Breaking news for anyone blown away by Celine Song’s “Past Lives” or hoping to nail her down for her second project. She’s already written a script and A24, which produced the Sundance and Berlin Film Festival breakout, is going to make it.
20.05.2023 - 18:49 / deadline.com
Senegalese and French director Ramata-Toulaye Sy is only the second Black woman to make it into Competition in Cannes. Her debut feature, Banel & Adama, which had its debut Saturday, follows in the footsteps of Mati Diop’s 2019 Atlantics.
Sy draws on her roots in the Fulani, or Peul, culture of the Futa region in northern Senegal for her magic-realist film about a young couple whose passion brings chaos to their remote rural community. “The people of Futa have the reputation of being very dignified and sticking to their community,” says Sy, who was born and grew up in France. “I was raised in the Fulani tradition at home and French culture outside.”
Inspiration for Banel & Adama came from a desire to create a tragic African heroine on par with Pierre Corneille’s Médée or Jean Racine’s Phèdre. “We don’t really have these mythical, tragic characters, or we do, but very few,” says Sy, who wrote the screenplay as her graduation work for the French film school La Fémis, where she studied screenwriting.
“I didn’t want to direct. Literature and writing are my passion,” she says, citing her favorite authors as Toni Morrison, Maya Angelou, Chimamanda Ngozi Adichie and Jesmyn Ward, as well as William Faulkner. But tragedy pushed Sy into the director’s chair after French producer Éric Névé, who had acquired the screenplay and was trying to get the project off the ground, died suddenly in 2019. “He was my godfather in the cinema world. His wife, Maud Leclair, said, ‘You need to do this for Eric,’ and so I did it for him as an homage.”
France’s National Cinema Centre encouraged Sy to first make a short film before embarking on a feature, making it a proviso for funding on the feature.
She wrote the screenplay for the short film
Breaking news for anyone blown away by Celine Song’s “Past Lives” or hoping to nail her down for her second project. She’s already written a script and A24, which produced the Sundance and Berlin Film Festival breakout, is going to make it.
Rob Savage isn’t a household name in horror, yet, but if you look at his most recent work, this is a guy who seems like he is destined for great things in genre filmmaking. And in this episode of The Playlist Podcast, I got the chance to talk to Savage and discuss his newest film, “The Boogeyman,” which is based on a short story by Stephen King.
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Priyanka Chopra Jonas is opening up about a “dehumanizing moment” early on in her Bollywood career where a director asked to see her underwear on set.
Priyanka Chopra is reflecting upon her time as an actress, detailing a moment where she felt her boundaries were crossed. An India native, Chopra's career accelerated after she won the Miss World 2000 pageant. She began starring in Bollywood films, and was hired to work with a director she was unfamiliar with.
Italian filmmaker Nanni Moretti made it clear why he was making fun of Netflix in his latest Cannes film entry, A Brighter Tomorrow.
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“When was the last truly f*cking nasty, nasty, bad pop girl?” This is the question posed in the teaser trailer to HBO’s The Idol, which promises the kind of lurid, adrenaline-pumping pop-culture exposé you’d see if Paul Verhoeven was ever allowed to make a film like Showgirls again. Said trailer also features copious quantities of cocaine, champagne and seriously dirty dancing, suggesting a warts-and-all drama about a super-ambitious Madonna/Lady Gaga type who has recently hit the big time in the dog-eat-dog world of showbiz.
EXCLUSIVE: Wagner Moura (Narcos, Elite Squad, The Gray Man) is set to star in the upcoming biopic Angicos about Brazilian educator and author Paulo Freire. Felipe Hirsch will write and direct and Adriana Tavares of Café Royal will produce alongside Paula Linhares of Cenya Productions and Marcos Tellechea and Guilherme Somlo of Reagent Media.
Elsa Keslassy International Correspondent Kaouther Ben Hania, the Oscar-nominated director of “The Man Who Sold His Skin” whose latest film “Four Daughters” is competing at this year’s Cannes Film Festival, will next direct “Mimesis,” an epic love story set in Tunisia. While the plot is under wraps, the story is set in two different periods, the 1990s and the 1940s, paying tribute to cinema and Arab-Muslim cultural heritage. It’s being produced by Nadim Cheikhrouha at Tanit Films, who produced Ben Hania’s “Four Daughters” and her previous film “The Man Who Sold His Skin” which world premiered at Venice where it won best actor for Yahya Mahayni and was nominated for best international film at the Oscars in 2021.
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“You cannot go against your destiny,” 18-year-old Banel is warned in Banel & Adama (Banel e Adama), a visually striking and deceptively heavy debut from French-Senegalese director Ramata-Toulaye Sy, only the second Black woman to make it into the Cannes Competition since Mati Diop’s Atlantics in 2019. At first sight, Sy’s film seems a bit of an outlier in a lineup sprinkled with veterans, and the extra scrutiny that comes with a Competition slot may well work against it. But it’s entirely possible that it might strike a chord with the jury, notably Rungano Nyoni, whose debut I Am Not a Witch took a similarly subversive and sophisticated approach to themes of African tradition and folklore.
Jessica Kiang The interlinked names of the lovers have an unusual power in Ramata-Toulaye Sy’s haunting, halting “Banel & Adama.” They play over and over as a whispery lullaby on the soundtrack. They cover the sheets of paper on which Banel (Khady Mane) compulsively writes their names, like a schoolgirl practicing cursive on the name of her crush. There’s an innocence to it at the beginning, as though Banel, whose strange mind we mostly occupy, is simply delighting in the sound and shape of their togetherness. But that’s when “Banel & Adama” is a love story, and before it descends, a little too hesitantly but with a subtly seductive power nonetheless, into drought and madness and maybe, cosmic retribution. The sun-and-superstition-soaked tale of an African girl contending with fate and folk tradition has some precedent in Rungano Nyoni’s excellent “I Am Not a Witch.” But here, as the bright imagery begins to hint paradoxically at creeping darkness, we can no longer be sure that witchcraft is not exactly what is at work.
Christopher Vourlias Debutante director Ramata-Toulaye Sy will join one of world cinema’s most select clubs when she climbs the stairs of the Grand Theatre Lumière on May 20 for the premiere of “Banel & Adama,” which unspools in the main competition at the Cannes Film Festival. It marks just the second time in the French fest’s 76-year history that a Black woman will compete for the Palme d’Or, a glass ceiling that was shattered only four years ago by Sy’s French Senegalese compatriot, Mati Diop (“Atlantics”). While acknowledging the honor, it is a club, Sy admits, about which she has some ambivalence. “I really hope that soon all this will be taken for granted — that we won’t be counting the Black directors, that we won’t be counting women,” the helmer tells Variety. “It means that there’s still something wrong, that there’s still something that hasn’t become completely normal and natural.”
In an early scene of French director Stéphan Castang’s Cannes Critics’ Week entry Vincent Must Die, a colleague of the film’s titular protagonist whacks him around the head with his laptop. A little later, another workmate stabs him in the arm. “He’s just an average guy who wakes up one morning to discover that everyone wants to kill him,” Castang explains. The debut feature follows in the wake of Julia Ducournau’s Raw and Just Philippot’s The Swarm as French genre titles to be championed by the first and second film-focused Critics’ Week.
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Refresh for updates…Sean Penn, asked about the current state of big wig studio chiefs and the plight of writers and directors, said today at the Black Flies presser, “The industry has been uspending the writers and directors for a long time. I fully support the situation with writers guild, of course.”