#joachim-trier

#joachim-trier

Korneffel develops a palette for each painting based on research and intuition, paying particular attention to the paint's viscosity and its capacity for making distinct kinds of marks.

In the spring of 1945, word of the Second World War's impending end has reached the residents of Amrum, an island off the coast of Germany.

The film's title, an obvious reference to profanity, also alludes to an incident dramatized later on, when John, on trial after inadvertently triggering a pub brawl, must give sworn testimony in court.

The first half of the movie plays out as an intimate chamber piece between Mary and Sam, the two of them rehashing long-buried grudges and betrayals, as we get occasional flashes to Mary's extravagant concert performances.

François Ozon's adaptation of The Stranger, while visually stunning, reveals the limitations of cinema in depicting the complex inner states of consciousness that Camus masterfully crafted in his text.

The Drama is a more localized version of the same thing: If you do something bad (or almost do something bad, or do something bad out of your own control), how mad should people be at you - really?

"Cinematic Immunity" offers a workers'-eye view of Hollywood on the Hudson, revealing the intricate dynamics of filmmaking in New York City from 1954 to 9/11.

In the film, Bronz's character is commissioned to compose a new national anthem for post-Oct. 7 Israel, and writes a warmongering ballad about destroying Gaza and 'love sanctified in blood.'

De Pue's Mariinka strikes a rare balance between artfulness and urgency, capturing the lives of orphaned children affected by the Russo-Ukrainian war.

My value as a person is not reliant on me being nominated for anything or being snubbed. It's such a constructed reality. It's not a real competition. We made something months ago, and now we're putting it in a pot, and somebody's going to choose one.

I was a struggling filmmaker. I was trying to find myself and it wasn't happening. I was ready to give up on filmmaking as I was about to turn 30. I didn't feel like I could do this to myself, my family and friends any longer. I was living in South Austin making the minimum amount of money, eating peanut butter and jelly sandwiches, and making bad art. But then Sundance gave me my career with this $3 short film that we submitted to the festival on a lark.

Every step that I have taken in my career has made me new to something, once again. I like not knowing everything and exposing myself to the unknown, he says. That same impulse led him to send a script for the film adaptation of The Father to Anthony Hopkins, an actor he had never met, and who Zeller would wind up directing in his cinematic debut, which won him an Oscar for best adapted screenplay and netted Hopkins his second Oscar for best actor.

But most of the film consists of Ricciardi fighting against the dying of the light, recounting the discomfort of recovering from chemo (years of hangovers proved useful training, he says), the ridiculous indignities of radiotherapy and other treatments, weird side-effects such as eyelashes growing longer than usual, inept bedside manners from medical professionals, and the administrative screw-ups that punctuate the process.