IFC Films has acquired the North American rights to Andrea Arnold’s “Cow,” which had its world premiere at the 2021 Cannes Film Festival, an individual with knowledge of the deal told TheWrap.
09.07.2021 - 18:43 / theplaylist.net
The fact that cows in dairy farms usually tend to have miserable lives should be a surprise to no one in this day and age. This knowledge, however, does not take away any of the power of Andrea Arnold’s “Cow,” playing in the Cannes Premiere section of this year’s Festival de Cannes.
IFC Films has acquired the North American rights to Andrea Arnold’s “Cow,” which had its world premiere at the 2021 Cannes Film Festival, an individual with knowledge of the deal told TheWrap.
EXCLUSIVE: IFC Films has taken North American rights to Andrea Arnold’s well-received Cannes Film Festival documentary Cow.
Andrea Arnold is aware that cows roaming the countryside is an image cut straight from the cloth of pastoral English iconography, the stuff of Victorian novels and Renaissance paintings. “[For] a lot of our modern lives, our sort of view of nature is a very romantic one,” she says.
EXCLUSIVE: Following its well-received debut in Cannes Film Festival’s inaugural Premieres section, Andrea Arnold’s latest feature, Cow, is recording brisk business for Paris-based Mk2 Films.
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It’s rare for the last ten minutes of a film to radically change your opinion of the movie at large, let alone your entire viewing experience, but in “Hold Me Tight” (“Serre-Moi fort”), which premiered at the Cannes Film Festival, director Mathieu Amalric does precisely that.
Director Vincent Maël Cardona uses western Europe in the early-1980s as the canvas upon which he paints his layered and achingly genuine portrait of young love, familial bondage, artistic aspiration, and universal chaos. Unburdened by a firm connection to any one genre or narrative archetype, “Magnetic Beats” tells a simple story with a full arsenal of source music, thoughtful set design, and crisp acting at all levels to pull off this love letter to a particular moment in time.
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When teenaged environmental activist Greta Thunberg made her now-famous speech at the UN Headquarters in 2019, she was met with equal parts admiration and derision, likely an unfavorable imbalance toward the latter. For every A-list celebrity who reposted a clip on their Instagram story, adorned with enthusiastic heart emojis, surely another handful of Internet trolls lurked in the comments and left discouraging messages.
The rise in popularity of true crime stories has seen the line between genuine investigation and lurid exploitation become increasingly blurred. With every new Netflix docu-series, podcast episode, and beach-read paperback, content creators are having to go further afield to dig up some crime forgotten to history to recast in a light that often appears oriented for entertainment first, with any richer insights an inadvertent byproduct.
In Arnaud Desplechin’s “Deception” (“Tromperie”), one character’s husband is described as “passionate about dazzling, interesting women.” In this adaptation of Philip Roth’s novel of the same name, one can’t help but wish the director shared the character’s interest.
It would be disingenuous not to begin this review by mentioning that, yes, Panah Panahi is indeed related to the titan of Iranian cinema, Jafar Panahi.
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“Where are you really from?” It’s an invasive question that’s awfully familiar to people of color, one that intrudes its way into our everyday lives. Though it can have innocent intentions, it’s often hostile and only works to invalidate our livelihood.
Guy Lodge Film CriticA bookending pair of calving scenes, an hour apart and starkly reversed in perspective, tell the whole story in “Cow,” Andrea Arnold’s tough, full-immersion documentary on the life cycle of a bovine servant. In the first, we watch in challenging close-up as a calf, glazed in gelatinous afterbirth, emerges feet first from the womb of her mother, a veteran dairy cow named Luma who has been through this ordeal many times before.
Premiering in competition at this year’s Festival de Cannes, Nanni Moretti’s wild melodrama “Three Floors” is based on a 2017 Israeli novel called “Shalosh Qomot” from writer Eshkol Nevo and begins with an undeniably tragic event. One dark night on a quiet street of Rome, a drunk driver runs over a lady crossing the road, narrowly avoids hitting a pregnant woman, then finally crashes into a building, landing straight into a family’s living room.
What do fans of Sylvan Esso dance house remixes and Bob Dylan have in common? Almost nothing, you’d imagine, and you’d probably be right. But in Clio Barnard’s sweet, unlikely romance “Ali & Ava,” which premiered as part of Cannes’ Directors’ Fortnight program, the two titular characters—both from opposite musical camps—learn to find common ground in each other’s preferences and more, to share in each other’s lives.