Valeria Bruni Tedeschi Latest Celebrity News & Gossip

A Vancouver-based Indigenous film producer says he was treated like he was “trying to steal something” after being turned away from a red carpet event at the Cannes Film Festival because he was wearing a pair of traditional moccasins.

The White Lotus actress Sabrina Impacciatore is set for Call My Agent‘s second season on Sky Italia.

Dominik Moll’s The Night of The 12th has won best film at the 28th edition of France’s Lumière Awards in Paris on Monday evening.

French-Italian actress Valeria Bruni-Tedeschi has denounced media reports revealing that actor Sofiane Bennacer is under investigation following allegations of rape and violence, saying he is the victim of a “media lynching”.

Refresh for latest…: The 75th Cannes Film Festival draws to a close tonight as the main awards, including the Palme d’Or, are soon to be handed out in the Palais. Scroll down for the list of winners which is being updated as prizes are announced.

Manori Ravindran International EditorAn Indigenous Canadian producer who was turned away from the Cannes red carpet for wearing traditional moccasins says he was made to feel like “a criminal” for representing his culture at the world’s foremost film festival.Vancouver-based producer Kelvin Redvers, who is a member of the Dene nation, was in line to walk the red carpet for the world premiere of Valeria Bruni Tedeschi’s “Les Amandiers” on Sunday (May 22) when he was stopped in his tracks by red carpet security.Redvers was part of a contingent of Indigenous producers who were in Cannes for the first time, pitching their projects and experiencing the festival. The group’s trip was backed by Canadian funding org Telefilm, Toronto-headquartered Indigenous Screen Office and Capilano University’s FILMBA program.

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.

Based on her own time spent in the acting school Les Amandiers, Valeria Bruni Tedeschi’s “Forever Young” aims to recreate a very specific time and place both in her life and in France, more than it cares to inform her audience about what, exactly, was so special about this school. Funded in the 1980s by Patrice Chéreau, a successful and daring director of theatre, opera and film, Les Amandiers did not last very long but for a few years it was considered to be one of the most exciting places in France and even Europe for young actors to develop their crafts, and for directors to find new talent.

If you’re the parent of a kid who’s thinking about becoming an actor, nothing could be scarier than watching Forever Young (Les Amandiers).

Claudia Eller Co-Editor-in-ChiefIt’s beyond distressing how women directors continue to get short shrift at Cannes.How could it be that this year only three movies helmed by females will be contenders in the main competition of the world’s most prestigious film festival?It’s horribly disappointing, but far from shocking, given that last year only four out of 21 competition titles were directed by females and considering Cannes’ poor track record when it comes to recognizing women filmmakers competing throughout its 75-year history. After all, just two movies by women directors, Jane Campion’s “The Piano” and Julia Ducournau’s “Titane,” have ever won the coveted Palme d’Or.Of course, I’m thrilled for director Kelly Reichardt (“Showing Up”), Valeria Bruni Tedeschi (“Forever Young”) and Claire Denis (“Stars at Noon”), but nonetheless their movies represent a meager portion of the 18 titles in competition at Cannes.

a competition lineup with only three films directed by women. While additional films could still be added to the slate for next month’s festival, the Cannes lineup falls short of the already dismal record of the last two editions of the festival.

Elsa Keslassy International CorrespondentThis year’s crop of filmmakers at the Cannes Film Festival don’t represent a new benchmark in terms of gender diversity. Since becoming the first international festival to sign a gender parity pledge in 2018, Cannes has failed to make substantial progress in ramping up the representation of female directors in competition which remains dominated by male directors.Cannes director Thierry Fremaux told Variety last week that he was aiming to “hopefully” have a “stronger presence of female directors” in 2022.

The number of female filmmakers selected for Cannes Film Festival’s Competition program dipped this year, with three of the 18 titles unveiled this morning helmed by women. However, because the selection is smaller this time, the percentage remained consistent.

Main Competition“Holy Spider,” Ali Abbasi“The Almond Tree,” Valeria Bruni Tedeschi“Crimes of the Future,” David Cronenberg“Tori and Lokita,” Jean-Pierre Dardenne and Luc Dardenne“Stars at Noon,” Claire Denis“Brother and Sister,” Arnaud Desplechin“Close,” Lukas Dhont“Armageddon Time,” James Gray“Broker,” Hirokazu Kore-eda“Nostalgia,” Mario Martone“RMN,” Cristian Mungiu“Triangle of Sadness,” Ruben Ostlund“Decision to Leave,” Park Chan-wook“Showing Up,” Kelly Reichardt“Leila’s Brothers,” Saeed Roustaee“Boy From Heaven,” Tarik Saleh“Tchaikovsky’s Wife,” Kirill Serebrennikov“Hi-Han,” Jerzy SkolimowskiUn Certain Regard“Les Pires,” Lise Akoka and Romane Gueret“Burning Days,” Emin Alper“Metronom,” Alexandru Belc“All the People I’ll Never Be,” Davy Chou“Sick of Myself,” Kristoffer Borgli“Domingo and the Midst,” Ariel Escalante Meza“Plan 75,” Hayakawa Chie“Beast,” Riley Keough and Gina Gammell“Corsage,” Marie Kreutzer“Butterfly Vision,” Maksim Nakonechnyi“Godland,” Hlynur Palmason“Rodeo,” Lola Quivoron“Joyland,” Saim Sadiq“The Stranger,” Thomas M. Wright“The Silent Twins,” Agnieszka SmocynskaOut of Competition “Elvis,” Baz Luhrmann“Top Gun: Maverick,” Joseph Kosinski“Three Thousand Years of Longing,” George Miller“Masquerade,” Nicholas Bedos“November,” Cedric Jiminez“Z,” Michel Hazanavicius (opening film) Special Screenings“All That Breathes,” Shaunak Sen“The Natural History of Destruction,” Sergei Loznitsa“Jerry Lee Lewis: Trouble in Mind,” Ethan CoenMidnight Screenings“Hunt,” Lee Jung-jae“Moonage Daydream,” Brett Morgen“Fumer Fait Tousser,” Quentin DupieuxCannes Premiere“Non Frangins,” Rachid Bouchareb“Dodo,” Panos H.

“When I really love someone, I don’t notice others,” utters Anais (Anais Demoustier) to her affair partner while laying in bed together. It’s ominous wording for what’s to come for the protagonist in writer/director Charline Bourgeois-Tacquet’s new romantic comedy Anais In Love. It is similar to Jochum Trier’s The Worst Person in the World, but while that film feels grounded, Anais has its head in the clouds. However, that isn’t a massive ding on the movie as the over-optimism is used to its advantage as the character breaks numerous boundaries and hearts in her quest to find the one person who will become her everything. 

Elsa Keslassy International CorrespondentMemento International has closed major sales on Ursula Meier’s Berlin contender “The Line,” and “Boy from Heaven” by Tarik Saleh, the Swedish-Egyptian helmer of “The Nile Hilton Incident.” A religious and political thriller, “Boy From Heaven” is set in Cairo, in a Koranic school following the collapse of a grand imam which marks the start of a ruthless battle for influence.The movie is headlined by Tawfeek Barhom and Fares Fares, who previously starred in “The Nile Hilton Incident.” Saleh’s Stockholm-based outfit Atmo is producing the movie with Memento. Memento International has sold the film to Benelux (Cineart), Spain (La Aventura), Italy (Movies Inspired), Greece (Cinobo), Hungary (Vertigo) and Middle East (Falcon). Other territories in negotiation.

Ben Croll When developing films like 2008’s “Home” and 2012’s “Sister,” French-Swiss director Ursula Meier began by focusing on geography, imaging what stories may spring from a forgotten stretch of highway or how a remote mountaintop might shape the lives of those living upon it. But when she began work on “The Line,” which premiered on Friday at the Berlin Film Festival, the filmmaker had a different terrain in mind.“The setting for this film would be the character’s body,” Meier tells Variety.

Violence and motherhood make for an unusual combination in Ursula Meier’s Berlin Film Festival competition title The Line (La Ligne). Set in remote present-day Switzerland, it stars actor-singer-playwright Stéphanie Blanchoud as Margaret, whose anger towards her mother Christina (Valeria Bruni Tedeschi) frequently turns physical. While she’s a grown woman, there’s something primal and childlike about Margaret’s visceral fury that suggests a disorder that’s never named.

Nick Vivarelli International CorrespondentSwitzerland, thanks to its prolific co-production activity, has a hand in a record-breaking 11 titles in the Berlinale’s official selection, including two films competing for the Golden Bear, and two more in Berlin’s cutting-edge Encounters section, as well as a Swiss talent selected for the fest’s Shooting Stars event, Souheila Yacoub.Ursula Meier’s “The Line” (competition) — Following “Home” and “Sister,” Meier continues to pursue “this idea of family that is as much necessary, as it is toxic,” says the film’s producer Pauline Gygax. After a violent argument with her mother, Margaret, 35 (Stephanie Blanchoud), who has a long history of inflicting and suffering from violence, is subjected to a restraining order.

Refresh for latest…: Xavier Giannoli’s Illusions Perdues (Lost Illusions) leads nominations for the 2022 César Awards, France’s equivalent to the Oscar. The Venice premiere scored 15 mentions, followed by Leos Carax’s Annette, which opened the Cannes Film Festival last year and has 11 nominations. They are followed by Valérie Lemercier’s Aline, the musical dramedy inspired by the life of Céline Dion which also debuted in Cannes and has 10 nods. (Scroll down for the full list of nominations which is being updated.)

Summer of 85 (★★★★☆) signals a clear warning from the start that whatever friendship or romance blossoms between teens Alexis and David, it won’t end well for at least one of them.