Kelly Reichardt Latest Celebrity News & Gossip

Nick Vivarelli International Correspondent The Locarno Film Festival will honor Jane Campion with its Pardo d’onore Manor award. The prominent Swiss fest dedicated to indie cinema will celebrate the revered auteur from New Zealand on Aug.

The French Directors’ Guild (SRF) will fete UK director Andrea Arnold with its honorary Carrosse d’Or (Golden Carriage) award at the upcoming edition of its Cannes Directors’ Fortnight.

Anna Marie de la Fuente Argentina’s newly elected president Javier Milei is bent on keeping his chainsaw-wielding campaign promise to cut state spending, including scrapping the country’s national film institute (INCAA) and its film schools (ENERC). His mega draft bill, aimed at reining in Argentina’s hyper-inflation, has prompted more than 300 directors, producers, actresses, critics and colleagues from across the world, led by Academy Award winners Pedro Almodóvar, Alejandro González Iñárritu, Cannes winners Aki Kaurismäki (“Autumn Leaves”) and the Dardenne Brothers (“Rosetta”), to sign a communiqué protesting the far-right libertarian’s proposal.

Guy Lodge Film Critic As teenagers go — and let us allow for some hormonal leeway here — 17-year-old Sam is what most would call a good one: smart, thoughtful, grounded, self-sufficient but not averse to advice, the kind of kid that parents can’t help bragging about, as their friends wish their own nightmare offspring were a little more like her. But such a reputation has its downside, as elders take the teen’s compliance and good humor for granted, and expect undue allowances for their own irresponsibilities.

Clayton Davis Senior Awards Editor Oscar season begins this week in the Big Apple. The New York Film Critics Circle will be the first major group of film journalists to unveil its winners on Nov. 30.

John Hopewell Chief International Correspondent SAN SEBASTIAN — Paris-based Luxbox has clinched major territory pre-sales on anticipated San Sebastian competition title “Puan,” an original attempt by its writer-directors, María Alche (“A Family Submerged”) and Benjamín Naishtat (“Rojo”) to deliver a state of the nation take on Argentina – and any country in thrall of European ideas – but in a notably lighter tone than most Latin American arthouse fare. Key first major territory buyers take in Condor for France, whose release lineup has featured major auteurs such as Kelly Reichardt, Casey Affleck, Agnieszka Holland, Paul Schrader, Denis Villeneuve, Michel Franco and Ira Sachs.

Zack Sharf Digital News Director Lily Gladstone spoke to her “Certain Women” director Kelly Reichardt for Interview magazine (before the SAG-AFTRA strike) and confirmed reports that Martin Scorsese’s “Killers of the Flower Moon” underwent significant rewrites during its development. The script changed so much that the scene Gladstone was given for her audition got reduced from three pages of straight dialogue to “a scene that had minimal dialogue.” “Before the rewrites, I had three pages of some pretty mouthy dialogue,” Gladstone said about the “Flower Moon” audition process.

Naman Ramachandran Canadian distributor LevelFilm has hired two executives from Sphere Films in leadership roles. Olivier Gauthier-Mercier joins as VP, distribution and Lainie Elton as VP, sales and acquisitions.

Guy Lodge Film Critic There is no unknown country in “The Unknown Country,” a gently meandering road trip through an America that even those of us directly unacquainted have traveled via the movies: Morrisa Maltz’s lovely second feature trades in the familiar imagery of unfettered highways ribboned through the great, grassy middle of nowhere, roadside inns outlined in humming hot-pink neon, gas stations slumped against the sparse landscape like oily oases. It’s the people building their lives along this route, however, that this sociable, inquisitive docufiction seeks to discover, as Maltz profiles the faces flashing by the driver only passing through.

Clayton Davis Senior Awards Editor Whether Lily Gladstone decides to campaign for lead actress or supporting (and there’s a case for either), a spot will be reserved for her in a lineup. That’s because her powerfully complex role in Apple Original Films’ “Killers of the Flower Moon,” which debuted at the Cannes Film Festival on a rainy Saturday night, is too good to ignore. Gladstone delivers an uncompromising portrayal as Mollie, an Indigenous woman whose family and tribal community are being murdered at the hands of a sinister group of white men, driven by their thirst for greed and power. She’s a magnificent force. It became clear almost 10 minutes into Martin Scorsese’s epic adaptation of David Grann’s 2017 non-fiction book “Killers of the Flower Moon: The Osage Murders and the Birth of the FBI” that the audience of attendees were witnessing the birth of a star.

With the recent popularity of shows like “Rutherford Falls” and “Reservation Dogs,” television has quickly become a home for Indigenous stories onscreen. Even now, though, those and other media remain the exception and not the rule.

Zack Sharf Digital News Director Lily Gladstone’s career is about to forever change at the Cannes Film Festival thanks to the world premiere of Martin Scorsese’s “Killers of the Flower Moon,” in which she stars opposite the director’s longtime muses Leonardo DiCaprio and Robert De Niro. During an interview as part of the Kering Women in Motion talks at Cannes, Gladstone admitted it’s near impossible not to think about how “Flower Moon” may impact her career. She first broke through in Kelly Reichardt’s 2016 movie “Certain Women,” which premiered to instant acclaim out of Sundance Film Festival. “You can’t not [think about it], right?” Gladstone said. “I anticipated I would be way more nervous. I am just grateful I get to be here doing all of this. I do think about whatever this attention, but it’s to be shared. It’s not to be hoarded or boasted.”

U.S. director Harmony Korine will be heading to Switzerland this summer to receive an honorary award at the 76th edition of the Locarno Film Festival, running from August 2 to 12.

River of Grass, Reichardt has specialized in quietly moving, minimalist dramas that probe at questions of class, friendship, and survival on the margins of both contemporary and 19th century America.And Williams has been her most rewarding collaborator, giving a career-best performance as an out-of-luck drifter in 2008’s indie hit Wendy and Lucy before starring in the Oregon Trail period piece Meek’s Cutoff (2011) and the stirring anthology film Certain Women (2016). In Showing Up (★★★★☆), Reichardt’s latest sharply woven drama (co-written, as usual, with Jonathan Raymond), the actress reaffirms the richness of this creative partnership with an achingly real performance as a small-time sculptor navigating the indignities of daily life.Williams is near-unrecognizable as Lizzy, a frumpy, quietly struggling young artist whose face seems contorted in a perpetual pout of frustration.

The new A24 film “Showing Up” comes from writer/director Kelly Reichardt (“First Cow“) and the filmmaker reunites with Oscar-winning actress Michelle Williams (“The Fabelmans“). The pair previously worked together on “Wendy & Lucy,” “Meek’s Cutoff,” and “Certain Woman” and all those collaborations are arguably both their best works.

The Cannes Film Festival revealed the lineup for its 76th edition Thursday morning, and the Official Selection featured a record number of films directed by women filmmakers set to play in Competition.

Oscilloscope Laboratories’ Cannes Jury Prize Winner and Independent Spirit international film winner Joyland led New York’s Film Forum to one of its biggest opening weekends for a foreign language film in nearly a decade, taking in north of $21k on one screen, the distributor said. Buoyed by strong reviews and strategic marketing, the film by Saim Sadiq sold out nine showtimes, with the theater adding additional shows.

In theory, Michelle Williams really did not need to do this. It’s just two days after she attended the 95th Academy Awards and, on her fifth nomination, sadly came up short.

Y2K.The film is set to be helmed by Saturday Night Live alumnus Kyle Mooney in his directorial debut.

EXCLUSIVE: Fresh off her Oscar-nomination for her role in A24’s The Whale, Hong Chau has found her next project as she is set to join Matt Damon and Casey Affleck in in The Instigators for Apple Original Films. Apple recently landed the coveted package, which has Doug Liman on board to direct.

With her breakout turn as a soulful queer rancher in Kelly Reichardt’s “Certain Women,” Lily Gladstone proved herself to be one of the most unique and affecting performers of the last decade. Although she has worked steadily since it’s ridiculous that it’s taken this long for another role that really allows her tremendous talent to shine.  READ MORE: 25 Most Anticipated Movies At The 2023 Sundance Film Festival Co-written by director Erica Tremblay (“Reservation Dogs”), whose short “Little Chief” also starred Gladstone, and Miciana Alise, the family drama “Fancy Dance” explores the systematic mishandling by the police and the FBI of missing and murdered indigenous women.

In what was perhaps the greatest robbery of the decade, Kelly Reichardt’s “First Cow” received a grand total of zero nominations at the 93rd Academy Awards. Boasting an impressive score of 89 on Metacritic, the film topped many critics’ end-of-year lists, even winning the NYFCC’s Best Film award, and developed a small—predominantly indie—following after its VOD distribution in July 2020.

Canadian distributor Sphere Film has signed a multi-picture deal with A24 under which it will handle the release of nine of its titles in Canada.

Manori Ravindran International Editor Canada’s Sphere Films has signed a multi-picture deal with A24 that will cover nine of the U.S. studio’s films in the Canadian market. Under the deal, Sphere Films will theatrically release pics including Charlotte Wells’ Cannes breakout “Aftersun,” which is currently screening as part of TIFF, and Ari Aster’s “Disappointment Blvd.” starring Joaquin Phoenix. The latter is believed to be A24’s biggest production to date. The A24 deal comes off the back of Sphere Films’ acquisition of MK2 Mile End in April. Charles Tremblay, former boss of MK2 Mile End and now the president of Sphere Films, said: “We felt that by joining a larger media company like Sphere that would help our chances of being a larger distributor than on our own.”

Guy Lodge Film CriticA cemetery is not an auspicious choice of rendezvous point for an estranged father and son arranging what might be one last meeting in “A Perfect Day for Caribou,” but the dry joke of Jeff Rutherford’s tender, affectingly reserved first feature is that things get more melancholic still when they leave its glum confines. Set over the course of a single day on the fringes of some dead American anytown, this at once quiet and talkative two-hander covers no especially new ground, but strides known territory with a keen eye for lonesome landscapes, and an ear for the eternal communicative impasse felt by men who know each other all too well and not at all. Sturdy, thoughtful performances from Jeb Berrier and, in particular, rising star Charlie Plummer should hook distributor interest in this low-key indie following its premiere in Locarno’s newcomer-oriented Cineasti de Presente strand.

Rebecca Rubin Film and Media ReporterNew movies from directors Claire Denis, Park Chan-wook, Ruben Östlund, Kelly Reichardt and Paul Schrader will play at the 60th New York Film Festival, which is running from Sept. 30 through Oct.

The 60th New York Film Festival unveiled its main slate from established and upcoming directors with Cannes’ Palme d’Or-winner Triangle of Sadness by Ruben Östlund, Claire Denis’s Stars at Noon (tied for Cannes Grand Prize), Park Chan-wook’s Decision to Leave (Cannes Best Director), and Charlotte Wells’ debut feature Aftersun (Cannes’ French Touch Jury Prize).

Marta Balaga There has been an outpouring of love for Kelly Reichardt as of late, with the “Showing Up” helmer awarded a Carrosse d’Or at Cannes – only the fourth woman to be honored this way – and now a Pardo d’Onore Manor at Locarno.But it hasn’t always been smooth sailing for the U.S. director, described by the Swiss festival as a “committed, political and independent auteur.”“Things have gotten easier over time,” Reichardt tells Variety ahead of the event, looking back on her 28-year career.“I have done a lot of work in the last two decades and I work in a similar kind of mode and budget size. People are familiar with my producers and know them to be very reliable people.

Peter Debruge Chief Film CriticIn “The Integrity of Joseph Chambers,” Clayne Crawford plays a middle-class insurance salesman who wakes up, shaves his mustache into something from the Chuck Norris/Burt Reynolds catalog of masculinity, kisses his wife Tess (Jordana Brewster) goodbye and sets out for an early morning hunting expedition. Say what you will about the Second Amendment, but Joseph Chambers has no business bearing arms, and this trip seems like a recipe for trouble.Writer-director Robert Machoian’s follow-up to “The Killing of Two Lovers” unspools like a stripped-down, one-man “Deliverance”: No group of buddies on a weekend canoe trip. No dueling banjos.

Michelle Williams arrives at the photo call for “Showing Up” at Palais des Festivals on Saturday (May 28) in Cannes, France.

Filmmaker Kelly Reichardt’s work with Michelle Williams has spanned four movies now with the Cannes Film Festival closer Showing Up. 

Kelly Reichardt has been making minimal Americana since the early 1990s, mostly around the state of Oregon where she lives and mostly about her favored awkward squad: quiet square pegs who don’t quite fit the round holes society provides. In this ongoing quest she has found many collaborators, but none more attuned to her recessive brand of naturalism than Michelle Williams.

The exquisite and sublime journeys of Oregon-based filmmaker Kelly Reichardt are arguably, more or less, incidental or oblique political statements about survival in America, often focusing on two or more friends, usually outsiders, and their struggle to endure. “Wendy And Lucy,” about a destitute woman and her soulmate canine companion, was overt about human inequity and hardship; “Meek’s Cutoff” depicted the unbearable burden of living off a hostile, unforgiving land; and “First Cow” presented the warm, but sad futility of two friends trying to sustain themselves under the grueling rigors of nascent American capitalism.

Owen Gleiberman Chief Film CriticLizzy Carr (Michelle Williams), the central character of Kelly Reichardt’s “Showing Up,” is a sculptor who is finishing up a series of ceramic figures she’ll be presenting in a gallery show. We see her working, throughout the movie, on the small clay statues — all women, each one about a foot tall, some mounted on rods, all with an intentionally rough, patchy surface that may look awkward and unpolished if you’re close up to it, but when you stand back a bit you see the aesthetic elegance of her style. (Giacometti would understand.) She’s making sculptures of female characters who look a bit ghostly in their lack of perfect line, but that’s part of their design (they all appear a little tormented), and that quality is balanced by the delicate surprise colors they’re painted with, which express their inner life.

Michelle Williams hits the red carpet for a screening of her new film Showing Up at the 2022 Cannes Film Festival on Friday (May 27) in Cannes, France.

Clayton Davis The 2022 Cannes Film Festival is nearing its conclusion, and soon the jury will be selecting awards for this year’s impressive, albeit quieter, slate of films. After last year’s “Titane” from Julia Ducournau made history as the first female-directed film to fully win the Palme d’Or (Jane Campion’s “The Piano” tied with “Farewell My Concubine” in 1993), at this point in the festival, it doesn’t seem likely that a woman-directed project will walk away with it this year.“Forever Young” by French-Italian director Valeria Bruni Tedeschi seems to be the only film directed by a woman that has so far invoked any passion for bringing it to the finish line.