prize.
Us playwright and director Madeleine Olnek’s Wild Nights With Emily, inspired by the secret love life of Us poet Emily Dickinson, has won the sixth edition of Us in Progress in Paris.
Taking place June 20-22 as part of the industry wing of the Champs-Elysées Film Festival, the event showcased five independent Us feature productions at the rough-cut stage.
It is a joint initiative between the festival and the American Film Festival in Wroclaw, Poland.
Wild Nights With Emily revolves around Dickinson’s hushed-up affair with her brother’s wife Susan Dickinson,...
Us playwright and director Madeleine Olnek’s Wild Nights With Emily, inspired by the secret love life of Us poet Emily Dickinson, has won the sixth edition of Us in Progress in Paris.
Taking place June 20-22 as part of the industry wing of the Champs-Elysées Film Festival, the event showcased five independent Us feature productions at the rough-cut stage.
It is a joint initiative between the festival and the American Film Festival in Wroclaw, Poland.
Wild Nights With Emily revolves around Dickinson’s hushed-up affair with her brother’s wife Susan Dickinson,...
- 6/23/2017
- ScreenDaily
“This is Kent Dorfman. He’s a legacy from Harrisburg…”
Like we all must, Stephen Furst, the actor who brought Kent Dorfman, a.k.a. the sweet, portly Delta Tau Chi pledge known as Flounder, to life, has passed away. It’d be hard to argue that Furst’s life wasn’t far too short—after all, he was only 63 years old. But though other actors and well-known figures who have passed recently may have made a more lasting or profound mark on the lives of the audience they left behind, Furst’s death hurts a little bit more for me than those other losses, for a couple of reasons.
In 1977, when I was a freshman at the University of Oregon, I landed a spot as an extra on the set of National Lampoon’S Animal House—specifically, I was cast as a “Delta pledge,” and I also ended up...
Like we all must, Stephen Furst, the actor who brought Kent Dorfman, a.k.a. the sweet, portly Delta Tau Chi pledge known as Flounder, to life, has passed away. It’d be hard to argue that Furst’s life wasn’t far too short—after all, he was only 63 years old. But though other actors and well-known figures who have passed recently may have made a more lasting or profound mark on the lives of the audience they left behind, Furst’s death hurts a little bit more for me than those other losses, for a couple of reasons.
In 1977, when I was a freshman at the University of Oregon, I landed a spot as an extra on the set of National Lampoon’S Animal House—specifically, I was cast as a “Delta pledge,” and I also ended up...
- 6/18/2017
- by Dennis Cozzalio
- Trailers from Hell
“Wonder Woman” captured the weekend zeitgeist with reviews as good as any new adult-appeal specialized opener — and gobbled up potential audience. But that’s not the sole reason the specialty box office went to hell this weekend.
“Churchill” (Cohen), with the pedigree of an arthouse crossover winner, went nationally in top theaters but failed to capture more than desultory business. A trio of niche releases showed some mid-level interest in New York and Los Angeles — “The Exception”(A24), “Letters from Baghdad” (Vitagraph), and “Band Aid”(IFC) — but none looks likely to cross over beyond the big-city arthouse market.
The scariest weekend news: the total lack of response to Ken Loach’s Cannes 2016 Palme d’Or-winner “I, Daniel Blake.” While it’s been a long wait after a year-end qualifying run, it’s shocking that the well-reviewed BAFTA-winner met with near total disinterest.
Last weekend’s top opener “Long Strange Trip...
“Churchill” (Cohen), with the pedigree of an arthouse crossover winner, went nationally in top theaters but failed to capture more than desultory business. A trio of niche releases showed some mid-level interest in New York and Los Angeles — “The Exception”(A24), “Letters from Baghdad” (Vitagraph), and “Band Aid”(IFC) — but none looks likely to cross over beyond the big-city arthouse market.
The scariest weekend news: the total lack of response to Ken Loach’s Cannes 2016 Palme d’Or-winner “I, Daniel Blake.” While it’s been a long wait after a year-end qualifying run, it’s shocking that the well-reviewed BAFTA-winner met with near total disinterest.
Last weekend’s top opener “Long Strange Trip...
- 6/4/2017
- by Tom Brueggemann
- Indiewire
David Lowery’s a busy guy. Six months after “Pete’s Dragon” was released, the writer/director premiered “A Ghost Story” at Sundance; now, according to the Road Dog Productions blog, “The Old Man and the Gun” has finished filming. A crime drama starring Robert Redford, Casey Affleck, Sissy Spacek, Danny Glover, Tika Sumpter, Elisabeth Moss and Tom Waits, the film has already been acquired by Fox Searchlight. Lowery shared six lessons he learned while making the film:
Read More: ‘A Ghost Story’: David Lowery’s Sundance Sensation Gets Haunting Soundtrack From Daniel Hart — Listen
“A little bit more about how to work with actors – a never-ending study that always reveals new dimensions, partially within the process but mostly in myself. How to let go a little bit more and not shoulder everyone else’s burdens. Everyone has creative challenges on movies, but I chose the people I chose...
Read More: ‘A Ghost Story’: David Lowery’s Sundance Sensation Gets Haunting Soundtrack From Daniel Hart — Listen
“A little bit more about how to work with actors – a never-ending study that always reveals new dimensions, partially within the process but mostly in myself. How to let go a little bit more and not shoulder everyone else’s burdens. Everyone has creative challenges on movies, but I chose the people I chose...
- 6/1/2017
- by Michael Nordine
- Indiewire
This Memorial Day weekend at the specialty box office is dominated by niche releases without much crossover theatrical appeal, often available for home viewing. The strongest performer: Sundance entry “Long Strange Trip: The Untold Story of the Grateful Dead” (Abramorama), which opened in two cities, combining Thursday night event shows and full-week dates to overcome its four-hour running time.
While “The Tree of Life,” “Moonrise Kingdom” and “Before Midnight” all opened on this date, since 2013 top distributors have chosen not to launch major releases over the three-day holiday.
June will bring some top releases to flesh out a slow schedule, including Sofia Coppola’s Cannes success “The Beguiled” (Focus Features). Cannes competition films from Bong Joon Ho (“Okja”) and Noah Baumbach (“The Meyerowitz Stories”) will hit Netflix and select day-and-date theaters in June, and sometime after that, respectively.
Netflix scored front-page movie-section reviews for their Brad Pitt starrer “War Machine...
While “The Tree of Life,” “Moonrise Kingdom” and “Before Midnight” all opened on this date, since 2013 top distributors have chosen not to launch major releases over the three-day holiday.
June will bring some top releases to flesh out a slow schedule, including Sofia Coppola’s Cannes success “The Beguiled” (Focus Features). Cannes competition films from Bong Joon Ho (“Okja”) and Noah Baumbach (“The Meyerowitz Stories”) will hit Netflix and select day-and-date theaters in June, and sometime after that, respectively.
Netflix scored front-page movie-section reviews for their Brad Pitt starrer “War Machine...
- 5/28/2017
- by Tom Brueggemann
- Indiewire
Works-in-progress event will run June 20-22 in Paris.
Us indie directors Charlie Birns and Madeline Olnek will present features at the sixth edition of Us in Progress in Paris.
Due to take place June 20-22, the event is a joint initiative between the American Film Festival in Wroclaw, the Champs-Elysées Film Festival in Paris and Black Rabbit in New York.
A total of five feature-length fiction works and documentaries will be presented at the event including Birns’s surrogate mother drama Family Affairs, his debut feature after a trio of shorts.
Respected New York playwright and film-maker Madeleine Olnek will present her Emily Dickinson-inspired third feature Wild Nights With Emily.
Rough-cuts of the participating films will be presented to 40 European sales agents, distributors, festival programmers and producers.
The winning film will get post-production, acquisition and promotion services offered by a number of sponsors from the independent cinema scene in Paris.
Us in Progress...
Us indie directors Charlie Birns and Madeline Olnek will present features at the sixth edition of Us in Progress in Paris.
Due to take place June 20-22, the event is a joint initiative between the American Film Festival in Wroclaw, the Champs-Elysées Film Festival in Paris and Black Rabbit in New York.
A total of five feature-length fiction works and documentaries will be presented at the event including Birns’s surrogate mother drama Family Affairs, his debut feature after a trio of shorts.
Respected New York playwright and film-maker Madeleine Olnek will present her Emily Dickinson-inspired third feature Wild Nights With Emily.
Rough-cuts of the participating films will be presented to 40 European sales agents, distributors, festival programmers and producers.
The winning film will get post-production, acquisition and promotion services offered by a number of sponsors from the independent cinema scene in Paris.
Us in Progress...
- 5/22/2017
- ScreenDaily
Quad Cinema Director of Programming and Nathan Silver's Thirst Street co-writer C Mason Wells Photo: Anne-Katrin Titze
Since its reopening by Charles S Cohen in April, the Quad Cinema has had four noteworthy theatrical premieres right from the start: Terence Davies' soulful A Quiet Passion (with Cynthia Nixon as Emily Dickinson, Jennifer Ehle, Keith Carradine); Katell Quillévéré's thoughtful Heal The Living (Emmanuelle Seigner, Kool Shen, Tahar Rahim, Finnegan Oldfield); Bruno Dumont's wild Slack Bay (Fabrice Luchini, Juliette Binoche, Valeria Bruni Tedeschi), and Maura Axelrod's impish Maurizio Cattelan: Be Right Back.
Terence Davies' A Quiet Passion still going strong at the Quad Photo: Anne-Katrin Titze
Following First Encounters for Greta Gerwig with David Lynch's Blue Velvet, Kenneth Lonergan with Edward Yang's Yi Yi, John Turturro and Satyajit Ray's Pather Panchali, and Noah Baumbach catching up on Bruce Robinson's Withnail And I at the Quad,...
Since its reopening by Charles S Cohen in April, the Quad Cinema has had four noteworthy theatrical premieres right from the start: Terence Davies' soulful A Quiet Passion (with Cynthia Nixon as Emily Dickinson, Jennifer Ehle, Keith Carradine); Katell Quillévéré's thoughtful Heal The Living (Emmanuelle Seigner, Kool Shen, Tahar Rahim, Finnegan Oldfield); Bruno Dumont's wild Slack Bay (Fabrice Luchini, Juliette Binoche, Valeria Bruni Tedeschi), and Maura Axelrod's impish Maurizio Cattelan: Be Right Back.
Terence Davies' A Quiet Passion still going strong at the Quad Photo: Anne-Katrin Titze
Following First Encounters for Greta Gerwig with David Lynch's Blue Velvet, Kenneth Lonergan with Edward Yang's Yi Yi, John Turturro and Satyajit Ray's Pather Panchali, and Noah Baumbach catching up on Bruce Robinson's Withnail And I at the Quad,...
- 5/21/2017
- by Anne-Katrin Titze
- eyeforfilm.co.uk
This weekend, the entire specialized industry is huddled in Cannes in search of the next big things. On the home front, just three noteworthy films opened, each on a single Manhattan screen. Two of them, the Bryan Cranston-starring “Wakefield” and Steve James’ financial world set documentary “Abacus: Small Enough to Jail,” showed some life.
Eleanor Coppola’s “Paris Can Wait” had a promising second-weekend expansion, and looks to be the standout over the next month and more. Still, results remain minor after a couple post-awards months led by “Gifted” and “The Zookeeper’s Wife.”
Opening
Wakefield (IFC) – Metacritic: 60; Festivals include: Telluride, Toronto 2016
$14,120 in 1 theater: PTA (per theater average): $14,120
Bryan Cranston has become an omnipresent force in TV, Broadway, and features. This film, opening many months after its September festival premieres, “Wakefield” puts him front and center as a Manhattan law partner who zones out of his suburban life...
Eleanor Coppola’s “Paris Can Wait” had a promising second-weekend expansion, and looks to be the standout over the next month and more. Still, results remain minor after a couple post-awards months led by “Gifted” and “The Zookeeper’s Wife.”
Opening
Wakefield (IFC) – Metacritic: 60; Festivals include: Telluride, Toronto 2016
$14,120 in 1 theater: PTA (per theater average): $14,120
Bryan Cranston has become an omnipresent force in TV, Broadway, and features. This film, opening many months after its September festival premieres, “Wakefield” puts him front and center as a Manhattan law partner who zones out of his suburban life...
- 5/21/2017
- by Tom Brueggemann
- Indiewire
As specialized distributors head to Cannes, Eleanor Coppola’s French valentine “Paris Can Wait” (Sony Pictures Classics) scored with arthouse moviegoers. It’s only the fourth 2017 limited release to break the increasingly rare $20,000 per-theater-average mark.
These days, movies with older audience appeal are sustaining the market — and will likely form the core demo for similar available new films at Cannes. Eleanor Coppola (“Apocalypse Now” documentary “Heart of Darkness”) makes her narrative film debut at 81 with her semi-autobiographical first screenplay, starring Diane Lane as the wife of a self-involved film producer (Alec Baldwin).
New York also saw a handful of other small but still promising initial results, led by Cate Blanchett stunt-theater piece “Manifesto” (Film Rise), Israeli marriage story “The Wedding Plan” (Roadside Attractions) and “Stefan Zweig: Farewell to Europe” (First Run).
Netflix’s timely Tribeca documentary “Get Me Roger Stone,” an eye-opening portrait of Donald Trump’s flamboyant dark knight,...
These days, movies with older audience appeal are sustaining the market — and will likely form the core demo for similar available new films at Cannes. Eleanor Coppola (“Apocalypse Now” documentary “Heart of Darkness”) makes her narrative film debut at 81 with her semi-autobiographical first screenplay, starring Diane Lane as the wife of a self-involved film producer (Alec Baldwin).
New York also saw a handful of other small but still promising initial results, led by Cate Blanchett stunt-theater piece “Manifesto” (Film Rise), Israeli marriage story “The Wedding Plan” (Roadside Attractions) and “Stefan Zweig: Farewell to Europe” (First Run).
Netflix’s timely Tribeca documentary “Get Me Roger Stone,” an eye-opening portrait of Donald Trump’s flamboyant dark knight,...
- 5/14/2017
- by Tom Brueggemann
- Indiewire
Cynthia Nixon as Emily Dickinson and Jennifer Ehle as her sister Vinnie, in Terrence Davies’ A Quiet Passion. © A Quiet Passion/Hurricane Films/Courtesy of Music Box Films.
Early in A Quiet Passion, we see the young Emily Dickinson being expelled from a women’s college for her defiant, free-thinking attitude. It is not how we usually see the poet portrayed, and one of the refreshing aspects of director Terence Davies’s insightful, surprising biography.
Those expecting a depressing, claustrophobic slog through the life of Emily Dickinson will be very surprised by A Quiet Passion. Davies presents a witty young Emily, who is irresistibly energetic and frankly laugh-out loud funny. Cynthia Nixon turns in a stellar performance as Dickinson, in this wonderful drama from the acclaimed British director of House Of Mirth and last year’s Sunset Song. If you only know the actress from Sex In The City, this role will be a revelation.
Early in A Quiet Passion, we see the young Emily Dickinson being expelled from a women’s college for her defiant, free-thinking attitude. It is not how we usually see the poet portrayed, and one of the refreshing aspects of director Terence Davies’s insightful, surprising biography.
Those expecting a depressing, claustrophobic slog through the life of Emily Dickinson will be very surprised by A Quiet Passion. Davies presents a witty young Emily, who is irresistibly energetic and frankly laugh-out loud funny. Cynthia Nixon turns in a stellar performance as Dickinson, in this wonderful drama from the acclaimed British director of House Of Mirth and last year’s Sunset Song. If you only know the actress from Sex In The City, this role will be a revelation.
- 5/12/2017
- by Cate Marquis
- WeAreMovieGeeks.com
A weak arthouse market was brightened by “The Lovers,” a high-concept A24 release targeted at the usual older specialty demo. Azazel Jacobs, an indie veteran without a breakout film to his credit, returned to the feature world from HBO (“Doll and Em”) with “The Lovers” (A24). Its initial results put it atop the results for the weekend which saw several disappointments.
Read More: A24 After ‘Moonlight’: Why They’re Finally Ready To Conquer the Older Arthouse Crowd
Several top specialized distributors optimistically counter-programmed against Marvel’s May juggernaut “Guardians of the Galaxy Vol. 2,” hoping to fill the vacuum with no other wide releases to grab attention. That strategy can can launch a film like “Belle,” “Ida,” and “Far from the Madding Crowd” toward a big push in the early summer period including Memorial Day weekend.
Even if “The Lovers” never approaches that level, it is positioned to get...
Read More: A24 After ‘Moonlight’: Why They’re Finally Ready To Conquer the Older Arthouse Crowd
Several top specialized distributors optimistically counter-programmed against Marvel’s May juggernaut “Guardians of the Galaxy Vol. 2,” hoping to fill the vacuum with no other wide releases to grab attention. That strategy can can launch a film like “Belle,” “Ida,” and “Far from the Madding Crowd” toward a big push in the early summer period including Memorial Day weekend.
Even if “The Lovers” never approaches that level, it is positioned to get...
- 5/7/2017
- by Tom Brueggemann
- Indiewire
One of the more high-class problems is struggling to break free of an iconic role that made you a star in the first place. Such is the challenge facing Zosia Mamet, whom most people know only as the high-strung Shoshanna on HBO’s “Girls.” If Shoshanna was the Miranda of her day (as many have said when comparing “Girls” to its predecessor, “Sex and the City”), Mamet has the best chance of the “Girls” crew to have a lasting career. Tony winner Cynthia Nixon, who played Miranda, lands plum film roles such as Emily Dickinson in Terence Davies’ “A Quiet Passion,” and is currently starring on Broadway opposite Laura Linney in the revival of Lillian Hellman’s “Little Foxes.” However, if Mamet aspires to such heights, she must choose better projects than “The Boy Downstairs.”
The debut feature from writer/director Sophie Brooks, “The Boy Downstairs” grinds a smart concept...
The debut feature from writer/director Sophie Brooks, “The Boy Downstairs” grinds a smart concept...
- 4/30/2017
- by Jude Dry
- Indiewire
Specialty films these days range across more than core upscale urban and critically acclaimed quality fare. This weekend’s surprise: two foreign-language films placed second and third in the box office Top Ten.
The U.S./Mexican coproduction “How to Be a Latin Lover” (Lionsgate/Pantelion) ranked second with over $12 million from 1,118 theaters. Even more impressive, the Indian epic sequel “Baahubali 2: The Conclusion” (Great Indian) placed third with $10,138,000 in only 425 theaters. Both movies beat James Ponsoldt’s Dave Eggers novel adaption “The Circle” (Stx), starring Emma Watson and Tom Hanks, which opened to only $9.2 million in more than twice as many theaters.
(Read more in our Top Ten report.)
Among the specialty audience usual suspects, nothing managed to open with as much as a $10,000 per theater average. “Obit” (Kino Lorber) ranked highest, while Rami Malek-starrer “Buster’s Mal Heart” (Well Go USA) and “Natasha” (Menemsha) led the other New York openers.
The U.S./Mexican coproduction “How to Be a Latin Lover” (Lionsgate/Pantelion) ranked second with over $12 million from 1,118 theaters. Even more impressive, the Indian epic sequel “Baahubali 2: The Conclusion” (Great Indian) placed third with $10,138,000 in only 425 theaters. Both movies beat James Ponsoldt’s Dave Eggers novel adaption “The Circle” (Stx), starring Emma Watson and Tom Hanks, which opened to only $9.2 million in more than twice as many theaters.
(Read more in our Top Ten report.)
Among the specialty audience usual suspects, nothing managed to open with as much as a $10,000 per theater average. “Obit” (Kino Lorber) ranked highest, while Rami Malek-starrer “Buster’s Mal Heart” (Well Go USA) and “Natasha” (Menemsha) led the other New York openers.
- 4/30/2017
- by Tom Brueggemann
- Indiewire
Two specialized releases made the top 10 this week: “Gifted” (Fox Searchlight) came in #8 with $4.5 million, while the second weekend of “The Lost City of Z” (Bleecker Street) managed to place 10th in only 614 theaters.
Specialty distributors are pushing their films to more theaters; at nearly 2,000 theaters in its third week, “Gifted” is a wide release. This strategy doesn’t always work: A24 went to over 1,000 theaters initially for “Free Fire” with Brie Larson. It flopped across the board despite its pedigree.
Documentaries continue to stand out among niche limited openers. “Citizen Jane: Battle for the City” (IFC) scored a strong New York two-theater response despite its parallel VOD option. And food scored again as “Jeremiah Tower: The Last Magnificent” (The Orchard) worked with targeted marketing in its first two cities.
Opening
Free Fire (A24) – Metactritic: 64; Festivals include: Toronto 2016
$1,040,000 in 1,070 theaters; PTA (per theater average): $972
Clearly a disappointment considering its...
Specialty distributors are pushing their films to more theaters; at nearly 2,000 theaters in its third week, “Gifted” is a wide release. This strategy doesn’t always work: A24 went to over 1,000 theaters initially for “Free Fire” with Brie Larson. It flopped across the board despite its pedigree.
Documentaries continue to stand out among niche limited openers. “Citizen Jane: Battle for the City” (IFC) scored a strong New York two-theater response despite its parallel VOD option. And food scored again as “Jeremiah Tower: The Last Magnificent” (The Orchard) worked with targeted marketing in its first two cities.
Opening
Free Fire (A24) – Metactritic: 64; Festivals include: Toronto 2016
$1,040,000 in 1,070 theaters; PTA (per theater average): $972
Clearly a disappointment considering its...
- 4/23/2017
- by Tom Brueggemann
- Indiewire
Terence Davies is at once both monolithic and anonymous. A critically revered British filmmaker whose work has yet to catch on with general audiences (perhaps, in part, because his films are so crushingly intimate that it almost feels inappropriate to watch them in public), he’s seldom recognized on the street, and sometimes that might be for the best.
“The other day I was feeling low,” he said, “and I just thought: ‘Why am I making films that, like, three people or a dog go and see?’ I know this is feeble, but it really is killing when someone says ‘What do you do?’ ‘Oh, I make films.’ ‘Well, would I have seen some of them? Would I have heard of you?’ And I say: ‘Well, probably not.’”
Of course, some of our greatest artists are tremendously under-appreciated in their own time, though they may be the only ones who...
“The other day I was feeling low,” he said, “and I just thought: ‘Why am I making films that, like, three people or a dog go and see?’ I know this is feeble, but it really is killing when someone says ‘What do you do?’ ‘Oh, I make films.’ ‘Well, would I have seen some of them? Would I have heard of you?’ And I say: ‘Well, probably not.’”
Of course, some of our greatest artists are tremendously under-appreciated in their own time, though they may be the only ones who...
- 4/20/2017
- by David Ehrlich
- Indiewire
The slow specialty box office is picking up. “The Lost City of Z” (Bleecker Street) opened just below the numbers posted last week by “Colossal” (Neon) and “Norman: The Moderate Rise and Tragic Fall of a New York Fixer” (Sony Pictures Classics) also opened to over $20,000. And “Chasing Trane: The John Coltrane Documentary” (Abramorama) showed strong initial single-theater results, with Emily Dickinson story “A Quiet Passion” (Music Box) also showing some interest.
After a promising start, “Colossal” expanded quickly, showing strength among wider audiences, along with “Gifted” (Fox Searchlight) and “Their Finest” (Stx). And holocaust drama “The Zookeeper’s Wife” (Focus) passed the $10 million mark in only its third weekend.
Festival favorite “Maudie,” a Canadian-Irish coproduction set in a small Nova Scotia town, opened in four Canadian theaters ahead of its June stateside release from Sony Classics Pictures, with a three day total of around $60,000. It stars Sally Hawkins and...
After a promising start, “Colossal” expanded quickly, showing strength among wider audiences, along with “Gifted” (Fox Searchlight) and “Their Finest” (Stx). And holocaust drama “The Zookeeper’s Wife” (Focus) passed the $10 million mark in only its third weekend.
Festival favorite “Maudie,” a Canadian-Irish coproduction set in a small Nova Scotia town, opened in four Canadian theaters ahead of its June stateside release from Sony Classics Pictures, with a three day total of around $60,000. It stars Sally Hawkins and...
- 4/16/2017
- by Tom Brueggemann
- Indiewire
A Quiet PassionThough set nearly 150 years ago, Terence Davies' exquisite Emily Dickinson biopic A Quiet Passion is vitally relevant, as it spans centuries to reveal an agile female intelligence and willful body unable to fit into this prejudiced world. The pleading desire for contentment and the strangling despair of disappointment lays upon the American poet, played briefly in her youth by Emily Bell and for the rest of the film by a magnificent Cynthia Nixon. Abutting a society that constrains so many possibilities for her gender, Dickinson weighs the world and finds it wanting for a pathway to a woman's fulfilled happiness.Davies, as always mining the past for its reverberating, ailing souls and tragic social repression, finds in Emily Dickinson a subject for rigorous, almost austere inquiry. Conversations on the nature of religious dogma, God's touch and distance, marriage, family, artistic creation and more flush A Quiet Passion with a forceful,...
- 4/14/2017
- MUBI
British filmmaker Terence Davies has some great insults for Henry Wadsworth Longfellow. One emerges from the mouth of Emily Dickinson, as played by Cynthia Nixon, in his new film A Quiet Passion. Another he shared with us when we spoke with him last September. Indeed, when reviewing the film for The A.V. Club, Film Editor A.A. Dowd highlighted just how funny A Quiet Passion is for a work that’s also primarily concerned with death, calling it “witty and stirring.”
Unlike many biopics, A Quiet Passion is not concerned so much with the events in its subject’s life, focusing instead on Dickinson’s philosophical outlook. Upon its North American premiere at the Toronto International Film Festival, we sat down with Davies, who discussed his fascination with the poet.
The A.V. Club: Why Cynthia Nixon?
Terence Davies: Well, I saw her for a film that didn...
Unlike many biopics, A Quiet Passion is not concerned so much with the events in its subject’s life, focusing instead on Dickinson’s philosophical outlook. Upon its North American premiere at the Toronto International Film Festival, we sat down with Davies, who discussed his fascination with the poet.
The A.V. Club: Why Cynthia Nixon?
Terence Davies: Well, I saw her for a film that didn...
- 4/14/2017
- by Esther Zuckerman
- avclub.com
Cynthia Nixon stars as reclusive 19th century poet Emily Dickinson in biopic A Quiet Passion. The film has been receiving praise for both its acting and its reverence for the beloved poet, and has garnered an impressive 90% on Rottentomatoes. A Quiet Passion Review Roundup “The literalness of film and the creaky conventions of the biopic […]
Source: uInterview
The post ‘A Quiet Passion’ Review Roundup: A Wonderful Tribute To A Complex Woman appeared first on uInterview.
Source: uInterview
The post ‘A Quiet Passion’ Review Roundup: A Wonderful Tribute To A Complex Woman appeared first on uInterview.
- 4/13/2017
- by Hillary Luehring-Jones
- Uinterview
A Quiet Passion is a film of many firsts for Terence Davies: his first biopic, his first all-digital-feature, and — unexpectedly — his first work which, for a time, could pass for a comedy. Davies introduces Emily Dickinson as a young girl, spends the metaphorical first reel establishing her complicated personality — devout but doubting, jealously proud of her poetry yet scared to be recognized for it. In a startling sequence, he dollies in on Emily and her family members as they have their photos taken: during the track in, a very subtle dissolve ages them all into adults. The grown […]...
- 4/13/2017
- by Vadim Rizov
- Filmmaker Magazine - Blog
With its elevated Good Friday grosses, this weekend usually attracts multiple high-end releases, particularly those aimed at families. Not this year. Rival distributors ceded the ground to Universal’s “The Fate of the Furious,” the eighth entry in their wildly successful road-race franchise. What began in 2001 as a much simpler story about illegal street-car competitions has become a worldwide phenomenon that, by its seventh outing in 2015, grossed $1.5 billion.
“Furious 7” got unexpected traction with the tragic death of lead actor Paul Walker before that film completed production. But the series already had major momentum (2013’s entry opened around $100 million domestic and ended up about $550 million worldwide). But last time, domestic results increased by nearly 50 percent while the world doubled, with international returns to around 70 percent of the totals (and China leading the charge).
Don’t expect that trajectory to continue, but even if domestic results don’t quite match “Furious 7” ($147 million opening,...
“Furious 7” got unexpected traction with the tragic death of lead actor Paul Walker before that film completed production. But the series already had major momentum (2013’s entry opened around $100 million domestic and ended up about $550 million worldwide). But last time, domestic results increased by nearly 50 percent while the world doubled, with international returns to around 70 percent of the totals (and China leading the charge).
Don’t expect that trajectory to continue, but even if domestic results don’t quite match “Furious 7” ($147 million opening,...
- 4/13/2017
- by Tom Brueggemann
- Indiewire
One of the most remarkable moments in A Quiet Passion, Terence Davies’ witty and stirring Emily Dickinson biopic, is a simple transitional device. Emily, played as a teenager by Emma Bell, has sat down to pose for what will become one of the only surviving photos of the poet, taken in 1847. Davies slinks his camera forward, pushing in on her face, until—through some almost imperceptible trick of the light—Bell has transformed, before our very eyes, into Cynthia Nixon. This amazingly seamless special effect serves a practical function: A Quiet Passion has leapt from Dickinson’s youth to her adulthood, and from here Nixon will take over the role. But given the preoccupations of this great American artist, unsung in her own time but almost universally beloved today, the moment shudders with an additional significance. Emily knew, as well as any, that life is short. It can pass ...
- 4/13/2017
- by A.A. Dowd
- avclub.com
The Furious 8 crowd is advised to run for the hills. Terence Davies is a poet of cinema, of images, sounds and rhythms that define a life. Davies films move at a pace demanded by the material, not fidgety audiences. His remarkable debut features – 1988's Distant Voices, Still Lives and 1992's The Long Day Closes – are drawn from his own growing up experiences as the youngest of 10 children in a working-class Catholic family in Liverpool. To deal with an abusive father, he escaped into music and movies.
Just one reason that...
Just one reason that...
- 4/12/2017
- Rollingstone.com
Premiering at last year’s Berlin International Film Festival to rave reviews (including our own), Terence Davies’ A Quiet Passion tackles the life and work of America’s premier lady of letters, Emily Dickinson. Starring Cynthia Nixon as Dickinson, the drama pulsates with repressed creativity and bridled vitality, textured by Davies’s painterly, atmospheric touches that capture those aspects as well as the distinct domesticity of the Dickinson household. At last year’s New York Film Festival, I was able to sit down with highly esteemed British filmmaker and discuss what drew him to Emily Dickinson, the cruelty of talent being unrecognized within their lifetimes, and films that inspired him: William Wyler’s The Heiress and Max Ophüls’ Letter from an Unknown Woman. With the film now opening in limited release this Friday, read our full conversation below.
The Film Stage: What drew you to making this, not typical, biopic of Emily Dickinson’s life?...
The Film Stage: What drew you to making this, not typical, biopic of Emily Dickinson’s life?...
- 4/12/2017
- by The Film Stage
- The Film Stage
The poet Emily Dickinson lived by necessity in a world of her own, and the director Terence Davies tries to capture the strict limits and enclosure of that world in “A Quiet Passion,” a film that seeks to re-create a way of speaking among 19th century aesthetes. The degree of difficulty here is steep, and Davies has not been entirely successful in making Dickinson’s milieu come to full and convincing life. Davies has proven himself a master when it comes to the depiction of childhood and solitude, particularly in “Distant Voices, Still Lives” and “The Long Day Closes,” which treat his.
- 4/11/2017
- by Dan Callahan
- The Wrap
Terence Davies’s film follows the American poet’s descent from wisecracking repartee to isolated creative rigour
In one of A Quiet Passion’s early scenes, the poet Emily Dickinson quips that “an argument about gender is an argument about war”. Terence Davies’s biopic of the 19th-century American writer sets itself up as a film About Gender, declaring its explicit interest in the war waged on women who write about their own misery.
We open with young Emily (Emma Bell) departing her all-girls seminary; the remainder of the film takes place almost entirely within the confines of the Dickinsons’ home in Amherst, Massachusetts. No matter the setting, both teenage Emily and the writer she eventually becomes (Cynthia Nixon, on blistering form) reject the religious framework forced on them. Each is invested in the matters of her soul; just not in the matter of its saving.
Continue reading...
In one of A Quiet Passion’s early scenes, the poet Emily Dickinson quips that “an argument about gender is an argument about war”. Terence Davies’s biopic of the 19th-century American writer sets itself up as a film About Gender, declaring its explicit interest in the war waged on women who write about their own misery.
We open with young Emily (Emma Bell) departing her all-girls seminary; the remainder of the film takes place almost entirely within the confines of the Dickinsons’ home in Amherst, Massachusetts. No matter the setting, both teenage Emily and the writer she eventually becomes (Cynthia Nixon, on blistering form) reject the religious framework forced on them. Each is invested in the matters of her soul; just not in the matter of its saving.
Continue reading...
- 4/9/2017
- by Simran Hans
- The Guardian - Film News
Terence Davies’s elegant film benefits from a terrific performance by Nixon, who makes the reclusive 19th-century poet seem radiant with loneliness
In this film, Cynthia Nixon has the face of someone with a secret. She plays the poet Emily Dickinson, and her face is fever-bright with irony and wit, then loneliness and fear. You can see how emotions are somehow stored in that face provisionally, being refined and saved for later – for the poetry she writes during the night. It is a face that changes as she grows older and moves along the spectrum of genius, publishing little or nothing, angry about the non-consolation of “posterity”. Terence Davies’s film and Nixon’s tremendous performance reminded me of Wh Auden saying that Matthew Arnold “thrust his gift in prison till it died”. It isn’t Dickinson’s gift for poetry that gets thrust in prison but her gift for love,...
In this film, Cynthia Nixon has the face of someone with a secret. She plays the poet Emily Dickinson, and her face is fever-bright with irony and wit, then loneliness and fear. You can see how emotions are somehow stored in that face provisionally, being refined and saved for later – for the poetry she writes during the night. It is a face that changes as she grows older and moves along the spectrum of genius, publishing little or nothing, angry about the non-consolation of “posterity”. Terence Davies’s film and Nixon’s tremendous performance reminded me of Wh Auden saying that Matthew Arnold “thrust his gift in prison till it died”. It isn’t Dickinson’s gift for poetry that gets thrust in prison but her gift for love,...
- 4/6/2017
- by Peter Bradshaw
- The Guardian - Film News
Cynthia Nixon shines as Emily Dickinson in A Quiet Passion Photo: Anne-Katrin Titze
A Film Comment Presents selection at last year's New York Film Festival and a highlight of this year's Glasgow Film Festival, A Quiet Passion directed by Terence Davies looks at questions of the soul, family, war, creativity and how to be true to yourself - all in stunningly beautiful images shot by Florian Hoffmeister (The Deep Blue Sea) and with costumes by Catherine Marchand. Cynthia Nixon is a wonderful, knowing, doubting, twinkling Emily Dickinson. Jennifer Ehle as her sister Vinnie, her perfect match in loving banter and bitter argument. When their brother Austin (Duncan Duff) marries Susan Gilbert (Jodhi May) he gives them another sister. The female bonding comes across as effortless and their wit has lightning speed. Keith Carradine, as the patriarch Edward, rounds out the family dynamics.
Emily Dickinson (Cynthia Nixon) on disliking the role...
A Film Comment Presents selection at last year's New York Film Festival and a highlight of this year's Glasgow Film Festival, A Quiet Passion directed by Terence Davies looks at questions of the soul, family, war, creativity and how to be true to yourself - all in stunningly beautiful images shot by Florian Hoffmeister (The Deep Blue Sea) and with costumes by Catherine Marchand. Cynthia Nixon is a wonderful, knowing, doubting, twinkling Emily Dickinson. Jennifer Ehle as her sister Vinnie, her perfect match in loving banter and bitter argument. When their brother Austin (Duncan Duff) marries Susan Gilbert (Jodhi May) he gives them another sister. The female bonding comes across as effortless and their wit has lightning speed. Keith Carradine, as the patriarch Edward, rounds out the family dynamics.
Emily Dickinson (Cynthia Nixon) on disliking the role...
- 4/5/2017
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Get in touch to send in cinephile news and discoveriesNEWS© Bronx (Paris). Photo: Claudia Cardinale © Archivio Cameraphoto Epoche/Getty ImagesThe Cannes Film Festival has released the vibrant poster for their 70th edition. Beautiful, definitely, but how much longer are they going to rely on their glorious past rather than pointing to the present and future?We are excited to announce a collaboration with the Filmadrid festival in Spain to bring you films from their new section, The Video Essay, this June. Submissions are now open, so for video essayists new and experienced we encourage you to send in your work for consideration. Those selected will be screened both at the festival in Madrid and on the Notebook.Recommended VIEWINGWe adored Terence Davies' by turns witty and austere Emily Dickinson biopic A Quiet Passion when it premiered last year at the Berlinale. With its U.S. release coming soon, we finally have a local trailer.
- 3/29/2017
- MUBI
Aside from the guaranteed global behemoth F8 of the Furious, a.k.a. Furious 8, a.k.a. All in the Fambly, this April is conspicuously blockbuster-lite. (Unless you count Smurfs: The Lost Village, and we do not.) No better time, then, to do a bit of exploring around the indie fringes. Offbeat genre pictures are abound this month, from a sleazy revenge picture to a slippery character study/kaiju movie combo to a virtuosic opera of gunfire. Elsewhere, Tom Hanks tackles a technothriller, Charlie Hunnam and Robert Pattinson venture into...
- 3/28/2017
- Rollingstone.com
Author: Zehra Phelan
It has emerged Emilia Clarke has a passion for roles in which she is brought in to help or even nurse those in need of help. Firstly in last year’s Me Before You alongside Sam Claflin now in supernatural thriller Voice from the Stone, judging from the trailer this one will send shivers down your spine.
Related: Me Before You Premiere Interview with Emilia Clarke
Whilst there is a melancholy beauty set within the eerie tones of the trailer, all appears to be well at first as Clarke, who plays the hired young nurse, Verena, is brought into the fold to help a young boy come out of his self-induced silence after his mother dies. However, after a series of strange events that almost drives her insane, she becomes a victim of abduction and sinister supernatural incidents eventually showing her in a broken state.
Voice from...
It has emerged Emilia Clarke has a passion for roles in which she is brought in to help or even nurse those in need of help. Firstly in last year’s Me Before You alongside Sam Claflin now in supernatural thriller Voice from the Stone, judging from the trailer this one will send shivers down your spine.
Related: Me Before You Premiere Interview with Emilia Clarke
Whilst there is a melancholy beauty set within the eerie tones of the trailer, all appears to be well at first as Clarke, who plays the hired young nurse, Verena, is brought into the fold to help a young boy come out of his self-induced silence after his mother dies. However, after a series of strange events that almost drives her insane, she becomes a victim of abduction and sinister supernatural incidents eventually showing her in a broken state.
Voice from...
- 3/15/2017
- by Zehra Phelan
- HeyUGuys.co.uk
One of the most striking, accomplished, and affecting films of last year was Terence Davies‘ Sunset Song — and, thankfully, one won’t have to wait long to see his follow-up. After premiering at last year’s Berlin International Film Festival and hitting Tiff, A Quiet Passion is coming to the U.S. this spring, hence a new trailer. The film chronicles the life and work of Emily Dickinson, here played by Cynthia Nixon. Also starring Jennifer Ehle, Keith Carradine, and Emma Bell, we now have a beautiful new U.K. trailer.
In our review, we said, “Nixon excels in this choice role, bringing bags of warmth and spirit to Dickinson while retaining the ability to wield a sharp edge whenever called upon. The actress’ famously open, aghast expressions are used to great effect in Passion‘s more comedic moments, of which there are surprisingly many. As usual, Davies works from his own screenplay,...
In our review, we said, “Nixon excels in this choice role, bringing bags of warmth and spirit to Dickinson while retaining the ability to wield a sharp edge whenever called upon. The actress’ famously open, aghast expressions are used to great effect in Passion‘s more comedic moments, of which there are surprisingly many. As usual, Davies works from his own screenplay,...
- 2/24/2017
- by Nick Newman
- The Film Stage
Terence Davies‘ upcoming biopic “A Quiet Passion” has a new UK trailer, bringing viewers a taste of the drama that follows the story of famed American poet Emily Dickinson played by Cynthia Nixon of “Sex and the City” fame.
The drama takes us into the life of Dickinson, with Davies delivering his third straight woman-led drama, following 2011’s “The Deep Blue Sea” and 2015’s “Sunset Song.” Here’s the official synopsis:
The story of 19th century American poet Emily Dickinson is brought to vivid life, in a remarkably sensitive biopic by director Terence Davies, exploring her early days as a young schoolgirl, through to her later years as a recluse.
Continue reading Cynthia Nixon Gets Poetic As Emily Dickinson In New Trailer For Terence Davies’ ‘A Quiet Passion’ at The Playlist.
The drama takes us into the life of Dickinson, with Davies delivering his third straight woman-led drama, following 2011’s “The Deep Blue Sea” and 2015’s “Sunset Song.” Here’s the official synopsis:
The story of 19th century American poet Emily Dickinson is brought to vivid life, in a remarkably sensitive biopic by director Terence Davies, exploring her early days as a young schoolgirl, through to her later years as a recluse.
Continue reading Cynthia Nixon Gets Poetic As Emily Dickinson In New Trailer For Terence Davies’ ‘A Quiet Passion’ at The Playlist.
- 2/23/2017
- by Jay Hunter
- The Playlist
Sex and the City star Cynthia Nixon plays the great 19th century American poet Emily Dickinson in the new film from British director Terence Davies, of Sunset Song and House of Mirth renown. Dickinson, who lived almost all her life in Amherst, Massachusetts, only published a handful of poems herself; she only became known as a major writer after her death in 1886, when her sister found hundreds of her poems.
•A Quiet Passion is released on 7 April in the UK.
Continue reading...
•A Quiet Passion is released on 7 April in the UK.
Continue reading...
- 2/20/2017
- by Guardian Staff
- The Guardian - Film News
Terence Davies is apparently finding having the “moment” he’s been rightly deserving for almost thirty years.
After having a quiet period from The House of Mirth in 2000 to his underrated documentary Of Time And The City in 2008, Davies has given us three new films in the subsequent nine years, including two that are arriving in theaters damn near one year apart. Sunset Song arrived to grandiose notices (including a rave by your’s truly) in the first half of 2016, and thankfully the director has returned with a film that’s arguably one of his best yet.
Entitled A Quiet Passion Davies jumps from the fictional world created by author Lewis Grassic Gibbon that was Sunset Song and into the real world of legendary scribe Emily Dickinson. Cynthia Nixon stars as the beloved 19th-century poet, as we see her go from teenage religious skeptic to something far less bright eyed and bushy tailed,...
After having a quiet period from The House of Mirth in 2000 to his underrated documentary Of Time And The City in 2008, Davies has given us three new films in the subsequent nine years, including two that are arriving in theaters damn near one year apart. Sunset Song arrived to grandiose notices (including a rave by your’s truly) in the first half of 2016, and thankfully the director has returned with a film that’s arguably one of his best yet.
Entitled A Quiet Passion Davies jumps from the fictional world created by author Lewis Grassic Gibbon that was Sunset Song and into the real world of legendary scribe Emily Dickinson. Cynthia Nixon stars as the beloved 19th-century poet, as we see her go from teenage religious skeptic to something far less bright eyed and bushy tailed,...
- 2/15/2017
- by Joshua Brunsting
- CriterionCast
James Baldwin is voiced by Samuel L Jackson in Raoul Peck's Oscar nominated I Am Not Your Negro Photo: Anne-Katrin Titze
Kleber Mendonça Filho's Aquarius, starring Sônia Braga; Adrian Titieni and Maria-Victoria Dragus in Cristian Mungiu's Graduation (Bacalaureat); A Quiet Passion, directed by Terence Davies with Cynthia Nixon as Emily Dickinson, and Raoul Peck's extraordinary documentary, I Am Not Your Negro, based on James Baldwin's 30 pages of notes for a book project titled Remember This House, which takes us on an American journey with the writings of Baldwin, are four highlights of this year's Glasgow Film Festival.
Graduation (Bacalaureat)
Graduation
Who throws the first stone in Cristian Mungiu's latest Romanian tale is a mystery - the first of many. Romeo (Adrian Titieni), a doctor in the hospital of a provincial town wishes nothing more urgently than for his daughter Eliza (Maria-Victoria Dragus) to be...
Kleber Mendonça Filho's Aquarius, starring Sônia Braga; Adrian Titieni and Maria-Victoria Dragus in Cristian Mungiu's Graduation (Bacalaureat); A Quiet Passion, directed by Terence Davies with Cynthia Nixon as Emily Dickinson, and Raoul Peck's extraordinary documentary, I Am Not Your Negro, based on James Baldwin's 30 pages of notes for a book project titled Remember This House, which takes us on an American journey with the writings of Baldwin, are four highlights of this year's Glasgow Film Festival.
Graduation (Bacalaureat)
Graduation
Who throws the first stone in Cristian Mungiu's latest Romanian tale is a mystery - the first of many. Romeo (Adrian Titieni), a doctor in the hospital of a provincial town wishes nothing more urgently than for his daughter Eliza (Maria-Victoria Dragus) to be...
- 2/14/2017
- by Anne-Katrin Titze
- eyeforfilm.co.uk
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