Press Releases Archive for August, 2013

Sundance favorite GOD LOVES UGANDA to receive theatrical release from Variance Films

FOR IMMEDIATE RELEASE Academy Award winner Roger Ross Williams’ exposé of US Evangelical influence in Ugandan anti-homosexuality laws to hit theaters October 11, 2013.  New York, August 29, 2013 – Variance Films announced today that Roger Ross Williams’ GOD LOVES UGANDA will be released theatrically beginning in New York City on October 11, 2013, followed…

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DRAFTHOUSE FILMS, VICE, VHX & THE FILMMAKERS TO DELIVER ‘THE ACT OF KILLING’ FREE TO THE PEOPLE OF INDONESIA

To Help Spur Social Change, The Year’s Most Acclaimed Documentary Will Be Made Available For All Of Indonesia August 28, 2013 –  Award-winning and critically acclaimed documentary film The Act Of Killing will be made available for free to the people of Indonesia in perpetuity, through the joint efforts of the US distributor Drafthouse Films,VICE Media, integrated digital platform VHX, Danish…

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40th TELLURIDE FILM FESTIVAL ANNOUNCES PROGRAM LINEUP

27 new feature films in main program.

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SCREEN MEDIA FILMS AND FOCUS WORLD ACQUIRE ADVENTURE COMEDY A BIRDER’S GUIDE TO EVERYTHING, STARRING KODI SMIT-McPHEE, BEN KINGSLEY

New York, August 27, 2013 – Focus World, the alternative distribution initiative owned and operated by Focus Features, and Screen Media Films have partnered for a third time on U.S. distribution rights to a feature film, acquiring the U.S. rights to A Birder’s Guide to Everything, which made its debut at the 2013 Tribeca Film Festival and was a…

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ACADEMY CELEBRATES 40 YEARS OF THE TELLURIDE FILM FESTIVAL

Continuing its sponsorship of the Telluride Film Festival with a series of special events.

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TOMORROWLAND is Today

Principal photography on Brad Bird’s film, edited by Walter Murch.

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THE FILM SOCIETY OF LINCOLN CENTER announces Spotlight on Documentaries and Film Restoration at the 2013 NY FILM FESTIVAL

PRESS RELEASE HOW DEMOCRACY WORKS NOW, APPLIED SCIENCES, and MOTION PORTRAITS comprise the new documentary section and restorations of works by Leos Carax, Martin Scorsese, Nicholas Ray, Alain Resnais, Luchino Visconti and many more in the REVIVALS section NEW YORK, August 26, 2013 —The Film Society of Lincoln Center announced today the details of the additional programming that will…

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THE FILM SOCIETY OF LINCOLN CENTER announces Gala Tributes to honor Cate Blanchett and Ralph Fiennes at the 2013 NEW YORK FILM FESTIVAL

NEW YORK, August 22, 2013 —The Film Society of Lincoln Center announced today that Cate Blanchett and Ralph Fiennes will be the subjects of this year’s NYFF Gala Tributes. The Gala Tribute to Cate Blanchett will take place on Wednesday, October 2, and the Gala Tribute to Ralph Fiennes will take place on Wednesday, October…

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WEINSTEIN COMPANY AND SIMON & SCHUSTER ANNOUNCE UNCOVER THE MYSTERY BUT DON’T SPOIL THE SECRETS’ CAMPAIGN

Tthose seeing it before its official release date are being asked to sign nondisclosure agreements.

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SONY PICTURES CLASSICS TO EXPAND WOODY ALLEN’S BLUE JASMINE TO OVER 1,200 SCREENS NATIONWIDE

FOR IMMEDIATE RELEASE                                   New York, NY (August 21, 2013) –  Sony Pictures Classics announced today that they will expand Woody Allen’s latest box office success BLUE JASMINE from 229 to over 1,200 screens nationwide this weekend.  This surpasses…

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SUNDANCE SELECTS TO RELEASE KECHICHE’S PALME D’OR WINNER BLUE IS THE WARMEST COLOR WITH NC-17 RATING IN U.S.

NEW YORK, NY (August 20, 2013) – Sundance Selects announced today that they will release Abdellatif Kechiche’s 2013 Cannes Film Festival Palme D’Or Winner BLUE IS THE WARMEST COLOR with the MPAA rating of NC-17 in the United States, as opposed to trimming the film or releasing the film Unrated. With a screenplay by Kechiche…

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SAMUEL L. JACKSON JOINS PRESENTERS OF WONG KAR-WAI’s THE GRANDMASTER

FILMMAKER MARTIN SCORSESE ALSO BACKING FILM New York, NY – August 20, 2013 – The Weinstein Company (TWC) announced today that acclaimed actor Samuel L. Jackson is joining previously announced filmmaker Martin Scorsese in presenting their upcoming release, THE GRANDMASTER. Jackson, who attended the film’s New York premiere on August 13th, will be adding his name to…

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OSCILLOSCOPE PICKS UP AWARD-WINNING DOCUMENTARY “THE KILL TEAM”

The devastating moral tensions that tear at soldiers’ psyches.

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PRODUCERS DISTRIBUTION AGENCY TO RELEASE “ESCAPE FROM TOMORROW”

Provocative Sundance Film To Hit Theaters and VOD This Fall PDA’s Follow Up To EXIT THROUGH THE GIFT SHOP, SENNA, BROOKLYN CASTLE and THE WAY (New York, NY) August 19, 2013 –Producers Distribution Agency (PDA) announced today it will be releasing Randy Moore’s directorial debut ESCAPE FROM TOMORROW in the U.S. this fall, in partnership…

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A TASTE OF THE 49th CHICAGO INTERNATIONAL FILM FESTIVAL

First Round of Titles Announced.

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FILM SOCIETY OF LINCOLN CENTER announces Main Slate of selections for the 2013 NEW YORK FILM FESTIVAL

PRESS RELEASE 35 Features include new films by Catherine Breillat, J.C. Chandor, Joel & Ethan Coen, Richard Curtis, Claire Denis, Arnaud Desplechin, Ralph Fiennes, James Gray, James Franco, Jim Jarmusch, Claude Lanzmann, Alexander Payne, Hong Sang-soo, Frederick Wiseman, and Jia Zhangke   NEW YORK, August 19, 2013 —The Film Society of Lincoln Center announced today…

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JOEL AND ETHAN COEN AND T BONE BURNETT TO PRESENT ANOTHER DAY, ANOTHER TIME: CELEBRATING THE MUSIC OF “INSIDE LLEWYN DAVIS”

ONE-NIGHT-ONLY CONCERT EVENT TO BE HELD AT NEW YORK CITY’S TOWN HALL ON SEPTEMBER 29 Performers To Include The Avett Brothers, Joan Baez, Rhiannon Giddens of Carolina Chocolate Drops, Lake Street Dive, Colin Meloy of The Decemberists, Milk Carton Kids, Marcus Mumford, Conor Oberst, Punch Brothers, Secret Sisters, Patti Smith, Gillian Welch & Dave Rawlings,…

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14 SCIENTIFIC AND TECHNICAL ACHIEVEMENTS UNDER CONSIDERATION FOR 2013 ACADEMY AWARDS

“Non-explosive car flipping devices.”

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SONY PICTURES CLASSICS PINS ANNAPURNA’S FOXCATCHER

FOR IMMEDIATE RELEASE  NEW YORK (August 15, 2013) – Sony Pictures Classics announced today that they will distribute Bennett Miller’s FOXCATCHER in North America, currently in post-production.  The film is produced by Megan Ellison under her company Annapurna Pictures, as well as, Miller and Anthony Bregman and will be released on December 20. Miller’s prestigious cast…

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DIRECTING ICONS WONG KAR WAI AND MARTIN SCORSESE CELEBRATE THE GRANDMASTER

DIRECTING ICONS WONG KAR WAI AND MARTIN SCORSESE CELEBRATE THE GRANDMASTER IN NYC New York, NY – August 15, 2013 – Filmmaking legends Wong Kar Wai and Martin Scorsese met in New York yesterday to celebrate the upcoming release of Wong’s kung fu epic THE GRANDMASTER. The Weinstein Company, who is releasing the film theatrically, recently announced…

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Press Releases

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This is probably going to sound petty, but Martin Scorsese insisting that critics see his film in theaters even though it’s going straight to Netflix and then not screening it in most American cities was a watershed moment for me in this theatrical versus streaming debate.

I completely respect when a filmmaker insists that their movie is meant to be seen in the theater, but the thing is, you got to actually make it possible to see it in the theater. Some movies may be too small for that, and that’s totally OK.

When your movie is largely financed by a streaming service and is going to appear on that streaming service instantly, I don’t really see the point of pretending that it’s a theatrical film. It just seems like we are needlessly indulging some kind of personal fantasy.

I don’t think that making a feature film length production that is going to go straight to a video platform is some sort of “step down.“ I really don’t. Theatrical exhibition as we know it is dying off anyway, for a variety of reasons.

I should clarify myself because this thread is already being misconstrued — I’m talking about how the movie is screened in advance. If it’s going straight to Netflix, why the ritual of demanding people see it in the theater?

There used to be a category that everyone recognized called “TV movie” or “made for television movie” and even though a lot of filmmakers considered that déclassé, it seems to me that probably 90% of feature films fit that description now.

Atlantis has mostly sunk into the ocean, only a few tower spires remain above the waterline, and I’m increasingly at peace with that, because it seems to be what the industry and much of the audience wants. We live in an age of convenience and information control.

Only a very elite group of filmmakers is still allowed to make movies “for theaters“ and actually have them seen and judged that way on a wide scale. Even platform releasing seems to be somewhat endangered. It can’t be fought. It has to be accepted.

9. Addendum: I’ve been informed that it wasn’t Scorsese who requested that the Bob Dylan documentary only be screened for critics in theaters, but a Netflix representative indicated the opposite to me, so I just don’t know what to believe.

It’s actually OK if your film is not eligible for an Oscar — we have a thing called the Emmys. A lot of this anxiety is just a holdover from the days when television was considered culturally inferior to theatrical feature films. Everybody needs to just get over it.

In another 10 to 20 years they’re probably going to merge the Emmys in the Oscars into one program anyway, maybe they’ll call it the Contentys.

“One of the fun things about seeing the new Quentin Tarantino film three months early in Cannes (did I mention this?) is that I know exactly why it’s going to make some people furious, and thus I have time to steel myself for the takes.

Back in July 2017, when it was revealed that Tarantino’s next project was connected to the Manson Family murders, it was condemned in some quarters as an insulting and exploitative stunt. We usually require at least a fig-leaf of compassion for the victims in true-crime adaptations, and even Tarantino partisans like myself – I don’t think he’s made a bad film yet – found ourselves wondering how he might square his more outré stylistic impulses with the depiction of a real mass murder in which five people and one unborn child lost their lives.

After all, it’s one thing to slice off with gusto a fictional policeman’s ear; it’s quite another to linger over the gory details of a massacre that took place within living memory, and which still carries a dread historical significance.

In her essay The White Album, Joan Didion wrote: “Many people I know in Los Angeles believe that the Sixties ended abruptly on August 9, 1969, ended at the exact moment when word of the murders on Cielo Drive traveled like brushfire through the community, and in a sense this is true.”

Early in Once Upon a Time in Hollywood, as Leonardo DiCaprio and Brad Pitt’s characters drive up the hill towards Leo’s bachelor pad, the camera cranes up gently to reveal a street sign: Cielo Drive. Tarantino understands how charged that name is; he can hear the Molotov cocktails clinking as he shoulders the crate.

As you may have read in the reviews from Cannes, much of the film is taken up with following DiCaprio and Pitt’s characters – a fading TV actor and his long-serving stunt double – as they amusingly go about their lives in Los Angeles, while Margot Robbie’s Sharon Tate is a relatively minor presence. But the spectre of the murders is just over the horizon, and when the night of the 9th finally arrives, you feel the mood in the cinema shift.

No spoilers whatsoever about what transpires on screen. But in the audience, as it became clear how Tarantino was going to handle this extraordinarily loaded moment, the room soured and split, like a pan of cream left too long on the hob. I craned in, amazed, but felt the person beside me recoil in either dismay or disgust.

Two weeks on, I’m convinced that the scene is the boldest and most graphically violent of Tarantino’s career – I had to shield my eyes at one point, found myself involuntarily groaning “oh no” at another – and a dead cert for the most controversial. People will be outraged by it, and with good reason. But in a strange and brilliant way, it takes Didion’s death-of-the-Sixties observation and pushes it through a hellfire-hot catharsis.

Hollywood summoned up this horror, the film seems to be saying, and now it’s Hollywood’s turn to exorcise it. I can’t wait until the release in August, when we can finally talk about why.

~ Robbie Collin