Notícias

French filmmaker Charlène Favier who broke out with the Cannes 2020 Label Slalom (read review) is currently in week 2 of production on her sophomore feature Oxana and we’ve got a social media glimpse into some of the young actresses that have boarded the project. We might not know the hierarchy in terms of casting and who landed the lead part but among the names we’ve found Albina Korzh, Lada Korovai, Louka Meliava, Yoann Zimmer and we’re delighted to learn that Noée Abita has reteamed with the director as well. We’ve also learned that The Worst Ones (aka les pires) cinematographer Eric Dumont is part of the creative team.…...

Director Christian Carion and his frequent star Guillaume Canet show off their very particular sets of skills in “My Son” (“Mon garçon”), a polished, if mechanical, vigilante thriller that attempts to combine the psychological deep dive of Denis Villeneuve’s “Prisoners” with the adrenaline shot of Pierre Morel’s “Taken.” Falling well short of those superior films, this limited-release offering — which did modest business when it opened in France back in 2017 — squanders a compelling performance by top-billed Canet, playing an absentee father searching for his kidnapped son in the mountains of southeast France. Themes of parental guilt and the effects of broken families on children are hinted at early but discarded in favor of genre pleasures, which Carion provides to increasingly formulaic effect.

“My Son” is Carion’s fifth feature and his first in a contemporary setting since his 2001 César-nominated debut, “The Girl from Paris.” Since then, he’s tackled World War I,...

The French thriller “My Son” is about a missing boy, an absentee dad, and a welcome lack of affectation in selling its unnerving premise. Less a vigilante explosion à la “Taken” than a methodical suspense flick built around Guillaume Canet’s character’s turbulent reaction to an in-the-moment tragedy, it might roil those who prefer their cinematic hunts to be speckled with Neeson-esque catchphrases and choreographed violence.

This one’s moodier and messier. But in its modest, stripped-down way, it’s a worthy cousin to the genre stalwarts, anchored in the unvarnished power of Canet’s performance, and the no-nonsense approach to Christian Carion’s direction.

We meet Julien (Canet) as he’s driving into the snow-capped mountains of eastern France, having just received word from his distraught ex-wife Marie (Mélanie Laurent) that their 7-year-old son Mathys (Lino Papa) has gone missing from a nature camp in the dead of night.

The best movies reveal their intentions with time; others feel the need to shout them up front. Stephane Brize’s middling social justice drama “At War” falls into the latter camp. The talky movie finds Laurent Amedeo (Brize regular Vincent Lindon) leading a protest from factory workers after the company decides to close the site, but a Bertolt Brecht quote makes the story arc clear before a single frame: “He who fights, can lose. He who doesn’t fight, has already lost.” While the sincerity of that sentiment may register, it’s an awfully obvious framing device and the movie follows suit.

“At War” starts in medias res, as Laurent and other co-workers feud with representatives from Perrin Industrie, a German-based automotive supplies company, demanding to know why the company would lay off 1,100 French employees while reporting profits at an all-time high. There’s a lot of grimacing, scowls, and...

IndieWire reached out to the filmmakers with films premiering at the 2018 Cannes Film Festival to ask which cameras and lenses they used and, more importantly, why they were the right ones for their movies.

A few trends emerged. Once again, Arri’s digital cameras reign supreme as the choice of international auteurs and their cinematographers. Meanwhile, 13 cinematograhers shot on celluloid, including eight of the 21 competition films gunning for the Palme d’Or: “Ash is the Purest White,” “Shoplifters,” “BlacKkKlansman,” “Lazzaro Felice,” “Sorry Angel,” “Leto,” “Knife + Heart” and “Ayka.”

A handful of films relied on smaller, less expensive cameras that fit their budgets and circumstances, including two documentaries that used outdated Dvcam and Hdv formats when they began as one-person shoots many years ago. Iranian director Jafar Panahi, who is still banned from making films in his home country, used Canon 5d mark and Sony a7s, while Terry Gilliam...

As this year’s Cannes Film Festival unveils its lineup, one of last year’s standout Cannes entries is not only finally arriving in theaters stateside, but is firmly cementing itself as one of 2016’s greatest films. Weaving a relatively simple sounding narrative but one filled with a startling amount of emotional power and resonance, The Measure Of A Man comes to us from director Stephane Brize, and while she may not be a household name, this is a film that will hopefully be talked about a great deal going forward in 2016.

Starring Vincent Lindon, Measure Of A Man tells the story of Thierry, a former mechanic who has faced unemployment for well over a year. A deeply humanist and humane picture, Thierry’s story seems to take an upswing when he snags a job as security at a local supermarket, but when he must make some of the toughest decisions of his life,...