‘Baltimore’ Review: Imogen Poots Leads A Moody & Jagged Drama About Heiress Turned Marxist Radical [Telluride]

streaming, is based on a novel by B.E. Jones and follows British couple Liv (Jenna Coleman) and Will (Oliver Jackson-Cohen), who embark on a road trip through the American West including Las Vegas and the deserts and canyons of Arizona.The opening scene is a close-up of a black widow spider, just before it’s crushed by Liv and Will, driving a powder-blue convertible.

J. Kim Murphy What happens when an immovable object meets a fatigued force that keeps whacking its head against said object in defeated frustration? That’s the question proposed by Niclas Larsson’s debut feature, “Mother, Couch.” Executive produced by and starring the once-boyish, now often forlorn Ewan McGregor, the film follows David, a frumpy middle-aged family man whose mother (Ellen Burstyn) plants herself on an old couch in the storage room of a furniture outlet, flatly refusing to vacate the premises.

In this week’s episode of The Discourse, host Mike DeAngelo brings back directors Adil El Arbi & Bilall Fallah to discuss the film “Rebel.” The dramatic musical thriller follows a Muslim Belgian family as they are slowly ripped apart by Islamic extremists through various devious radicalization techniques. The film stars Aboubakr Bensaihi, Lubna Azabal, Tara Abboud, Amir El Arbi, and more.

Dubai-based distributor Front Row Filmed Entertainment has boarded MENA distribution of Palestinian drama The Teacher, which enjoyed a buzzy world premiere at the Toronto International Film Festival over the weekend.

There’s some stiff competition in the Sussex household!

Take a bit of Kafka, throw in some Buñuelian realism, add a dose of John Cheever (circa The Swimmer) and then hand the recipe over to a first-time feature-making Swedish director with fond memories of a childhood spent in IKEA furniture stores, then put together an A-List cast, and you essentially have Mother, Couch.

Gregg Goldstein Oscar- and Emmy-winning actress Patricia Arquette was cast in her latest, most challenging role by an unlikely group: her colleagues. “For many years, the crews I worked with were always saying, ‘You should direct,’” Arquette says of helming her first feature, the Toronto world premiere “Gonzo Girl.” “Or actors in a scene would say, ‘Was that good? Should I ask for another take? Do you think there’s anything I should try?’ You get to a point where you’ve learned a lot about the nuts and bolts of how filmmaking works, and a lot of directors just aren’t as familiar with the process of acting as an actor is.” The star, who’ll be feted with TIFF’s Share Her Journey Groundbreaker Award on Sept.

Anna Kendrick’s “Woman of the Hour” begins at a remote photo shoot in Wyoming circa 1977. The model finds herself talking about how she wound up living there, and as she does, she starts to cry.

Leo Barraclough International Features Editor Variety is debuting an exclusive clip from Farah Nabulsi’s thriller “The Teacher,” starring Imogen Poots (“The Father”) and Saleh Bakri (“The Band’s Visit,” “Wajib”). The film will have its world premiere on Saturday at the Toronto Film Festival in the Discovery section.

How can one small business stand up to corporations? It might seem an unlikely question for a funeral home, but even that industry faces these issues. Maggie Betts’ “The Burial” looks at what happens when a small funeral home encounters corporate entities determined to corner the market on death care. The film, premiering at the 2023 Toronto Film Festival, finds a skilled acting duo in leads, Tommy Lee Jones and Jamie Foxx.

Alissa Simon Film Critic Swedish writer-director Lukas Moodysson is much beloved internationally for films such as “Show Me Love” (1998), “Together” (2000) and “Lilya 4-Ever” (2002). His filmography also includes the mostly English-language drama “Mammoth” (2009) with Michelle Williams and Gael Garcia Bernal, and “We Are the Best!,” (2013), a delightful adaptation of his wife’s graphic novel. His new film, “Together 99,” marks a sequel to his second feature. Why did you want to revisit the characters of “Together” 24 years on from the original film? I wanted to make a movie about the passage of time, but also about the feeling of time standing still.

Tuesday is a fairy tale with some very real-world consequences.

Daddio is a knockout, the sort of breakthrough by a virtual unknown that many might dream about but only rarely takes place. Entirely set in a taxi stuck for a long time at night on a jammed highway heading from New York City’s JFK airport to Manhattan, debuting writer-director Christy Hall has created a marvelous two-hander between a veteran New York cabbie who’s seen it all and a young woman trying to figure things out.

Owen Gleiberman Chief Film Critic The last time Sofia Coppola made a movie about a teenage royal living in a rococo palace that turned out to be a lavish prison, it was 2006, and the movie, “Marie Antoinette,” was a stylized dream of history — the story of the young queen as naïve and isolated rock star. Coppola’s new movie dramatizes the relationship between Priscilla and Elvis Presley, and the parallels with the earlier film are there if you want to see them.

In principle, using the rainy-day, kitchen-sink post-rock of Manchester band The Smiths so prominently in a film like The Killer seems incredibly perverse, given that it’s an exotic, globe-trotting thriller about an American assassin. But in reality, it’s actually very sound choice indeed: legend has it that the band’s singer, Morrissey, had two reasons for naming his band so, the first being that “Smith” is one of the most common and thus unremarkable surnames in the world. The second, and much more subversive theory, suggests that it’s also a reference to David and Maureen Smith, brother-in-law and sister of ’60s serial killer Myra Hindley, the snappily dressed couple whose testimony blew open the Moors Murderers case and whose beatnik likenesses adorn the cover of Sonic Youth’s 1990 album “Goo”.

Catherine Bray Night time in Rome. Wildfires rage on the horizon of the vast city.

They don’t make them like this any more, except when they do. Bastarden (disappointingly renamed The Promised Land in English) is a historical epic out of Denmark that has all the virtues of a midday movie remembered from childhood, the kind of thing you watched when your mother kept you home with a bad cold: a setting sometime in the olden days, a lawless frontier, sword fights and a gaggle of delectably evil baddies. Those seamy aristocrats and their henchmen, given to torturing, murdering and raping their oppressed tenants, are just lining up to have the tables turned, giving them a rich dose of their own torturing, murdering medicine. Hooray!

Watching Michael Mann’s “Ferrari,” one may wonder whether it’s even possible to make a film about an Italian figure and have it not be at least 80% about style. An admittedly rather inane thought, but one made a little more legitimate by the central presence of Adam Driver as the titular Enzo Ferrari.

Naman Ramachandran The 67th BFI London Film Festival has unveiled the titles that will compete in its official, first feature, documentary and short film competitions. Festival director Kristy Matheson said: “The films represented in each of these competitive strands offer audiences an exciting array of U.K. and global filmmaking voices and cinematic forms.

Few 20th century American writers had the wide-ranging influence of Tom Wolfe. Don’t believe that? Well, here comes a new doc about the writer and New Journalism pioneer that proves that point, and it hits NYC/LA theaters next month before opening wide later this year.