Brazil’s Daniel Bandeira Wins the Pop Up Film Residency Paradiso With ‘Red Express’

Manchester City have qualified for the UEFA Super Cup after beating Inter Milan 1-0 in the final of the Champions League on Saturday night.

early '00s. Carrie Bradshaw wore them - most notably in the episode just before the gang flee New York, leaving behind our heroine's disastrous affair with Mr Big, for the (Brazilian) wax haven of LA - and so did Rihanna, Victoria Beckham, Britney Spears and Paris Hilton. It takes a certain chutzpah to pull off a bandeau.

EXCLUSIVE: Leo Leigh’s directorial debut Sweet Sue and Vincent Perez’s fencing film The Edge Of The Blade are among six international films set to get their world premiere at the upcoming Filmfest München (June 23 – July 1), which this year celebrates its 40th edition. Scroll down for full list and details.

“The Girl from Ipanema” singer Astrud Gilberto has passed away at age 83.

Prince William and Kate Middleton attended a very special wedding on Thursday.

At Tuesday night’s world premiere of Spider-Man: Across the Spider-Verse, there was a huge sigh of relief from the mass of animators inside Westwood’s Regency Village Theater: The $100M-budgeted sequel to the Oscar-winning 2018 animated movie Spider-Man: Into the Spider-Verse, was done, having completed post-production literally just 10 days ago after a five-year trek to the screen which included a Covid delay due to the backlog in post-production houses. Starting today abroad, and into Thursday in U.S./Canada, the continuing adventures of Miles Morales will see the light of day in what is expected to be a $150M global opening.

Via Facebook, the actor's family also confirmed the news. Jeff, who starred in the Brazilian religious telenovela "Reis," was first reported missing in late January after his eight dogs were found alone and abandoned, something friends said Jeff would have never intentionally done. Prior to the grisly discovery, Jeff had not been seen or heard from since Jan.

Sam Smith has teased their "special" collaboration with Brazilian pop star Anitta. The pair are poised to release a yet-to-be-announced song together, and Sam, 31, is full of praise of the 30-year-old Latin star. Sam told Harper's BAZAAR: “Anitta’s energy is amazing.

Brent Lang Executive Editor Family audiences turned out in force, propelling Disney’s “The Little Mermaid” to the top of the box office over the Memorial Day weekend. The film, a live-action remake of the 1988 animated favorite, earned a splashy $117.5 million over the four-day holiday. It ranks as the fifth largest Memorial Day debut — last year’s “Top Gun: Maverick” set a new record for the holiday with its $160.5 million launch. At one point over the weekend, it looked as if “The Little Mermaid” might even open north of $120 million, but ticket sales flagged slightly. For Disney, the film’s popularity is a testament to its strategy of digging deep into its vaults and rebooting animated titles as live action movies, something it has done successfully with the likes of “Aladdin,” “Beauty and the Beast” and “The Lion King.” Waiting out on the horizon: Ahmir “Questlove” Thompson, the Oscar-winning director of “Summer of Soul,” is helming a remake of “The Aristocats” for Disney.

Haaland makes history with double award win

South American soap opera star, Jefferson Machado, has been found dead, four months after he went missing in January. He was 44.

UK director Molly Manning Walker’s first film How To Have Sex won the top prize in Cannes Un Certain Regard on Friday evening.

John Hopewell Chief International Correspondent Brazil’s on fire, and rapidly putting into place the policies that will rebuild its film and TV industries, which look set to transform it into the film-TV powerhouse of Latin America. That cuts several ways.  Under Jair Bolsonaro, Brazilian president over 2019-2022, ApexBrasil, the Brazilian Trade and Investment Agency, saw its funding for Brazil’s audiovisual sector almost entirely nixed. Often working together, promotion agency Cinema do Brasil, backed by Audiovisual Industry Syndicate of the State of São Paulo (SIESP), Projeto Paradiso, a philanthropic org focusing on new talent and project development, and SP Cine, the energetic São Paulo City film commission, did an extraordinary job to support and promote Brazilian filmmakers and companies’ presence at festivals, drawing on highly contained resources.

Peter Debruge Chief Film Critic It began in the son’s room, when father was away on business. L’enfant thought it was l’amour, but for her, 30-odd years his senior, the sex, lies and audiotape were a mistake. Wild at heart, she’d yielded to the taste of … oh, never mind. Competing for the Palme d’Or at Cannes, Catherine Breillat’s “Last Summer” echoes films that have come before — most notably, 2019 Danish drama “Queen of Hearts,” on which it’s based — but it proves most daring in the ways the film departs for its more conventionally moralistic source, and especially in Breillat’s refusal to call either party a parasite. Yes, the affair between a lawyer and her 17-year-old stepson is a betrayal — of her marriage, of her parental responsibilities, of everything she stands for as an attorney — but that’s nothing compared to how the 50-ish woman deals with it when word gets out in this thought-provoking domestic drama. In reviewing the original, Variety’s Guy Lodge wrote, “you can practically envisage a Robin Wright-starring U.S. remake” — which isn’t far from the truth. Backed by fearless producer Saïd Ben Saïd (“Elle”), Breillat gives us the great Léa Drucker (who played far more responsible moms in “Close” and “Custody”) in the role of Anne, who’s introduced representing an underage girl in a sex-crimes case.

John Bleasdale Guest Contributor The red carpet for Wednesday’s premiere of Tran Anh Hung’s “The Pot au Feu,” with Juliette Binoche and Benoit Magimel, was the scene of a demonstration in support of the land rights of the Indigenous peoples of Brazil.  The protest was led by the official delegation of “The Buriti Flower,” a film showing in the Un Certain Regard sidebar directed by Portugal’s João Salaviza and Renée Nader Messora and sold by Films Boutique.  Appearing in front of the banks of photographers, the directors along with the actors wearing traditional dress, Francisco Hyjno Krahô, Debora Sodre, Luzia Cruwakwyj Krahô and Henrique Ihjac Krahô, unfurled a large banner with the slogan “Não ao Marco Temporal: The Future of Indigenous Lands in Brazil is Under Threat”. 

It’s widely know that Henry VIII, the Tudor king, had a particularly grim batting average when it came to matrimony.

The ladies of Aespa just made their Cannes Film Festival debut!

Vivo Film (“Le Quattro Volte,” “Miss Marx”) has boarded André Ristum’s action drama “Tecnicamente Dolce” (“Technically Sweet”), based on a screenplay by Italian legend Michelangelo Antonioni, teaming with Gullane Filmes, Brazil’s biggest independent film production house. The news comes as “Carnival Is Over,” the awaited thriller drama by “Narcos” director Fernando Coimbra, whose “A Wolf at the Door” was one of the standout Brazilian feature debuts of the last decade, has now entered post-production, shaping up as one of the big arthouse titles to hit festivals from Brazil next year.

Kaouther Ben Hania’s powerful drama “Four Daughters” which mixes documentary and fiction to tell the story of Tunisian mother whose two elder daughters joined ISIS is scoring a slew of sales following its well-received Cannes competition premiere. French company The Party Films Sales has sealed deals on “Four Daughters” for: Benelux (Cineart); Spain (Caramel Films); Italy (I Wonder); Switzerland (Trigon); Sweden (Triart); Denmark (Camera Film); Norway (Arthaus); Finland (Cinemanse); Poland (New Horizons); Greece (Ama Films); former Yougoslavia (Discovery) and Turkey (Bir Film). Rights to the film for multiple other territories are under negotiations, the company said.

Lise Pedersen Moving towards a more equitable and accountable curation in film programming and selection processes, ethical representation in storytelling and the challenges posed by the lack of awareness and accountability was at the heart of a panel discussion at Cannes Docs, the Cannes Film Market event dedicated to documentary film, on May 20. Panelists included Egyptian director and producer Nada Riyadh, British-Chinese writer and director Paul Sng, Brazilian producer Yolanda Maria Barroso and Swedish producer Malin Hüber; it was moderated by the BFI’s Race Equality Lead Rico Johnson-Sinclair. Opening on a positive note, Riyadh said that, “as an Arab woman,” she welcomed the presence in the official selection at Cannes this year of docs by Tunisian director Kaouther Ben Hania (“Four Daughters,” main competition) and Moroccan filmmaker Asmae El Moudir (“The Mother of All Lies,” Un Certain Regard), even though “in the real world I still get asked whether I do docs or real films,” she added with a smile.