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Emerald Fennell just announced her third feature film, and this time, it’ll be an adapted screenplay.

Fennell is set to direct the latest adaptation of Emily Brontë’s beloved “Wuthering Heights” novel. Fennell tweeted a logo for the feature, along with the tagline, “Be with me always. Take any form. Drive me mad.”

IndieWire reached out to Fennell’s representatives for confirmation.

The Oscar winner made her feature directorial debut with “Promising Young Woman” and released “Saltburn” in 2023. Fennell deemed “Saltburn” a “fully Gothic” twisted love story, and now, “Wuthering Heights” will lean into both of those genres. The feature will also reunite Fennell with MRC on the production side, which she collaborated with for “Saltburn.”

“Wuthering Heights” centers on the tortured romance between Cathy and Heathcliff that is rife with revenge.

Fennell previously told Vanity Fair that her filmmaking passion is telling stories of darker desires.

“For that...

TCM’s talk show ‘Two for One’ is set to air an episode featuring acclaimed director Todd Haynes on June 22, 2024, at 8 p.m. Haynes has curated a double feature for the show, selecting two films that will be presented back-to-back: ‘The Go-Between’ (1971) and ‘Sunday Bloody Sunday’ (1971). ‘Two for One’ is a unique […]

Two for One: Todd Haynes – The Go-Between & Sunday Bloody Sunday...

Exclusive: To celebrate the 100th anniversary of Columbia Pictures, the municipality of Cannes will present a free photographic exhibition titled “Lighting the Way: From the Torch Lady to Leading Ladies.” The photos will be on display for the general public on Cours Félix Faure in Cannes from May 13 to June 10.

Led by Columbia Pictures’ iconic Lady with the Torch, the exhibition will consist of over 30 rare photographs from Columbia’s archive and highlighting legendary actresses from Hollywood’s Golden Age and beyond, including Katherine Hepburn, Deborah Kerr, Claudette Colbert, Ann-Margret, Meryl Streep, Viola Davis, Julia Roberts, Michelle Yeoh and Rita Hayworth. A restored version of Hayworth’s Gilda is screening as part of the Cannes Film Festival’s Cannes Classics program this year.

Said Tom Rothman, Chairman & CEO of Sony Pictures’ Motion Picture Group, “Columbia Pictures may have been founded by men, but women have always been vital to its growth and impact.

A movie marathon with our favorite auteurs? Where do we sign up?

Turner Classic Movies’ latest limited series “Two for One” features curated double features coupled with commentary from select guest programmers like Martin Scorsese, Paul Thomas Anderson, Steven Spielberg, Spike Lee, and more. The upcoming TCM series is hosted by Ben Mankiewicz, who will interview each director about why they chose to highlight their two chosen films.

“Two for One” will feature 12 nights of double features, beginning April 6. With the logline “two films, one filmmaker, countless perspectives,” the series is set to span all of cinematic history. Directors will offer commentary on the double feature’s cultural significance, its influence on other films, behind-the-scenes stories, and their own personal reflections.

Martin Scorsese kicks off the show with a conversation comparing “Blood on the Moon” and “One Touch of Venus.” The following week, actress/director Olivia Wilde picks “Auntie Mame” and 1976 documentary “Grey Gardens.

Turner Classic Movies have announced a new limited series, Two for One, that will feature 12 nights of double features curated by some of the most celebrated filmmakers in Hollywood beginning April 6. TCM Primetime Host Ben Mankiewicz will be joined by each director, including Paul Thomas Anderson, Steven Spielberg, Martin Scorsese, Todd Haynes, Spike Lee, Nicole Holofcener, and Rian Johnson, to introduce the two films they chose. They will offer commentary on the double feature’s cultural significance, its influence on other films, behind-the-scenes stories, and their own personal reflections.

“This was such an eclectic group of filmmakers to sit down with, which was invigorating, from Martin Scorsese talking about a Robert Mitchum western, to Spike Lee discussing Elia Kazan, to Olivia Wilde’s breakdown of Rosalind Russell in Auntie Mame,” said Ben Mankiewicz. “In these double features, these 12 directors lead us on an insider’s journey through cinematic history.”

See...

Nominated in five categories at the 39th Film Independent Spirit Awards, the darkly humorous and ominously cringey psychological drama May December is filmmaker Todd Haynes’ tenth (!) Spirit Award nomination. A pioneer of the New Queer Cinema movement, Haynes previously won Best Director for 2002’s period romantic drama Far from Heaven (starring May December co-lead Julianne Moore), as well as the Robert Altman Award for 2007’s Bob-Dylan-inspired musical fantasia, I’m Not There.

Haynes has talked about how May December is about “the stories we tell ourselves” in order to “survive our lives.” Loosely based on the 1990s-era Irl story of Mary Kay Letourneau, the film follows 59-year-old housewife Gracie (Moore), who seems happily married with children to her 36-year-old husband, Joe Yoo, played by Charles Melton. Melton, too, is nominated for Best Supporting Performance at the 2024 Spirit Awards, streaming Live this Sunday at 2pm Pt.

The narrative tension kicks off when...

Short of "Oppenheimer," there's no film released in 2023 that I enjoyed more than Todd Haynes' "May December" — so of course it's been nearly shut out by the Academy for the 96th Oscars.

It's not a total wash, since "May December" earned a nomination for Original Screenplay. Yet as deserving as Samy Burch's writing is of that honor, the nomination feels like an insufficient offer of consolation. "May December" is not named among the Best Picture nominees, nor is Todd Haynes nominated for Best Director. Marcelo Zavros' score, reworked from Michael Legrand's in "The Go-Between," was shut out even as it accentuates the film's melodrama and dark comic timing.

Most galling is its total absence from the acting categories, even though the movie lives and dies on its three central performances: Julianne Moore, Natalie Portman, and Charles Melton.

"May December" is about Gracie (Moore) and Joe Yoo (Melton), a...

In 2020 – for the first time in seven years – the Best Supporting Actress Oscar category saw a lone nomination, meaning that a film was recognized there and nowhere else. This achievement is attributed to Kathy Bates (“Richard Jewell”), who competed for no major precursors except the Golden Globe but still managed to bump Critics Choice, SAG, and Globe nominee Jennifer Lopez (“Hustlers”). Perhaps unsurprisingly given the length of the streak she broke, there has yet to be a lone contender in any of her category’s subsequent lineups.

Since the introduction of the two gendered supporting Oscars in 1937, there have been 57 female lone nominees and 54 male ones, with over half of the entrants on the former roster having been added before 1977. The one who directly preceded Bates was Helen Hunt, whose inclusion in her lineup was much more heavily predicted. Coincidentally, both women had the perceived advantage of being former Best Actress champions,...

They say that one person’s loss is another person’s gain, but cinematographer Christopher Blauvelt had mixed emotions about his recent good fortune in landing the coveted director of photography gig on “May December,” the latest film from Todd Haynes. The director is known for his Oscar-nominated collaborations with longtime colleague Ed Lachman, which include “Carol” and “Far from Heaven.” Lachman, however, suffered a broken hip after a fall while shooting Pablo Larraín’s “El Conde,” and Haynes needed a new set of eyes. So he turned to his filmmaker pal Kelly Reichardt for recommendations, and Blauvelt stepped aboard the darkly comic tale of a tenacious actress, Elizabeth (Natalie Portman), infiltrating the lives of Gracie (Julianne Moore), a Mary Kay Letourneau-esque homemaker and her much younger husband, Joe (Charles Melton), who was 13 when they first got together.

“Kelly and Todd are teachers for me, I learned so much from them,...

Every few years, the Golden Globe awards have a category hiccup. In 2015, the Ridley Scott/Matt Damon Robinson-Crusoe-in-space sci-fi movie “The Martian” was nominated (and won) for best motion picture — musical or comedy, even though the movie contained no songs and no one thought it was a comedy. A month ago, in that same category, the Globes gave a nomination to “May December,” Todd Haynes’ acclaimed but hard-to-categorize film based, not so loosely, on the true story of Mary Kay Letourneau. She, of course, was the sixth-grade teacher who spent seven years in prison after having been caught in a sexual relationship with one of her 12-year-old students, who she went on to marry and have a family with.

Categorizing “May December” as a “musical or comedy” is a lot more eyebrow-raising than calling “The Martian” one. In this case, though, the Globes at least have an ally: all the...

As Martin Scorsese once said, “Music and cinema fit together naturally. Because there’s a kind of intrinsic musicality to the way moving images work when they’re put together. It’s been said that cinema and music are very close as art forms, and I think that’s true.” Indeed, the right piece of music––whether it’s an original score or a carefully selected song––can do wonders for a sequence, and today we’re looking at the 20 films that best expressed that notion in 2023.

From seasoned composers to accomplished musicians, as well as a smattering of soundtracks, each perfectly transported us. Check out our rundown of the top 20, which includes streams to each soundtrack in full where available.

20. Infinity Pool (Tim Hecker)

19. Knock at the Cabin (Herdís Stefánsdóttir)

18. Mission: Impossible – Dead Reckoning Part One (Lorne Balfe)

17. Passages (Various Artists)

16. Spider-Man: Across the Spider-Verse (Daniel Pemberton)

15. Master Gardener...

The preshoot rituals they can’t live without, the studio negotiations they’ve learned to finesse and the creative choices they still can’t believe they got away with — the directors of six of this year’s most remarkable movies got together and talked shop. In November, Blitz Bazawule (The Color Purple), Bradley Cooper (Maestro), Ava DuVernay (Origin), Greta Gerwig (Barbie), Todd Haynes (May December) and Michael Mann (Ferrari) convened for THR’s annual Director Roundtable.

How do you like to start on set? Do you actually call action?

Greta Gerwig I guess I say, “When you’re ready.” It seems less aggressive.

Ava Duvernay I call action. Or I have action called. It took me a long time in my filmmaking to feel confident not to be the one calling action. Now I’ll just tap my Ad, and he or she will do it. But I find it...

The boundary-pushing melodrama "May December" is a tonally unique film, and the stand-out score electrifies the audience into this strange mood. The dramatic piano music matches the off-beat camp of the absurd comedic moments, while more eerie dissonant notes immediately foreshadow the dark subject matter ahead. The film was composed by Marcelo Zarvos, an accomplished composer and proficient piano player. However, some of the music was taken straight from Joseph Losey's 1971 romance thriller "The Go-Between."

Todd Haynes' 2023 film follows an actress' background research as she prepares for a fictional adaptation of a true crime story about a woman who had an affair with a 13-year-old at age 36. Their relationship was the subject of tabloid fodder in the '90s, but the controversial couple remained married well into the boy's adulthood and raised several children together. However, the actress' arrival brings up questions for the young man about his relationship.

“Superstar: The Karen Carpenter Story” announced Todd Haynes as a filmmaker to be watched back in 1987 while the luscious dramas “Far From Heaven” (2002) and “Carol” (2015) cemented his status as one of the best talents working in Hollywood. That talent continues to burn brightly with his new movie, Netflix’s “May December,” which was released in US theaters on November 17.

The film will start streaming on Netflix on December 1 but catch it on the big screen to take in all of its melodramatic delights. Natalie Portman stars Elizabeth, as an actress who visits Charles Melton‘s Joe and Julianne Moore‘s Gracie to do research for a movie based on the couple’s past. The past in question concerns the affair they had when Joe was 13 and Moore was much older. It’s a dramatic premise but it’s also a film full of comedy and deliciously dark moments. Haynes’ clever...

Teyonah Parris as Captain Monica Rambeau in The Marvels Photo: Marvel Studios Thanksgiving review: Eli Roth serves up a gory feastHorror fans have been waiting more than a decade for Thanksgiving, director Eli Roth’s holiday slasher about a killer in a pilgrim mask terrorizing a small Massachusetts town. Ever...

Photo: Sony Pictures, MGM/Amazon Studios, Netflix, Hilary Bronwyn Gayle/Searchlight Pictures, Murray Close/Lionsgate, Marvel Studios, Graphic: Jimmy Hasse, The A.V. Club, Screenshot: Sony, Sony Pictures Entertainment/YouTubeThanksgiving review: Eli Roth serves up a gory feastThanksgiving Photo: Sony Pictures

Horror fans have been waiting more than a decade for Thanksgiving,...

Savannah, Georgia is an appropriate setting for a conversation with filmmaker Emerald Fennell about her newest film “Saltburn,” which follows an Oxford student who becomes enmeshed with a wealthy classmate’s eccentric family during a summer at their country estate. “It’s fully Gothic, especially at Halloween, so it’s really my favorite kind of place,” said the director to IndieWire during a recent interview. Though, in an interview setting that featured walls that alternated between hard, slate gray panels, and thin, beaming bars of fluorescent lighting, Fennell joked that the whole thing felt a bit like “a ‘John Wick’ interrogation.”

In town to accept the Spotlight Director Award at the Scad Savannah Film Festival, Fennell denied feeling a daunting amount of pressure around what to follow up her Academy Award-winning debut “Promising Young Woman” with. “I usually have a few things going on, but I don’t write them down.

Natalie Portman and Julianne Moore in May December. Photo: Netflix From its very first shot Todd Haynes’ May December announces itself as a wildly intoxicating, intentionally strident provocation. Close-up images of Monarch butterflies and their surrounding manicured flower gardens are scored by the theme from Joseph Losey’s 1971 film The Go-Between.

Natalie Portman and Julianne Moore in May December.Photo: Netflix

From its very first shot Todd Haynes’ May December announces itself as a wildly intoxicating, intentionally strident provocation. Close-up images of Monarch butterflies and their surrounding manicured flower gardens are scored by the theme from Joseph Losey’s 1971 film The Go-Between.

First reviews out of Cannes for Todd Haynes’ poisonously witty and complex new film “May December” heralded “a heartbreakingly sincere piece of high camp,” “a camp and curious pleasure,” a “camp look at an actor’s process of transformation into a character.”

But how does “camp” figure into the context of a film starring Natalie Portman as a celebrity actress studying Julianne Moore as a Southern spin on Mary Kay Letourneau, the middle school teacher who had a sexual relationship with her 12-year-old student, was convicted of rape and imprisoned, and then married and had two children with him? Portman’s character is set to play Moore’s in a new movie. Is it by virtue of seeing these two gay-iconic actresses on a set with the director of “Carol,” “Velvet Goldmine,” and “Superstar: The Karen Carpenter Story,” a 1988 documentary about the ill-fated singer stop-motion-animated with Barbie dolls? Is it...

In one scene early in Todd Haynes’s new film, May December, Joe’s (Charles Melton) face flickers with the grey-blue light of the TV screen playing a commercial for face wash. The commercial stars Elizabeth (Natalie Portman), the TV star who will be playing his wife, Gracie (Julianne Moore), in an upcoming film and who will be visiting their home to do research for the role. The brief shot of Elizabeth’s face, sparkling with water and freshness and something like “realness,” loops on itself over and over again, while Joe’s eyes glaze over.

Later in the film, days into her research into Joe and Gracie’s lives, a lurid scene of an adult woman seducing a 13-year-old pet store employee plays on the television set in Elizabeth’s hotel room, a black bar on the screen boldly stating “Do Not Replicate.” It signals at once a trashiness...

May December director Todd Haynes said of first reading Samy Burch’s script, “I loved how disquieting it was for the reader and thought, ‘Wow, if there was a way to convey this on screen and ignite that sense of engaged questioning and uncertainty’… It reminded me of the kind of movies that I came of age watching. It made you question your assumptions going in, made you want to discuss them and think about them later.” Haynes was speaking at Deadline’s Contenders London event this afternoon.

Starring Natalie Portman, Julianne Moore and Charles Melton, the film picks up 20 years after an affair between Gracie (Moore), an adult woman and a much – much – younger man (Melton) made tabloid headlines. In the present day, famous TV star Elizabeth (Portman) visits the now-married couple while researching a film that will be based on the old scandal.

Burch said she was inspired...

The first shots of Todd Haynes’s May December (cinematography by Christopher Blauvelt), screenplay by Samy Burch, are of butterflies with one of them seemingly stuck, accompanied by the most perfectly ominous and playful music, which sounds a lot like Michel Legrand. Precisely because it is a variation of a Legrand score (for Joseph Losey’s The Go-Between), adapted by Marcelo Zarvos for this film.

We enter the Southern world by the river - where the trees wear veils and moms bake pies for business and children hang out on the slanted roofs - with movie star Elizabeth (Natalie Portman) during a barbecue. Many mirrors reflect the journey of an actress through the looking glass into the world of Gracie (Julianne Moore), a woman whose affair at age 37 with a seventh grader was tabloid fodder 20 years prior.

Elizabeth arrives in Savannah, Georgia, in understated, carefully chosen...

May December director Todd Haynes with screenwriter Samy Burch, and his producers Christine Vachon, Pamela Koffler, Jessica Elbaum and Sophie Mas Photo: Anne-Katrin Titze

Todd Haynes’s May December, screenplay by Samy Burch, shot by Christopher Blauvelt and starring Natalie Portman, Julianne Moore, and Charles Melton opened the 61st New York Film Festival on Friday. Todd’s previous films screening at the New York Film Festival were Velvet Goldmine (NYFF 36), I’m Not There (NYFF 45), Carol (NYFF 53), Wonderstruck (NYFF 55 - Centerpiece Selection), and The Velvet Underground (NYFF 59).

Todd Haynes responding to Anne-Katrin Titze’s comment and question: “I did not create the lisp! There are some people who are missing today who could speak so beautifully about how they built these characters.” Photo: Anne-Katrin Titze

At the press conference Todd Haynes spoke about connecting his composer Marcelo Zarvos to Michel Legrand’s score for Joseph Losey’s The Go-Between (Harold Pinter...

Natalie Portman and Julianne Moore are splitting up their Oscar campaigns for awards season.

Although Todd Haynes’ delicious drama “May December” is interpreted by many as a two-hander, Netflix confirms to Variety exclusively that Portman will be submitted for lead actress consideration, while Moore will vie for supporting actress.

Co-leads from awards contenders are seldom campaigned alongside one another. One of Haynes’ most beloved films, the love story “Carol” (2015) starring Cate Blanchett and Rooney Mara, was famously criticized for separating its two presumed leading performers for its respective awards season. Blanchett was nominated in lead with Mara in supporting. While it can be debated for awards enthusiasts, there are only five instances of two women being nominated for the same movie in the Oscars’ 95-year history. The last was Geena Davis and Susan Sarandon for “Thelma & Louise” (1991).

Read: Variety’s Awards Circuit for the latest Oscars predictions in all categories.

Garth Craven, the British-born sound and film editor and second-unit director whose credits included six Sam Peckinpah features, as well as Turner and Hooch, My Best Friend’s Wedding and Legally Blonde, has died. He was 84.

A resident of Malibu, Craven died May 20 after he suffered a medical emergency while flying back to Los Angeles from a safari in Namibia, his daughter, Willow Kalatchi, told The Hollywood Reporter.

Craven collaborated with the maverick director Peckinpah on Straw Dogs (1971), The Getaway (1972), Pat Garrett & Billy the Kid (1973), Bring Me the Head of Alfredo Garcia (1974), The Killer Elite (1975) and Convoy (1978).

He worked with fellow editor Roger Spottiswoode on the first three of those films, and when Spottiswoode graduated to director, they partnered on the features Shoot to Kill (1988), Turner and Hooch (1989) and Air America (1990) and on two HBO telefilms: 1989’s Third Degree Burn and 1993’s And the Band Played On.

Craven also cut Gaby: A True Story...

Film and sound editor Garth Craven, who edited films including “Legally Blonde” and got his start in film editing with Sam Peckinpah’s “Pat Garrett and Billy the Kid,” died May 20 in Barcelona. He was 84.

His death was only recently announced by his daughter Willow.

Craven not only worked in the cutting room but also in sound departments and served as second unit director on several films. At the beginning of his career, Craven worked on Federico Fellini’s fantasy drama “Satyricon” (1969) in the sound editing department, which served as his introduction to filmmaking.

Back in England, he continued working on films in London. Resuming his work in the sound department, Craven received a BAFTA for the critically acclaimed romantic drama “The Go-Between” (1971) directed by Joseph Losey.

He eventually became a frequent collaborator and friend of Peckinpah. Craven worked as a sound consultant on “The Getaway,” a sound editor on “Straw Dogs,...

If anyone was going to dramatize the scandalous Mary Kay Letourneau story, it makes sense that it would be "Carol" director Todd Haynes. There's something about the way the filmmaker approaches the stories he is compelled to tell that uniquely positions him to decipher and reinvent what has always felt stranger than fiction. Haynes expertly capitalizes on that strangeness and turns it on its ear, employing it for demented laughs as much as he does for crushing awareness. In his hands, "May December" is all at once an exploration of the human condition and a tightrope line of boundaries uncrossable. Haynes' work positions this new film to be a high-drama Trojan horse filled with self-actualizing horrors, and it's safe to say that the playful yet sobering style the filmmaker uses this time will stick with audiences long past awards season.

"May December" chronicles the aftermath of a tabloid scandal romance...

In the experimental montage that opens “Persona,” a bare-chested teenage boy caresses a screen upon which the faces of two women slowly morph back and forth. It’s easy to imagine Todd Haynes being tempted to start his deep-as-you-want-to-go rabbit-hole drama “May December” the same way, seeing as how this endlessly fascinating movie focuses on the blurring of the lines between a Hollywood star (Natalie Portman) and her true-crime character (Julianne Moore), who was caught in a sexual relationship with a 7th grader at the age of 36. The movie wants to know: Can playing this Mary Kay Letourneau-like tabloid sensation really answer what makes such a woman tick?

A heady director whose entire oeuvre feels ripe for film-studies dissertations, Haynes makes movies not merely to be watched, but to be analyzed and deconstructed after the fact. From the rich Douglas Sirkian pastiche of “Far From Heaven” to the queer...

There’s a postmodernist horror movie about performance as predation hidden beneath the semiotician’s gaze in Todd Haynes’ May December, a complex drama that’s intrinsically intimate and yet also detached, at times almost clinical. The director is poking around in territory that’s familiar to him — self-knowledge and public perception, identity and duality, transparency and performance, social norms and the sexual outlaw. But the emotional volatility of the story ends up being somewhat muted by the approach, likely making this a tough sell beyond Haynes’ devoted admirers.

What will give the film a significant degree of traction, however, are the riveting performances of Natalie Portman and frequent Haynes muse Julianne Moore, as two women at cross purposes, one seeking to excavate the past and another who has spent two decades endeavoring to bury it. An astonishing monologue delivered by Portman into a mirror in particular demands to be seen.

Editor’s note: This review was originally published at the 2023 Cannes Film Festival. Netflix releases the film in select theaters on Friday, November 17, with a streaming release to follow on Friday, December 1.

A heartbreakingly sincere piece of high camp that teases real human drama from the stuff of tabloid sensationalism, Todd Haynes’ delicious “May December” continues the director’s tradition of making films that rely upon the self-awareness that seems to elude their characters — especially the ones played by Julianne Moore.

Here, the actress reteams with her “Safe” director to play Gracie Atherton-Yoo, who became a household name back in 1992 when she left her ex-husband for her 13-year-old fellow pet shop employee. Now it’s 2015, the situation has normalized somewhat, and Gracie and Joe (a dad bod Charles Melton) have been together long enough that their youngest children are about to graduate high school. The occasional package full of poop...

Julie Christie is an Oscar-winning actress who has been largely absent from movie screens this century, enjoying a semi-retirement that finds her returning for the odd performance here and there. Yet she’s always finding new fans as younger generations discover her cinematic classics. Let’s take a look at 20 of her greatest films, ranked worst to best.

Born on April 14, 1940, Christie rose to prominence for her work in London, starting with a breakthrough performance in John Schlesinger‘s “Billy Liar” (1963). She won the Oscar as Best Actress just two years later for Schlesinger’s “Darling” (1965), playing a fashion model who sleeps her way to the top. That same year, she shot to stardom thanks to David Lean‘s romantic epic “Doctor Zhivago” (1965), which casts her as a political activist’s wife who falls in love with a physician (Omar Sharif) during the Russian Revolution.

She earned a second Best...

Josiah Allen and Indianna Bell’s thriller short The Recordist leads the nominations for the 23rd South Australian Screen Awards, featuring in seven categories.

Alies Sluiter ’s Myth – The Go-Between and Kiara Milera and Charlotte Rose’s Waiyirri were also well represented in the field of 82 nominees announced yesterday, each securing five nods.

To be held in-person at Mercury Cx next month, the awards celebrate South Australian key creatives and crews across short films, music videos, web series, and games with total prizes valued at more than $30,000.

Winners will be presented across 24 categories, including drama, comedy, documentary, animation, web series, games, music video, acting, hair and makeup, design, sound, music, editing, cinematography, writing, directing, and producing.

Mercury Cx CEO Karena Slaninka said that for the nominees and winners, the recognition provided a stepping stone for which to build their careers.

“Getting a Sasa means something,” she said.

“In each case,...

It’s a curious quirk of the British calendar that Mother’s Day — or Mothering Sunday, if you want to be formal about it — falls not in May, with all that month’s springy symbolism of new life, but the damp, unripe chill of mid-March, when no one feels much like celebrating anything at all. In “Mothering Sunday,” however, a number of upper-class English families meet to picnic on a day so unseasonably warm and bright that the weather is the one safe running topic of conversation: It’s a gathering of more parents than children, where unspoken and unspeakable losses are politely talked around. If Graham Swift’s 2016 novella was a guest at the same elegant, repressed garden party as L.P. Hartley’s “The Go-Between” and Ian McEwan’s “Atonement,” Eva Husson and screenwriter Alice Birch’s unusual, stimulating adaptation comes closer to the shattered experimentalism of Joseph Losey...

If there’s a kerfuffle on the Croisette, the prolific U.K. producer is never far away…

Oscar-winning producer Jeremy Thomas knows a thing or two about making waves. The man once described by director Bernardo Bertolucci as a “hustler in the fur of a teddy bear” has lived both at the heart of the U.K. film establishment and as a passionate advocate for counterculture, whether in the novels of authors William S. Burroughs and Paul Bowles or the punk-rock anarchy of the Sex Pistols.

But none of the 75+ features the 71-year-old Thomas has worked on has created as much of a stir as David Cronenberg’s adaptation of J.G. Ballard’s Crash, which debuted on the Croisette 25 years ago. The drama, about an underground subculture of scarred, omnisexual car-crash victims who fetishize auto accidents, became a lightning rod among critics and politicians.

After landing 18 films in Official Selection,...

Sound of Metal writer/director Darius Marder joins Josh and Joe to discuss Lars Von Trier’s Breaking the Waves.

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Show Notes: Movies Referenced In This Episode

The Place Beyond The Pines (2012)

Sound of Metal (2020)

Mank (2020)

Star Wars (1977)

2001: A Space Odyssey (1968)

The Father (2020)

Breaking The Waves (1996)

Hamburger: The Motion Picture (1986)

Repo Man (1984)

Paris, Texas (1984)

Innerspace (1987)

The Celebration (1998)

The Five Obstructions (2003)

Europa (1991)

The Servant (1963)

The Go-Between (1971)

Dancer In The Dark (2000)

The Idiots (1998)

Dogville (2003)

Manderlay (2005)

Melancholia (2011)

Naked (1993)

Other Notable Items

CNN

Ricky Gervais

Riz Ahmed

Florian Zeller

Roger Ebert

Lars von Trier

Robby Müller

Jim Jarmusch

Daniël Bouquet

David Bowie

Dogme 95

Tomas Vinterburg

The Paprika Steen podcast episode

Emily Watson

Stellan Skarsgård

Joseph Losey

The Kingdom TV miniseries (1994)

Helena Bonham Carter

Bjork

Nicole Kidman

Mikkel E.G. Nielsen

Cannes Film Festival

Mike Leigh

Katrin Cartlidge

Nuart Theatre

Metrograph

This list is also available on Letterboxd.

The post Darius Marder...

Golden Anniversaries, which is co-presented by Cinema St. Louis (Csl) and the St. Louis Public Library, features classic films celebrating their 50th anniversaries. This fourth edition of the event will highlight films from 1971.

Because in-person screenings remain problematic during the pandemic, Cinema St. Louis will hold free online conversations on the films, with people watching the films on their own but gathering virtually to discuss them.

Film critics, film academics, and filmmakers will offer introductory remarks and then participate in discussions about the films. In addition to a fine selection of St. Louis critics, Golden Anniversaries will feature several experts from elsewhere.

The conversations will be offered as free livestreams at 7:30 Pm on the second Monday of every month in 2021 except November, when the St. Louis International Film Festival (Sliff) hopes to feature several in-person Golden Anniversaries selections.

The first four discussions are already scheduled:

Jan. 11: Peter Bogdanovich...

Song Name - Barsaat

Singer - Darshan Raval

Album - Judaiyaan

Check out the song lyrics of Barsaat by Darshan Raval

Chal Rahe The Hum Akele

Aur Tum Mil Gaye

Thodi Si Baarish Hone Lagi Phir

Tum Kahi Kho Gaye

Lag Raha Tha Khaab Koi

Chuke Guzra Hume

Thoda Sa Muskil Ho Raha Hai

Ab Bhulana Tumhe

Bas Ek Lamhe Mein To

Zindagi Ban Gaya

Phir Umra Bhar Ke Liye Tum

Kitne Gam De Gaya

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The wait is over! #Judaiyaan Album will be out on 9th November...

The November 2020 lineup for The Criterion Channel has been unveiled, toplined by a Claire Denis retrospective, including the brand-new restoration of Beau travail, along with Chocolat, No Fear, No Die, Nenette and Boni, Towards Mathilde, 35 Shots of Rum, and White Material.

There will also be a series celebrating 30 years of The Film Foundation, featuring a new interview with Martin Scorsese by Ari Aster, as well as a number of their most essential restorations, including films by Jia Zhangke, Ritwik Ghatak, Luchino Visconti, Shirley Clarke, Med Hondo, and more.

There’s also David Lynch’s new restoration of The Elephant Man, retrospectives dedicated to Ngozi Onwurah, Nadav Lapid, and Terence Nance, a new edition of the series Queersighted titled Queer Fear, featuring a new conversation between series programmer Michael Koresky and filmmaker and critic Farihah Zaman, and much more.

See the lineup below and learn more on the official site.

Song Name - Humko Tum Mil Gaye

Singer - Vishal Mishra

Featuring - Hina Khan and Dheeraj Dhoopar

Check out the song lyrics of Humko Tum Mil Gaye ft. Hina Khan and Dheeraj Dhoopar

Jaane Kiski Lagi

Hai Yeh Dil Se Dua

Humko Tum Mil Gaye… Mil Gaye

Koi Aahat Na Ki

Koi Dastak Na Di

Aake Rooh Mein Mere Bas Gaye

Humko Tum Mil Gaye… Mil Gaye

Main Akela Tha

Ke Ghamo Ne Ghera Tha

Tu Mila Toh Khushi Mil Gayi

Labon Pe Mere

Thi Koi Dhun Kahan

Tu Mila Mausiki Mil Gayi

Waqt Ne The Diye

Humko Jitne Zakham

Tere Aane Se Woh Sil Gaye

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Thankful for the ones that hold your hand even during the toughest of times! ❤️ The beautiful story of #HumkoTumMilGaye will be out tomorrow at 11Am.

AMC Networks’ streaming service Acorn TV has acquired exclusive U.S. and Canadian rights to BBC One crime thriller series “Bloodlands” from Hat Trick International and executive producer Jed Mercurio.

The four-part series, written by Chris Brandon (“Red Rock”), stars James Nesbitt as a veteran detective in Northern Ireland going into his own dark past to try and solve a cold case.

“Bloodlands” will bow as an Acorn TV Original in the U.S. and Canada this fall soon after its U.K. premiere on BBC One. The series is the first commission for Hat Trick Mercurio Television (Htm), the U.K. production company co-owned by Mercurio and Hat Trick.

Don Klees, senior VP of programming, Acorn TV, said: “After Acorn TV’s success with ‘Line of Duty,’ we’re thrilled to partner with Jed Mercurio again as well as Hat Trick and talented writer Chris Brandon to bring this excellent crime thriller to U.

As Asian Pacific American Heritage Month comes to a close, Coalition of Asian Pacifics in Entertainment (Cape) and The Black List have unveiled the 10 features and 10 pilots for the second annual Cape List, a survey of Hollywood executives’ favorite unproduced screenplays.

The Cape List includes a curated list of scripts center on diverse Asian Pacific characters and experiences from writers Asian American and Pacific Islander communities.

“We are excited to partner with The Black List again for the 2nd annual Cape List,” said Cape Executive Director Michelle K. Sugihara. “Last year we highlighted 12 feature scripts for #asianallyear and this year we’re pleased to include pilot scripts for #20for2020.”

The Black List Founder and CEO Franklin Leonard adds, “We’re incredibly excited to be partnered with Cape for a second year on an even more expansive survey of exceptional writing by and about members of the Aapi community, almost as...

‘Portrait Of A Lady On Fire’, ‘And Then We Danced’ lead Mubi, BFI Player charts.

Oliver Hermanus’ Moffie topped UK streaming platform Curzon Home Cinema’s (Chc) most-watched films over the weekend, after sidestepping a theatrical release due to the ongoing Covid-19 lockdown.

The gay military drama, which had its world premiere in the Horizons section of Venice, was originally due to receive a UK day-and-date release on April 24. But the continued closure of cinemas meant the film launched exclusively on Chc and performed strongly as audiences continue to seek out home entertainment during quarantine.

From April 24-26, Chc reported...

Jaane de the formalities

Give me four more shots please

Time waste ka?ab time nahi

Give me four more shots please

Hey

Koi Kuch Kahe Parwana Muje

Karne Ko Kuch Bhi Karu

Hmmm jara?attraction

Thoda Thoda action

Hello Mister! how do you do?

Meri aadate bigadi si hai

That's why am checking out you

Jara attraction

Thoda Thoda action

Hello Mister! how do you do?

Mr Bartender Please

Shake it baby shake a drink for me

Give me four more shots for me and my ladies

Jaane de the formalities

Give me four more shots please

Time waste ka?ab time nahi

Give me four more shots please

Hey never say never hum tum together

Anything goes baby

Jaane de the formalities

Give me four more shots please

Don't don't oh oh here we go ladies

Oh oh here we go again

Oh oh here we go

Give...

Avo Avo Dev Mara Suna Suna Dvar,

Mara Angana Suna,

Roti Roti Chandanabala Vinave Chhe

Aaj Mara Angana Suna....Aavo...

Pagama Bedi Mathe Mundi ,Ankhe Aansu Dhar;..(2)

Upavasi Tran Trane Divasani...(2),

Mukha Ganati Navakar. Mara Aangana Suna

Bakulana Bhojan Maliya Pan Nahi Manadu Mane....(2)

Koi Atithine Vahoravine..(2),

Achhi Ja Khavun Mare. Mara..Aavo...

Kaushambik Nagarini Manhe,Yogi Pacha Valiya, ..(2)

Panch Mas Neh Pachis Dinathi,...(2)

Bhiksha Kaje Phartah. ?Mara Aangana Suna

Dvar Dvarathi Ae Bhiksa Vin,Shidane Pachha Pharata..(2)?

Kon Hashe Ae Maha Tapasvi ? Ehavo Nishchay Karata. Mara......Aavo.....

Bala Bhojan De Chhe Tyan To, Yogi Pachha Valiya...(2)

Aho! Prabhu Shun Ochhu Avayu ?..(2)

Dad Dad Aansu Padiya. Mara Aangana Suna

Abhigrah Puran Jani Prabhuji , Nij Kar Patra Harave,...(2)

Chandanbala Bhav Dharine ?..(2), Bakula Vahorave. ? ?Mara...Aavo.....

Teh Ja Kshane Chamatkar Thayo Neh, Tuti Pagani Bedi,.(2)

Mathe Sundar Bal Thaya Neh...(2),

Varasi Sukhani Heli. ?Aavo Aavo Mahavir Aaj

Aavo Aavo Vir Hun Chhu...

Chicago – Writer/director Matthew Weinstein is bringing a bit of Chicago to the Beloit (Wisconsin) International Film Festival this upcoming weekend (February 21st and 22nd) as he presents his short made-in-Chicago film, “A Missed Connection.” Featuring a couple, a chance encounter and a meditation on the past, more information on the screening is available by clicking here.

“A Missed Connection” is a cause and effect story, as a series of events ends up with a couple (Tyler Pistorius and Kimberly Michelle Vaughn) meeting by chance in a coffee shop. They share a past with each other, but also has had enough of a life beyond that past to formulate a new present. The film was shot in Chicago and nearby Glenview, and has a noir feel in the use of locations.

'A Missed Connection,’ Screening at the Beloit International Film Festival

Photo credit: Third Wheel Entertainment

Matthew Weinstein is a based-in-Chicagoland filmmaker.

Stephanie Allain, who most recently co-produced the 2020 Academy Awards, has closed a multi-year first-look deal at Warner Horizon Scripted Television, marking her first TV studio deal. Financial terms were not disclosed. Under the pact, Allain will develop new scripted programming for cable and on-demand/streaming services, as well as broadcast networks through the divisions of the Warner Bros. Television Group.

Allain produced the 2020 Academy Awards alongside Lynette Howell Taylor and made history as the first African American woman in the Academy’s 92-year history to do so.

Allain, a champion of diverse voices in cinema, founded female-led Homegrown Pictures in 2003, a company which produces content by and about women and people of color. She has since produced award-winning titles including Hustle & Flow, Something New, Peeples, Beyond The Lights, Dear White People, French Dirty, Burning Sands, Juanita and The Weekend. Collectively, Homegrown Pictures projects have been nominated for over 100 awards...

Stephanie Allain has inked a first-look deal with Warner Horizon Scripted Television, fresh off her recent gig producing the Oscars.

The multi-year agreement marks Allain’s first TV studio deal. Under the pact, Allain will develop new scripted programming for cable and broadcast networks, as well as streaming services, via the various divisions of the Warner Bros. Television Group.

Allain just made history as the first African American woman to produce the Academy Awards in the awards show’s history. She is credited with helping launch the careers of directors John Singleton, Robert Rodriguez, Craig Brewer, Sanaa Hamri and Justin Simien. In 2003, she founded her female-led production banner Homegrown Pictures, and has gone on to produce around a dozen features inclduing “Dear White People,” “Hustle & Flow,” “Peeples” “Beyond The Lights,” “Burning Sands” and most recently “Juanita.”

In 2019, Homegrown closed an overall deal with Adrienne Becker and Abigail Disney’s...

John Heyman, a producer, agent, film financier and father of Harry Potter producer David Heyman, has died. He was 84.

Heyman died Friday in New York City, his daughter, Dahlia Heyman, who also is a producer, told The Hollywood Reporter.

Heyman was the founder of the London-based International Artists Agency, with clients that included Elizabeth Taylor, Richard Burton, Michael Caine, Richard Harris, Shirley Bassey and Burt Bacharach, and among the films he produced was the Burton-Taylor starrer Boom! (1968).

He also produced Joseph Losey's The Go-Between (1971) — which starred Julie Christie and Alan Bates and won the Palme d'Or...

San Sebastian will pay tribute to the filmmaker Photo: Courtesy of San Sebastian Film Festival San Sebastian Film Festival has announced it will pay tribute to Us filmmaker Joseph Losey during its 2017 edition.

The director, who moved to Britain after suffering fallout from the Hollywood witch hunt, became a leading figure in European independent film. His work includes The Servant, Accident and The Go-Between.

His work is divided into three periods: his early period in North American film until the early Fifties, the prestige he achieved in the UK of the Sixties and Seventies and a later, more itinerant stage when he worked for Italian, French and Spanish production.

He made his feature debut in 1948 with The Boy With Green Hair, a parable against war, totalitarianism and intransigence towards difference, produced by Rko. He went on to direct a series of film noirs – The Lawless (1950), The Prowler (1951) and The Big Night...