Hamaguchi Ryusuke, Lukas Moodysson, Deepa Mehta Films Among BFI London Film Festival Competition Titles

Organizers of the Camden International Film Festival in coastal Maine are moving ahead with regular programming today, as Hurricane Lee – downgraded to a post-tropical cyclone – aims further north towards Nova Scotia.

Found, the NBC series from All American‘s Nkechi Okoro Carroll, is heading to the Boston Film Festival.

Day Of The Fight, the directorial debut of actor Jack Huston, has been set as the opening film of the 31st edition of the Raindance Film Festival, running October 25 — November 4.

In 2019, Australian documentary filmmaker Kitty Green made her first narrative movie, a piercing almost cinéma vérité-style movie focused on an office assistant in a Tribeca film company run by a not-so-thinly disguised Harvey Weinstein. The male culture there and the sexual acts of the boss made it almost a modern horror story at the height of the #MeToo movement. For Green’s second narrative film she has changed up the filmmaking style considerably, but with The Royal Hotel which premiered last week at Telluride and now premieres tonight at the Toronto Film Festival, she is taking an even deeper look at the dark side of men as seen through the female gaze in a broken down hotel bar in a desolate part of the Australian Outback.

The Venice Film Festival’s Golden Lion has been given to a winner!

French filmmaker Claire Denis has been announced as the jury president for the Official Section of the 71st San Sebastian Film Festival, running from September 22-30.

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.

Natalie Portman and Julianne Moore‘s new movie May December is set to introduce the 2023 New York Film Festival later this month!

Total admissions to theatres at this year’s Venice Film Festival have hit 114,851, up 18% on last year, according to figures published by the Biennale this week, as the film event passes the midway point. 

Shinrin-yoku, which translates as “forest-bathing,” was a Japanese invention of the 1980s: a meditative therapy that connects burnt-out urbanites with the healing power of nature. Evil Does Not Exist, the latest film from the celebrated director of Drive My Car, Ryusuke Hamaguchi – and a contender for the Golden Lion at the Venice Film Festival — opens with a long series of scenes of trees that are so serenely paced and beautifully scored that they leave you feeling as if you have been forest-bathing for real. 

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”.

Five years after his triumphant A Star is Born world premiered at the Venice Film Festival, Bradley Cooper is back on the Lido with Maestro. Except, the director and star is only here in spirit owing to the SAG-AFTRA strike.

Mark Schilling Japan Correspondent In 2021, Hamaguchi Ryusuke won truckloads of awards and nearly universal critical acclaim for his three-hour drama “Drive My Car,” including three prizes at Cannes and a best picture Academy Award nomination, the first ever for a Japanese film. (That Oscar went elsewhere, but “Drive My Car” was named best international feature film.) Instead of trying to top this triumph with a bigger budget and more internationally known names in the cast, Hamaguchi has returned to his indie roots with “Evil Does Not Exist,” which premieres in competition at this year’s Venice Film Festival.

Jeymes Samuel’s sophomore feature The Book of Clarence, Martin Scorsese’s Killers of the Flower Moon, and The Boy and the Heron by Hayao Miyazaki are among the titles that have been announced within the full lineup of the British Film Institute’s (BFI) 67th London Film Festival. Scroll down for the full list.

William Earl Variety and the Golden Globe Awards continue their tradition of festival events with an exclusive invite-only party celebrating Italian cinema and talent attending the Venice Film Festival. The event will take place on Aug.

The Telluride Film Festival, a key part of the fall festival circuit launching awards season and perhaps some major Academy Award contenders, announced the wide-ranging lineup of films for its landmark 50th edition. The fest kicks off Thursday and runs through Labor Day and will feature world premieres of Oscar winners Alexander Payne’s The Holdovers (Focus Features), Emerald Fennell’s Saltburn (Amazon) and Free Solo filmmakers Elizabeth Chai Vasarhelyi and Jimmy Chin’s narrative feature Nyad (Netflix).

Patrick Frater Asia Bureau Chief The main competition section of the Busan International Film Festival is set to showcase two new features from Bangladeshi directors, the feature debut of Japanese documentary maker Mori Tatsuya and ruminations on Hong Kong by mainland Chinese director Choi Ji. The festival on Wednesday unveiled its New Currents competition section, reserved for films by directors making their first or second works of fiction, as well as its Jiseok section, a showcase for somewhat more established Asian auteurs. In addition to the Bangladesh duo, New Currents includes two films from Japan, two from Korea and one each from China, Thailand, Malaysia and India. From Bangladesh, Iqbal H. Chowdhury’s “The Wrestler” sees an old fisherman challenge a wrestling champion to combat, and in “The Stranger” Biplob Sarkar tells a coming-of-age, gender-identity tale. From Japan, Mori recounts the events of the Great Kanto earthquake in “September 1923,” while Yamamoto Akira delves into profound and shocking love in “After the Fever.” New Currents’ Korean contributions come from Lee Jong-su, whose “Heritage” tracks a man who opts out of military service and his supervisor, and Sohn Hyun-lok, whose “That Summer’s Lie” blurs truth and fiction in memories of a past romance. India’s Rajesh S.

New works by Ryusuke Hamaguchi, Kitty Green, and Christos Nikou are among the titles that have been set to play in competition at the upcoming 67th edition of the British Film Institute’s (BFI) London Film Festival. Scroll down for the full list.

John Hopewell Chief International Correspondent Headlined respectively by “Sound of Metal” lead Riz Ahmed and “Matrix” stars Jessica Henwick and Hugo Weaving, Christos Nikou’s “Fingernails” and Kitty Green’s “The Royal Hotel” figure among seven newly unveiled films which will play in main competition at September’s San Sebastian Film Festival. Also in the running are buzz titles “A Journey in Spring,” from Taiwan’s Peng Tzu-Hui, Wang Ping-Wen, and “Kalak,” directed by Denmark’s Isabella Eklöf.

Aussie filmmaker Kitty Green’s latest pic, The Royal Hotel, starring Julia Garner, and Fingernails, the latest film from Christos Nikou, with Riz Ahmed and Jessie Buckley, have been added to San Sebastian’s competition lineup.