‘Bardo, False Chronicle of a Handful of Truths’ Review: Alejandro G. Iñárritu Has Made a Felliniesque Epic of Soulful Midlife Navel-Gazing

John Hopewell Chief International Correspondent Thanks in part to a strong co-production drive, 13 Mexican-nationality movies play at San Sebastian this year, a major presence.  Perlak frames Alejandro G. Iñarritu Venice player “Bardo: False Chronicle of a Handful of Truths.”  Much of the heat, in industry terms at least, will come from the the premieres and sneak peeks.   In one highlight, Natalia Beristáin will world premiere “Noise” (“Ruido”), before its Netflix November bow. In possibly another, Mexico’s Laura Pancarte (“Non-Western”) unveils “Sueño Mexicano” as a pic-in-post.

sundown town. The film tumbles giddily though a montage of late-breaking endorsements, from Bernie Sanders and Alexandria Ocasio-Cortez (truly the model for what Booker is doing in Kentucky), Elizabeth Warren and Hollywood power players like Ava DuVernay, Kerry Washington, Regina King and Kentucky’s own Jennifer Lawrence. Some of the transitions are a bit stilted, and the film’s present-tense presentation feels awkward (the news itself is a spoiler). We know how the primary ends, but it is a nail-biter to the very end, nevertheless, from a last-minute injunction called in to beg judges to allow polls to stay open longer for those voters caught in traffic to the weeklong process of counting the mail-in votes.

The potential of police hubs in Dumbarton and Alexandria town centres will be raised by West Dunbartonshire Council’s leader later this month.

Tomris Laffly During a career of 16 years that spanned numerous East Coast hospitals since the late ‘80s, real-life nurse Charles Cullen confessed to murdering at least 29 patients with a fatal cocktail of drugs he dripped into his victims’ bloodstream. That figure was only his confirmed body count, however. As a title card suggests at the end of Tobias Lindholm’s shrewd and absorbing drama “The Good Nurse” — a Netflix original that just premiered at Toronto — the real number of his victims was predicted to be as high as a blood-curdling 400. Hopping from one job to the next, the serial killer went undetected by the authorities, with his connection to the unusual deaths remaining as an open-secret suspicion at every facility he worked at. In order to avoid legal ramifications, none of the hospitals reported him — they just made him someone else’s problem, as the story of any corrupt institution goes.

Back in 2014, when “Birdman” was taking Hollywood by storm, Alejandro G. Iñárritu had some choice words about the rise of the superhero film, calling it a form of “cultural genocide.” “I don’t respond to those characters,” he added.

rocky romance with Madonna, who then became a Yoko Ono-esque wedge between him and his band. Michael Jackson definitely did not release “Beat It” after Yankovic wrote “Eat It.” Was cocaine kingpin Pablo Escobar a Weird Al superfan who offered him 1 billion pesos to perform at his birthday party? Who’s to say?What Yankovic and director/co-writer Eric Appel have done, brilliantly in spots, is parody Yankovic’s own life while sending up the whole biopic genre.

Brad Pitt and Margot Robbie are headed back to Old Hollywood in Damien Chazelle’s new epic, “Babylon”. First-look photos from the upcoming film were released on Thursday, showing the “Once Upon a Time… In Hollywood” co-stars’ upcoming on-screen reunion from the “La La Land” Oscar winner.

Brad Pitt and Margot Robbie are headed back to Old Hollywood in Damien Chazelle's new epic,. First-look photos from the upcoming film were released on Thursday, showing the co-stars' upcoming on-screen reunion from the Oscar winner.Set in Los Angeles in the Jazz Age of the 1920s, tracks Pitt, Robbie and a star-studded cast through Hollywood's transition from silent films to «talkies,» with an emphasis on the art and excess of the time. More from the official synopsis:The film also stars P.J.

Zack Sharf Alejandro Gonzalez Iñarritu does not like superhero movies. The Oscar winner said in 2014 while promoting “Birdman” that superhero movies were a form of “cultural genocide,” adding, “I don’t respond to those characters. They have been poison because the audience is so overexposed to plot and explosions and shit that doesn’t mean nothing about the experience of being human.” Robert Downey Jr. weighed in on Iñarritu’s comment in 2015 during an interview with The Guardian to promote his turn as Iron Man in the Marvel blockbuster “Avengers: Age of Ultron,” but the actor’s retort was somewhat controversial. Downey Jr. noted that he “respects the heck out of” Iñarritu but also mocked Iñarritu’s Spanish roots by saying, “For a man whose native tongue is Spanish to be able to put together a phrase like ‘cultural genocide’ just speaks to how bright he is.”

Over the weekend, we saw a number of high-profile films get major premieres at the Venice Film Festival. One of the most anticipated features to debut is Alejandro G.

Emergency services were called to an industrial estate after a fire broke out in a unit on Sunday evening.

If you ever questioned it before, let “Bardo” — wordily subtitled ‘or False Chronicle of a Handful of Truths,’ as was the director’s wont with 2014’s “Birdman” — lay your queries to rest: Alejandro Iñárritu really, really loves Fellini. He’s not the only one, naturally: comparisons to “8 ½” are par for the course whenever a filmmaker comes out with a notionally autobiographical work, as with Pedro Almodóvar’s “Pain and Glory” in 2019.

There’s no shortage of star power on the Lido this year. The 79th Venice Film Festival boasts such boldface names as Timothée Chalamet — along with his fellow the Bones And All castmates and filmmaker Luca Guadagnino — Cate Blanchett, Alejandro G. Iñárritu, Adam Driver and dozens more.

EXCLUSIVE: When he comes to a film festival with his latest film, Alejandro G. Iñárritu cuts a supremely confident swath. As he premiered his film Bardo in Venice, the writer/director seemed a bit more vulnerable. This is understandable because the film is a mix of dream and reality, a deep dive into his own life tragedies, the identity conflict facing an immigrant who becomes wildly successful in their adopted country, and the inevitable need to face one’s mortality.

Alejandro G Iñárritu‘s three-hour-long opus Bardo (False Chronicle of a Handful of Truths) received a warm reception at its Venice Film Festival world premiere on Thursday night. Six minutes of applause began inside the Sala Grande as the credits rolled, with attendees standing for the Oscar winning filmmaker for about four of those.

Bardo” be Alejandro González Iñárritu’s third best director Oscar in a row following “Birdman” and “The Revenant” wins? It’s a question many were asking heading into the Venice Film Festival, where the Netflix-backed “Bardo” world premiered in competition. The three-hour-long drama, which wrapped at 12:15 a.m. Venice time, earned a standing ovation of just over four minutes at the Sala Grande. A number of audience members began leaving before the movie ended given the late hour, but the vast majority stayed to applaud the helmer.Iñárritu was visibly moved by the reception to his film, certainly one of his most personal efforts to date, and had tears in his eyes as he embraced his cast and producers.

Dear Alejandro:

If you ever questioned it before, let “Bardo” — wordily subtitled ‘or False Chronicle of a Handful of Truths,’ as was the director’s wont with 2014’s “Birdman” — lay your queries to rest: Alejandro Iñárritu really, really loves Fellini. He’s not the only one, naturally: comparisons to “8 ½” are par for the course whenever a filmmaker comes out with a notionally autobiographical work, as with Pedro Almodóvar’s “Pain and Glory” in 2019.

Rebecca Rubin Film and Media Reporter Noah Baumbach’s black comedy “White Noise,” Alejandro Iñárritu’s “Bardo (Or False Chronicle of a Handful of Truths)” and Lindsay Lohan’s romantic comedy “Falling for Christmas” will debut on Netflix this fall. On Tuesday, the streamer announced the release dates for those films — and plenty more — including “Roald Dahl’s Matilda the Musical,” “The Swimmers” and “Mr. Harrigan’s Phone.” Some of those titles, like “Bardo” and “White Noise,” will have limited theatrical runs before debuting on Netflix, while others, such as “Falling for Christmas,” will land directly on the streaming service. “Bardo” will debut on Dec. 16 following its world premiere at Venice Film Festival. Prior to landing on the streamer, it’ll play in movie theaters in Mexico starting on Oct. 27, as well as select North American theaters on Nov. 4. Described as a “nostalgic comedy,” the film stars Daniel Giménez Cacho follows a renowned Mexican journalist and a documentary filmmaker who returns to his native country at an existential crossroads.

With the Fall Film Festival upon us, the Venice Film Festival, and Telluride Film Festival launching this week, streamers like Netflix are about to premiere some of their biggest titles of the year. Namely, Noah Baumbach’s “White Noise,” Alejandro Innaritu’s “Bardo,” Andrew Dominik’s “Blonde,” and Sebastian Lilo’s “The Wonder.” Rian Johnson’s “Glass Onion: A Knives Out Mystery,” which premieres at the Toronto International Film Festival in early September, was recently dated for December 23 for a Netflix release, and while Netflix has revealed its entire fall slate today, December looks like it’ll be the month for most of its Oscar contenders.