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Michael Nordine Vampires are eternal, and so are movies about them. The genre shows no signs of going bloodless anytime soon, even if the oldest texts continue to inspire some of its most compelling entries.

For fans of adventurous cinema in the last decade, a pairing between actors Christopher Abbott and Mackenzie Davis arrives like the answer to an unspoken prayer. Both performers have dependably elevated small indies and big tentpoles alike with invigorating performances that turn heads no matter the size of the role.

William Earl administrator Period vampire thriller “The Vourdalak” is set to stalk American audiences. Oscilloscope Laboratories has acquired the U.S.

Weird sisters have been spinning their witchy webs in stories dating back to Greek mythology, which included a macabre trio of sisters who passed a single eye between them. There is something of that sense of a closed circle of unknowable femininity between the two teenage girls in September Says, the first film to be directed by Greek Weird Wave actor Ariane Labed, based on the 2020 novel Sisters by Daisy Johnson and set between England and Ireland.

Marta Balaga International filmmakers are calling for solidarity with Mohammad Rasoulof and persecuted filmmakers in Iran in an open letter, shared with Variety. Rasoulof – about to screen his latest film “The Seed of the Sacred Fig” in Cannes’ main competition – was sentenced to imprisonment and torture by the Islamic Republic of Iran.

Ireland’s screen industry is having a moment. With the Cannes Film Festival well underway, there’s a notable strong Irish presence in this year’s line-up including Element Pictures’ three entrants – Competition title Kinds of Kindness from Yorgos Lanthimos, Rungano Nyoni’s sophomore feature On Becoming A Guinea Fowl and Ariane Labed’s directorial debut September Says (both in Un Certain Regard). There’s also Competition title The Apprentice, which is co-produced with Irish outfit Tailored Films and Lorcan Finnegan’s Nicolas Cage starrer The Surfer premiering in the Midnight Screenings strand. Even Andrea Arnold’s Competition title Bird is rich with Irish talent with star Barry Keoghan and Oscar-nominated cinematographer Robbie Ryan both having worked on the film. 

Rafa Sales Ross Guest Contributor It is a great year for Ireland at Cannes, with five Irish films world premiering at the festival. Among the crop are Yorgos Lanthimos’ highly-anticipated “Kinds of Kindness,” Ariane Labed’s feature debut “September Says” and Ali Abbasi’s Trump biopic “The Apprentice.” Not only does Ireland have a slew of high-profile talent like actors Cillian Murphy and Ruth Negga, cinematographer Robbie Ryan and director Lenny Abrahamson, but the country also boasts locations that have attracted recent productions such as “Cocaine Bear” and “Abigail.” “We are a small country to get around but very diverse,” head of U.S.

A growing list of at least 300 international industry professionals, including John Landis, Louis Garrel, Ernest Dickerson, and Ariane Labed have lent their names to a petition in support of a planned strike action by Cannes Film Festival workers during this year’s edition.

Leo Barraclough International Features Editor Debbie Harry, lead singer of Blondie, will be among those taking part in on-stage talks at the International Film Festival Rotterdam, which runs Jan. 25 to Feb.

Leo Barraclough International Features Editor M. Raihan Halim’s “La Luna” will close the 53rd edition of International Film Festival Rotterdam, which has also revealed the lineup of its Tiger competition section, a platform for up-and-coming filmmakers, and Big Screen Competition, a program for more established talent. “La Luna,” which has its European premiere at the festival, is a comedy about a conservative Malaysian village shaken by the arrival of a lingerie store.

Ben Croll Alongside the ongoing push for greater, industry-wide parity, French activist and feminist organization Collective 50/50 will next tackle workplace harassment with a new plan to bolster and expand existing workplace safety workshops, while promoting the widespread use of intimacy coordinators. Launched in partnership with France’s National Film Board (CNC) and the professional training organization Afdas, the new initiative will expand the reach of existing programs, which mostly targeted producers.

Nick Vivarelli International Correspondent British director Luna Carmoon’s first feature “Hoard” has scored three prizes at the Venice Critics’ Week where the other standout title is Chilean documentary “Malqueridas.” In “Hoard,” which is set in 1984 London, 7-year-old Maria and her mother live in their own loving world built on sorting through bins and collecting shiny rubbish. One night, their world falls apart, and the film joins Maria a decade later, living with her foster mother.

In an open letter in support of the actress Amber Heard, Nobel Prize-winning author Annie Ernaux denounces “the vilification” and “ongoing online harassment” of the actress.

Nobel Prize-winning writer Annie Ernaux has signed an open letter in support of Amber Heard, decrying “the vilification” and “ongoing online harassment” of the actress.

“Flux Gourmet,” the new smorgasbord of sensation from Britain’s preeminent oddball Peter Strickland, is all about personal expression (read our review). And not just in the artistic sense, though the film does take place at the prestigious Sonic Catering Institute, where experimental music groups receive funding and support for their work generating blizzards of feedback by plugging modular synthesizers into food.

“Flux Gourmet,” the new smorgasbord of sensation from Britain’s preeminent oddball Peter Strickland, is all about personal expression (read our review). And not just in the artistic sense, though the film does take place at the prestigious Sonic Catering Institute, where experimental music groups receive funding and support for their work generating blizzards of feedback by plugging modular synthesizers into food.

“Flux Gourmet,” the new smorgasbord of sensation from Britain’s preeminent oddball Peter Strickland, is all about personal expression (read our review). And not just in the artistic sense, though the film does take place at the prestigious Sonic Catering Institute, where experimental music groups receive funding and support for their work generating blizzards of feedback by plugging modular synthesizers into food.

Elsa Keslassy International CorrespondentAndres Ramirez Pulido’s “La Jauria” won the Grand Prize at Critics’ Week, the Cannes Film Festival’s sidebar dedicated to first and second features. The Colombian film also won the SACD prize.

EXCLUSIVE: French industry execs Naomi Denamur and Julie Billy are launching Paris-based independent production company June Films with a bustling film and TV slate. Scroll down for the company’s current lineup.

Elsa Keslassy International CorrespondentCritics Week (or La Semaine de la Critique), the selection dedicated to first and second films running alongside the Cannes Film Festival, will boast a jury presided over by Tunisian director Kaouther Ben Hania (“The Man who Sold his Skin”). Ben Hania has directed four features, including “Beauty and the Dogs” which competed in Un Certain Regard in 2017, and “The Man who Sold his Skin” which played at Venice in 2020 and was the first Tunisian film nominated for the Oscars’ international feature film race.

Just as the Tiktok-ers and Instagrammites of the world had completed the mainstreaming of ASMR, master of the tactile Peter Strickland has returned to restore the unsettling, alien quality to sensation. In “Flux Gourmet,” his latest and most bizarre film — a hotly contested title he earns with this feverish stew of murdered turtles, torrid orgies, and heartrending fart-tending — texture is everything.

British outré filmmaker Peter Strickland is stuck in the past in the very best sense of the phrase. Whether he’s making eerie, giallo throwback pictures (“Berberian Sound Studio”), psychedelic softcore fetish control movies (“The Duke Of Burgundy”), or strange, bizarre horrors that are a mix of English kitchen-sink realism and ghoulish creepiness (“In Fabric”), Strickland is always creating some kind of vintage, throwback picture with heavy nods to the ‘60s and ‘70s of erotic, kink, strange, and left-of-center cinema.

Joanna Hogg’s 2019 film “The Souvenir” made a big splash at its world premiere at the Sundance Film Festival that year. The film went on to win the World Cinema Dramatic Grand Jury Prize at the festival that year and was a critic’s favorite, ending up on several Top 10 lists at year’s end.