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Re-creating the founding of the Impressionist movement, when artists including Monet, Renoir and Cézanne showed their work at their own exhibition

It’s back to the tried and trusted blockbuster names of French impressionism for the latest release from Exhibition on Screen, the Brighton-based outfit demonstrating remarkable staying power in the gallery-film sector; their consistent level of excellence means they remain largely unchallenged in the field. Excursions into the comparatively offbeat – Japanese contemporary art, Edward Hopper, Lucian Freud – are balanced by home bankers, of which this account of the original impressionist exhibition in 1874, must be counted.

The film takes its cue from a show jointly mounted by the National Gallery of Art in Washington DC (where it was called Paris 1874: The Impressionist Moment) and Paris’s Musée d’Orsay (Paris 1874: Inventing impressionism). Both exhibitions, and the film, re-create the founding moment of the style, when 30 (or possibly 31) artists...

No streaming service does a director retrospective like the Criterion Channel, and March offers two masters at opposite ends of exposure. On one side is Michael Mann, whose work from Thief through Collateral (minus The Keep) is given a spotlight; on the other is Alain Guiraudie, who (in advance of Misericordia opening on March 21) has five films arriving. (2001’s duet of That Old Dream That Moves and Sunshine for the Scoundrels have perhaps never streamed in the U.S. before.) Meanwhile, three noirs from Douglas Sirk are programmed alongside a Lee Chang-dong retrospective that features three new restorations.

Showcases will be staged for Dogme 95, Best Supporting Actor winners, and French Poetic Relaism. Welles’ The Trial gets a Criterion Edition alongside Demon Pond; Horace Ové’s newly restored Pressure makes a streaming premiere alongside spruced-up copies of Amadeus, Love Is the Devil, Port of Shadows, and Burning an Illusion, as...

French director Jean Renoir entered 1939 on a high note. Having premiered La Grande Illusion in 1937 to critical acclaim, the son of painter Pierre-Auguste Renoir was about to release his highly anticipated next project. Inspired both by the devastation of World War I and the ever-increasing possibility of a second war, Renoir had spent much of the year filming a satirical comedy-drama aimed at relieving some of the anxiety caused by the rising hostilities across Europe. So, it came as something of a shock when Renoir's The Rules of the Gamepremieredin July 1939 and was met with hostility, outrage, and, ultimately, a national ban. But why? Why was a celebrated director suddenly under fire, and what prompted such an incendiary reaction to a film critics now refer to as one of the greatest films ever made?...

Descubre los cines que proyectarán el ciclo especial. © Getty Images

El pasado 15 de enero, el mundo del cine perdió a David Lynch, uno de los directores más influyentes e inimitables de la historia. Desde entonces, el séptimo arte está de luto, pero como dijo el propio Lynch: «Mantén tu vista en la rosquilla, no en el agujero». Y es que, lo que toca ahora es celebrar su legado. Es por ello que Avalon nos trae de vuelta a los cines el Universo David Lynch, un ciclo especial que nos permitirá revivir (o descubrir) su filmografía más emblemática en la pantalla grande.

Son seis películas en total, aunque algunos cines proyectarán el ciclo completo y otros solo una película. Las elegidas son Cabeza borradora (1978), El hombre elefante (1980), Twin Peaks: Fuego camina conmigo (1992), Carretera perdida (1997), Una historia verdadera (1999) y Mulholland Drive (2001).

Lo mejor de todo es que este homenaje póstumo se expande por (casi) toda España.

Where to begin with The End? It’s such an odd concoction of ideas and styles, it’s hard to know. The concept of bringing unlikely things together has, of course, worked for Joshua Oppenheimer in the past. Asking genocidal mass killers to re-enact their crimes for a documentary is not something most people would have hit upon but the director made it viscerally pay-off with The Act Of Killing.

This time around, however, while his audacity remains, his delivery falls short. Set in a dystopian future, the action takes place in a scraped out bunker, filled with dunes of salt. Walk through a door, though, and you’re suddenly in what appears to be a tasteful upper middle-class home, lined with art masterpieces from the likes of Renoir with not a speck of dirt to be seen. This is where, what we assume to be one of the world’s last families,...

The AMC Networks July 2024 schedule has been announced. It includes the fourth season debut of the thrilling dystopian series Snowpiercer, starring Oscar winner Jennifer Connelly and Grammy and Tony Award-winner Daveed Diggs. The series is available exclusively on AMC and AMC+.

Other highlights during the month include new episodes of AMC’s Orphan Black: Echoes, starring Krysten Ritter and Keeley Hawes, and Sundance Now supernatural drama Domino Day: Lone Witch, starring BAFTA-nominated Siena Kelly.

July marks the return of Acorn TV’s popular Signora Volpe, starring Emilia Fox, the premiere of the second season of Hidive’s hit anime franchise Oshi no Ko, and the debut of BBC America’s new landmark nature series Planet Earth: Mammals, narrated by Sir David Attenborough.

Film highlights include Shudder’s climate horror film Humane, from Caitlin Cronenberg in her feature directorial debut starring Peter Gallagher, Jay Baruchel, and Emily Hampshire, and post-apocalyptic action horror Arcadian,...

Acorn TV has announced the titles that will be available on the AMC-owned streaming service in July 2024. The Acorn TV July 2024 slate adds to the service’s variety of acclaimed English and foreign-language dramas, engaging comedies, documentaries, and more.

The July schedule includes Signora Volpe Season 2, new episodes of My Life Is Murder Season 4, Candice Renoir Season 9, and more. The titles are available on the Acorn TV site and on Prime Video Channels, Apple TV, Roku, YouTube TV, Chromecast, Amazon Fire TV, Xfinity, iOS, Android, Cox, and more.

Acorn TV July 2024 Highlights

Signora Volpe Season 2 (Acorn TV Original Series) – New Season Premieres on Monday, July 29, on Acorn TV and BBC America (10 p.m. Et on BBC America)

Former British spy Sylvia Fox has settled in the Umbrian countryside for a quiet life, reconnecting with her sister and restoring a beautiful house. But old habits die hard, and she’s...

Exclusive: Loaded Films founder Eiko Mizuno-Gray and Kinoshita-Kansei Group CEO Masahide Kinoshita have teamed up to launch Tokyo-based production company, Kinofaction, which aims to focus on minority Japanese co-productions.

The new outfit will take a minority stake in feature film projects that have significant Japanese elements and/or talent involved. It is actively seeking projects initiated outside of Japan with strong festival and commercial potential.

Loaded Films, the production company founded by Mizuno-Gray and Jason Gray, will continue to separately produce a slate of projects developed in-house, including Renoir, the next project from Plan 75 director Chie Hayakawa, which Goodfellas has boarded for sales.

Kinofaction already has several projects on its slate, including Poland-set The Excursion, from writer-director Kei Ishikawa, whose credits include Venice titles Traces Of Sin (2016) and A Man (2020). His new project is a co-production with Poland’s Lava Films, which is here in Cannes with competition title The Girl With The Needle.

Exclusive: Goodfellas has acquired world sales rights for Japanese filmmaker Chie Hayakawa’s Tokyo-set drama Renoir ahead of the project’s presentation in the Investors Circle event at the Cannes Marché du Film on Sunday.

The film is Hayakawa’s second film after dystopian euthanasia drama Plan 75, which debuted in Cannes Un Certain Regard in 2022, garnering a Special Mention in the Caméra d’Or contest for best first film.

The drama went on to play in more than 30 film festivals and was selected as Japan’s entry for Best International Feature Film at the 95th Academy Awards.

Renoir is set in suburban Tokyo in 1987 and revolves around 11-year-old Fuki, whose father is battling cancer, and is in and out of hospital.

With her mother stretched between caring for him and holding down a full-time job, Fuki is left to her own devices. Turning to her rich imagination, she becomes...

Within the same broad outline as Jean Renoir’s La Chienne, Fritz Lang’s Scarlet Street strikes many notes to emphasize the emasculation of Christopher “Chris” Cross (Edgar G. Robinson): at a dinner in his honor, the lowly bank cashier sees his boss (Russell Hicks) rush through a ceremonial toast to make time with his mistress; in his own home he’s obligated to indulge his unwelcome hobby of picture painting in the bathroom; and there’s a bit of business with a frilly smock he puts on to do the dishes.

Against the grain of what we might assume about put-upon little guys in movies and the way they lash out, Lang only dwells on the tableaux of Chris eunuchized doldrums to make one almost invisible moment work—when, over drinks with Katherine “Kitty” March (Joan Bennett), Chris doesn’t really correct her when she makes the fateful...

Nothing quite hits like a tale straight from the heart and after realising he needed to find his own authentic authorial voice, filmmaker Joshua Okwuosa set out to tell an evocative story central to the Nigerian experience and his own life with Okem. A story with origins that are hauntingly commonplace, Okwuosa maintains the verisimilitude of his storytelling by ratcheting up the tension as we focus on the helpless and desperate attempts made by Nigerian immigrant Okem to help his mother back home. Okem is a sharp reminder of the brutal realities faced by people all over the world who are forced to leave their homelands in the hope of providing for their families back home. Ahead of Okem’s premiere on the pages of Dn today, we were able to talk to Okwuosa about the struggles he faced finding an Igbo speaking actor for the role, building the claustrophobia...

As Woody Allen took the press conference stage for his recent film Coup de Chance, the disgraced filmmaker was given a lengthy standing ovation by the (largely European) media assembled in the room — arguably the most rapturous reception any filmmaker received. It was difficult to watch.

Strong applause for Woody Allen as he enters the press conference for his #venezia80 title ‘Coup De Chance’ pic.twitter.com/WHob4C24J4

— Deadline Hollywood (@Deadline) September 4, 2023

During the press conference, Allen, who is 87 years old, was joined onstage by his Italian cinematographer,...

Woody Allen returned to the Venice Film Festival this weekend for the world premiere of “Coup de Chance,” a romantic thriller that marks his 50th, and he suggests, quite possibly his last, feature film. The French-language film, playing at one of Europe’s major festivals, represents the continued mutual embrace between the director and the continent, after controversies have limited his funding stateside. This accounts for his pondering retirement: Allen says that producing a new movie means hustling to secure backing and at 87, he’s not sure he still wants to do that kind of work.

“I have so many ideas for films that I would be tempted to do it, if it was easy to finance,” he tells me when we sit down together at the Excelsior Hotel for a one-on-one interview. “But beyond that, I don’t know if I have the same verve to go out and...

Wes Anderson will adapt three additional Roald Dahl short stories, including "The Swan," "Poison," and "Ratcatcher," for "The Wonderful Story of Henry Sugar" anthology. Anderson describes the short films as "very, very strange" and reveals that "Ratcatcher" comes from an obscure Dahl book set in rural England. Anderson expresses his opposition to censorship and editing of Dahl's works, stating that once a piece of art is done, it should not be modified, and that only the author should have the authority to make changes.

While speaking with press at the Venice Film Festival, auteur Wes Anderson revealed that he will adapt three additional Roald Dahl short stories to add to The Wonderful Story of Henry Sugar anthology (via Variety). One of those stories, The Swan, is part of Dahl's short story collection The Wonderful Story of Henry Sugar and Six More, published in 1977, while the other two, titled Poison and Ratcatcher,...

Ahead of the premiere of his Roald Dahl adaptation “The Wonderful World of Henry Sugar” at the Venice Film Festival, Wes Anderson weighed in on the controversial decision to edit a number of Roald Dahl books to remove language deemed to be offensive. Perhaps unsurprisingly, the “Asteroid City” filmmaker is not a fan.

“If you ask me if Renoir should be allowed to touch up one of his pictures, I would say no. It’s done,” he said during a press conference on Friday. “I don’t even want the artist to modify their work. I understand the motivation for it, but I’m in the school where when the piece of work is done we participate in it. We know it. So I think when it’s done, it’s done. And certainly, no one who is not an author should be modifying somebody’s book. He’s dead.

Wes Anderson has dabbled in children’s storytelling with his films The Fantastic Mr. Fox and Isle of Dogs. His comedic style and quirky aesthetics naturally lend themselves to stop-motion animation. Anderson now enters the strange world of Roald Dahl with his new short film, The Wonderful Story of Henry Sugar. The movie stars Ralph Fiennes, Benedict Cumberbatch, Dev Patel, Ben Kingsley, Richard Ayoade, Rupert Friend, and Asa Jennings. The plot of the film reads, “A beloved Roald Dahl story about a rich man who learns about a guru who can see without using his eyes and then sets out to master the skill in order to cheat at gambling.”

Anderson recently arrived in Venice for the premiere of the film at the Venice Film Festival. According to Deadline, he was inquired about the controversy of Roald Dahl’s works being edited for the sensitivity of modern times. “I’m...

Wes Anderson’s visual style is perhaps among the most widely acknowledged and talked about of any contemporary directors, with countless videos, photos and memes claiming to have somehow replicated the supposedly trademark look and feel of his movies.

But does the filmmaker himself acknowledge this style? When ask at the Venice Film Festival, where he’s premiering his Netflix short The Wonderful Story of Henry Sugar, based on Roald Dahl’s story, he suggested it wasn’t something he ever really considered.

“I’m sure this doesn’t sound plausible, but I don’t really feel like I choose a style,” he said at the press conference on Friday. “I guess a style is so many different choose and most of those choice are just me doing what I want. In a way, it’s like asking, would you like to do a movie not the way you want?...

Wes Anderson arrived on the Lido this morning with The Wonderful Story of Henry Sugar, his second film of the year and his latest Roald Dahl adaptation following 2009’s Fantastic Mr. Fox.

The 40-minute feature debuts this evening at Venice out of competition, and at the official press conference this morning, Anderson was asked about his opinion on recent efforts from Roald Dahl’s publishers to edit now-offensive material out of his work.

“I’m probably the worst person to ask about this because if you ask me if Renoir should be allowed to touch up one of his pictures, I would say no. It’s done,” Anderson said.

“I don’t even want the artist to modify their work. I understand the motivation for it, but I’m in the school where when the piece of work is done we participate in it. We know it. So I think when it’s done,...

Nobody — outside of maybe Henry Selick — can adapt a Roald Dahl story quite like Wes Anderson, whose 2009 stop-motion animated Fantastic Mr. Fox remains a high watermark. Well, the Texas auteur is back at this year’s Venice Film Festival with another take on Dahl, this time taking on his short story The Wonderful Story of Henry Sugar, about a wealthy man (played by Benedict Cumberbatch) who encounters a mystical guru (Ben Kingsley) who can see without using his eyes and endeavors to take adopt this superpower so he can make a killing at gambling.

1977's "The Spy Who Loved Me" is a landmark James Bond film for several reasons. For one, it fully cemented Sir Roger Moore as Bond, establishing his take on the character as distinctive and separate from Sean Connery and George Lazenby. For another, it introduced another recurring character to the continuity-lite franchise: Richard Kiel's imposing (and mostly silent) henchman, Jaws. The film also featured a then-groundbreaking stunt sequence, a buzzworthy moment that helped it become the massive box-office hit the franchise needed in order to continue at all after the underperformance of "The Man With the Golden Gun."

Most intriguingly for the spy movie in general, however, "The Spy Who Loved Me" introduced the notion of detente between Her Majesty's Secret Service (represented by Bond) and the Kgb (represented by Barbara Bach as Anya Amasova). This spirit of tolerance and occasional cooperation continued throughout the next several Bond films,...

Parquet Courts frontman A. Savage has returned with “Thanksgiving Prayer,” his first new solo music since 2017. Along with the single, he announced a solo tour for this fall. Listen to the song and check out the full list of upcoming dates below.

“Thanksgiving Prayer” is an intimate and intricate composition. While perhaps a bit somber at first listen, the lyrics elevate the song with a sense of hope and wonder, conveying Savage’s knack for speaking to complicated emotions. The song feels like light in the darkness — it doesn’t shy away from the turmoil of life, but still finds a way to embrace its beauty.

The single arrived with a corresponding music video directed by Tiff Pritchett. “She had this idea to sort of do a silent film tribute,” Savage explained. “The scene from Renoir’s film Rules of the Game where Danse Macabre is played was referenced, as was Klaus Nomi.

Following word of an incredible Pasolini boxset, the Criterion Collection have unveiled their larger June lineup. The 4K rollout continues apace, and for some reason Terry Gilliam now has the most releases––following The Fisher King and Baron Munchausen, his George Harrison-produced Time Bandits arrives in a well-stacked edition. Much as I might question more and more super-hi-def releases for this of all filmmakers, one must remember: everybody has their reasons. And it’s arguably a suitable compensation, for ourselves and film history at larger, that this same month brings an upgrade for The Rules of the Game.

Barry Jenkins joins the collection with his debut feature Medicine for Melancholy, whose lifespan––small SXSW premiere in 2008, minor theatrical release 12 months later, years of relative obscurity, and now a Criterion––we can only consider aspirational. But maybe my favorite movie arriving in June––even greater than Renoir––is Joseph Losey’s absurdly entertaining,...