Sundance: Annapurna Takes Jerrod Carmichael-Directed 'On the Count of Three'

The Late Late Show With James Corden has pulled off a major coup in landing an interview with Prince Harry just days after it was announced that he is formally stepping back from the British royal family.

Focus Features has picked up the worldwide rights toThe Sparks Brothers, the documentary debut from director Edgar Wright. The doc, which premiered at the Sundance Film Festival, chronicles the decades-long career and influence of the cult pop duo Sparks, and features archival footage as well as interviews with fans that include Beck, Flea, Neil Gaiman and Mike Meyers.

Also Read: 'On the Count of Three' Review: Jerrod Carmichael's Directorial Debut Is a Matter of Life and DeathThe film earned some strong reviews out of Sundance as a dark comedy that doesn’t forget its grimly serious subject matter.

EXCLUSIVE: In a deal north of $2 million, Annapurna Pictures has acquired North American rights to On The Count of Three, the 2021 Sundance buzz title that marks the directorial debut of standup comedian Jerrod Carmichael.  Pic is expected to be released through Annapurna’s distribution pact with MGM’s Orion Pictures.

Big fan! Blake Shelton “can’t imagine life without” his fiancée Gwen Stefani’s three children.

A sun-flared and bong-addled tumble into a teenage Texan summer rife with bombshells and boyfriend problems, “Cusp,” from debut directors Parker Hill and Isabel Bethencourt is one of those fractal-style documentaries, in which any given sliver contains all the colors and contours of the whole.

Fran Kranz’s “Mass” is likely one of the most emotionally pulverizing films ever made about America’s gun-violence epidemic – but across its 110-minute runtime, not a single shot is fired.

Take the nomad out of “Nomadland,” and you’re left with “Land,” Robin Wright‘s feature-directing debut (she previously directed 10 episodes of “House of Cards“), in which she also stars, as a grieving woman who, somewhat ironically given the film bows in the era of mandatory isolation, moves way up into the mountains “to get away from people.” Problem is, take the nomadic element out of “Nomadland” (she moves only once and has done with it) and you’re also left with a less interesting, much more

It’s remarkably rare that anyone makes a hand-drawn animated feature for adults, let alone one as strikingly surreal and seriously minded as Dash Shaw’s “Cryptozoo.” READ MORE: 25 Most Anticipated 2021 Sundance Film Festival Premieres This Sundance premiere – honored with the fest’s Innovator Award in its NEXT section for “pure, bold works distinguished by an innovative, forward-thinking approach to storytelling” – takes place in an alt-history 1960s secretly populated by “cryptids,” including

The Invictus Games are being postponed until 2022.

13-year-old Sammy Ko (Miya Cech) is a problem child. Prone to skipping class, smoking cigarettes, and mouthing off to her teachers, she’s the opposite of the meek model student Hollywood typically imagines when writing young Asian-American characters.

Take the nomad out of “Nomadland,” and you’re left with “Land,” Robin Wright‘s feature-directing debut (she previously directed 10 episodes of “House of Cards“), in which she also stars, as a grieving woman who, somewhat ironically given the film bows in the era of mandatory isolation, moves way up into the mountains “to get away from people.” Problem is, take the nomadic element out of “Nomadland” (she moves only once and has done with it) and you’re also left with a less interesting, much more

Literally opening, as the title implies, with “The Dog Who Wouldn’t Be Quiet,” Argentinian director Ana Katz’s melancholic rumination on the life of Sebastian (Daniel Katz, the filmmaker’s brother), a languishing writer turned migrant worker, is a visually stunning, but oftentimes opaque experiment. Filmed in lush black and white, with animated interludes used to portray the more devastating aspects of Sebastian’s life, Katz’s film unfurls as a series of vignettes.

Abuse leaves scars unseen but permanent in director Lyle Mitchell Corbine Jr.’s debut “Wild Indian,” a character study wrapped in larger observations on the generational effects of violence and religious guilt. In it, two men marked by a single crime lead distinctively dysfunctional lives.

In the aftermath of unprecedented change, it’s anyone’s guess where the planet will be by the conclusion of the 2020s. As the globe shifts into the second year of the oncoming decade, questions regarding the future of the species have arisen, specifically concerning the ever-increasing relationship between humanity and technology.

With her frayed blonde hair and moody coal-black eye makeup, rock band singer Marian (Alessandra Messa) doesn’t immediately appear to resemble her identical twin sister. Practically a Stepford wife with her demure manner and neat brown bob, Vivian (Ani Messa) lives with her loser husband (Jake Hoffman) in the same house the sisters grew up in.

Hauling two packages home under both arms, Leonor’s (Amalia Ulman) mother María (Ale Ulman) bursts through the door of their small apartment, proclaiming she will never return Amazon purchases for her again. Her daughter isn’t home.

To call a portrait documentary an “affectionate tribute” to its lesser-known subject, is usually redundant. That’s the whole point of adoring acknowledgment docs of this ilk— “shining a brighter spotlight” on [insert criminally undervalued subject here].

You are being watched. In the era of facial recognition, targeted advertising, and social media, the threat of an omnipresent eye on the average human has passed.

Something like a documentary “Inception” with a story inside of a tale that is itself part of a narrative, “Misha and the Wolves” boasts several layers, all of them fascinating. Concerned with notions of legacy, trauma, memory, and deceit, the documentary by director Sam Hobkinson juggles multiple stories, people, and time periods with seeming ease, weaving a fascinating, multi-faceted tale in a tight 85 minutes.