Janus Films Latest Celebrity News & Gossip

Sideshow and Janus Films have acquired North American rights for Jean-Pierre and Luc Dardenne’s Tori and Lokita which premiered in competition at the Cannes Film Festival and was lauded with the Festival’s Special 75th Anniversary Prize. A theatrical release from Sideshow and Janus is being planned.

Cannes Film Festival Jury Prize winner “EO” has been acquired by Sideshow and Janus Films.The companies have the North American rights to the film from Jerzy Skolimowski.The film shows a vision of modern Europe as seen through the eyes of a donkey. Here’s the logline: “The world is a mysterious place when seen through the eyes of an animal.

Manori Ravindran International EditorCannes sensation “EO,” which tells the story of a donkey’s life, has been acquired for North America by Sideshow and Janus Films. The film is the latest collaboration for the U.S.

Martin Scorsese’s nonprofit The Film Foundation is launching a free virtual screening room to showcase restored films starting May 9 with I Know Where I’m Going!.

Deadline has launched the streaming site for Contenders Film: The Nominees, this past weekend’s showcase of 24 Oscar-nominated films and their stars, creatives and craftspeople talking about their roads to the Academy Awards.

As Drive My Car sped from a best screenplay win and stellar reviews at Cannes to four Oscar nominations (Best Picture, International Feature, Director, Adapted Screenplay), distributor credits for the three-hour Japanese drama went to Sideshow/Janus Films – the former a little known new venture from Jonathan Sehring.

Clayton Davis Ryûsuke Hamaguchi’s “Drive My Car” defied expectations last week when it nabbed Oscar nominations for best picture, director, adapted screenplay and international feature. The Japanese movie, released domestically by venerable art-house distributor Janus Films, surpassed titles with more robust campaigns, including Amazon’s “Being the Ricardos” and Netflix’s “Tick, Tick … Boom!”Even Hamaguchi was surprised by the noms.“I could have never imagined that I would be a realistic contender,” he tells Variety, speaking through Stacy Lee, a Japanese interpreter.

Those theatrical motion picture studios earning Oscar Best Picture nominations today will put their best foot forward at the box office, and increase the cinema footprint of their contenders in an effort to capitalize on their success and raise the pics’ profiles.

Clayton Davis Ryûsuke Hamaguchi’s “Drive My Car” has been a critical darling, after garnering stellar reviews and winning the top prize from the New York, Los Angeles and National Society of Film Critics. The last films to win those three prestigious groups were Kathryn Bigelow’s “The Hurt Locker” (2009) and David Fincher’s “The Social Network” (2010), with the former winning the Oscar for best picture.

Addie Morfoot ContributorIn the past decade, the inclusion of streaming services in the documentary market has made it increasingly harder for smaller docus struggling with funding to break into the nonfiction feature Oscar race. But in spite of the deep pockets they are up against, a number of cash-strapped docs inevitably make it onto the shortlist every year. This year was no exception.Jessica Beshir’s “Faya Dayi” (Janus Films, pictured above), Camilla Nielsson’s “President” (Greenwich Entertainment) and Sushmit Ghosh and Rintu Thomas’ “Writing with Fire” (Music Box Films) are three films on this year’s feature doc shortlist that are up against competitors with multi-million-dollar campaign budgets being paid by media and tech conglomerates including Apple, Netflix, ViacomCBS, the Walt Disney Co.

Every so often, a film truly becomes banned, typically due to content that is so violent and/or sexual that censors are scared to allow the film to be shown to the public. Back in the late-‘70s, Iran banned the film “Chess of the Wind” not because it is so racy that it was a danger to the public, but instead because the film dared to show people morally unscrupulous people during a time when the theocratic country was scared of showing such three-dimensional people.

While he doesn’t quite get his due these days, Martin Scorsese once called Japanese director Kiyoshi Kurosawa (no relation to Akira Kurosawa) “a major filmmaker…an absolute master of light, framing, and pacing.” That’s pretty damn high praise, and it’s absolutely true. Kurosawa’s career has somewhat waned in recent years, but in the early 2000s, he was known to be one of the forerunners of the Japanese New Wave Horror movement.

director behind Watermelon Man and Sweet Sweetback’s Baadasssss Song, has died. He was 89.

While he doesn’t quite get his due these days, Martin Scorsese once called Japanese director Kiyoshi Kurosawa (no relation to Akira Kurosawa) “a major filmmaker…an absolute master of light, framing, and pacing.” That’s pretty damn high praise, and it’s absolutely true. Kurosawa’s career has somewhat waned in recent years, but in the early 2000s, he was known to be one of the forerunners of the Japanese New Wave Horror movement.

While he doesn’t quite get his due these days, Martin Scorsese once called Japanese director Kiyoshi Kurosawa (no relation to Akira Kurosawa) “a major filmmaker…an absolute master of light, framing, and pacing.” That’s pretty damn high praise, and it’s absolutely true. Kurosawa’s career has somewhat waned in recent years, but in the early 2000s, he was known to be one of the forerunners of the Japanese New Wave Horror movement.

Lizzie Borden’s groundbreaking film “Working Girls” is coming back to theaters. The project, detailing the lives of sex workers, approaches the topic with a seldom-seen motivation towards removing stigmas.

Melvin Van Peebles is someone that revolutionized Black cinema. But when people think of his early work, many people just talk about “Sweet Sweetback’s Baadasssss Song.” That’s understandable, as that film is one of the most famous of the early ‘70s.

If you’re a fan of what is referred to as the French New Wave, then you’re likely familiar with the works of Éric Rohmer. Breaking out in the late-‘60s with his Academy Award-nominated feature, “My Night at Maud’s,” Rohmer went on to become one of the most influential filmmakers in French cinema.

In the realm of cinema, there are few filmmakers that rival the influence and power of Andrei Tarkovsky. Thousands of pieces have been written about his effect on the medium, and thanks to the release of new 4K restorations of films like “Mirror,” hopefully new generations of film fans will discover the brilliance of the filmmaker.

With the film industry continuing to delay films and hold onto titles well into 2021, just like last year, now’s the perfect time to catch up with classic features that you might not have been able to see before.

Taiwanese filmmaker Hou Hsiao-hsien is arguably one of the greatest filmmakers in the world (he was voted “Director of the Decade” for the 1990s in a poll of American and international critics by The Village Voice and Film Comment). But his output of late has been so incredibly slow and sparse; it’s arguably put a damper on his global acclaim outside the world of cinephiles.

Taiwanese filmmaker Hou Hsiao-hsien is arguably one of the greatest filmmakers in the world (he was voted “Director of the Decade” for the 1990s in a poll of American and international critics by The Village Voice and Film Comment). But his output of late has been so incredibly slow and sparse; it’s arguably put a damper on his global acclaim outside the world of cinephiles.

“The director that shakes me and moves me most is Wong Kar-wai.

Without a doubt, Claire Denis is one of the best filmmakers working today. Over the decades, she has continuously created some of the most interesting and unique features to grace the big screen, including her most recent film, “High Life,” starring Robert Pattinson.