Sundance Review: Bill Nighy In ‘Living’, The British Remake Of Akira Kurosawa’s Classic ‘Ikiru’

Jenelle Riley Deputy Awards, Features EditorEven if you don’t know the story of heralded photographer W. Eugene Smith or the Japanese fishing village of Minamata, you are likely familiar with the photograph Tomoko and Mother in the Bath. The 1971 black-and-white photo captures Ryoko Kamimura cradling her severely deformed daughter Tomoko, a victim of Minamata disease, in a Japanese bath.

David Bowie‘s The Man Who Fell To Earth.The classic sci-fi movie, based on Walter Tevis’ 1963 novel of the same name, marked one of Bowie’s most memorable roles, as Thomas Jerome Newton – an alien posing as a human in an attempt to save his home planet.Nighy joins Chiwetel Ejiofor, Naomie Harris and Rob Delaney who were all previously announced for the Showtime series.“I was honoured to be invited to play the part of Thomas Jerome Newton that glorious David Bowie made so famous,” said Nighy in a statement to Deadline.“I was keen to work with Chiwetel and Naomie again. I think the story is terrific and brilliantly expressed.

Bill Nighy (Love Actually) has been tapped to star opposite Chiwetel Ejiofor and Naomie Harris in Showtime’s The Man Who Fell To Earth drama series, based on the Walter Tevis novel and the cult classic 1976 film starring David Bowie. Nighy will play the role played by Bowie in the film in the series, which comes from Alex Kurtzman, Jenny Lumet and John Hlavin. It will premiere later this year.

Joe Otterson TV ReporterBill Nighy has signed on to star in the upcoming Showtime series version of “The Man Who Fell to Earth,” Variety has learned.Nighy joins previously announced cast members Chiwetel Ejiofor, Naomie Harris, Jimmi Simpson, Rob Delaney, Sonya Cassidy, Joana Ribeiro, Annelle Olaleye, Kate Mulgrew and Clarke Peters in the series.Based on the Walter Tevis novel of the same name and the film that starred David Bowie, the series will follow a new alien character named Faraday (Ejiofor) who arrives on Earth at a turning point in human evolution and must confront his own past to determine our future.Nighy will play Thomas Newton, the main character of the novel and the character played by Bowie in the film version. Newton was the first alien to arrive on earth over 40 years ago. Alone and desperate, Newton summons Faraday to complete his original mission.

Most kids wouldn’t want to endure high school twice, although there are some who would no doubt prefer to remain there forever. Brandon Lee (no, not the late actor son of Bruce Lee) chose a third path by re-enrolling when he was 32 years old and getting away with it, at least for a while. How it all happened is whimsically recounted in My Old School, a clever, amusing and rather slight account of a Scottish misfit’s most irregular education. Or, as Woody Allen used to describe himself, it’s “thin but fun.”

Utama (Our Home) is precisely the sort of discovery that justifies film festivals and makes them useful: a small, hitherto unheard-of work from an out-of-the-way country that grabs you from the opening minutes and afterwards makes you want to tell your friends they’ve got a real treat to look forward to. A rare Bolivian entry in a major festival, this Sundance World Dramatic Competition title and feature debut by Alejandro Loayza Grisi is gorgeously made and brings to life a backwater existence in a distant land with skill and assurance.

Alexei Navalny, Russia’s highest-profile opposition figure, perennial thorn in Putin’s side and currently a guest in state prison, gets a vigorous up-close-and-personal look in this eventful, fest-moving, never-a-dull-moment documentary from Daniel Roher. A collaboration between HBO Max and CNN Films, Navalny, provides a sustained look at a good-looking, articulate and seemingly unafraid family man who came very close to being murdered on August 20, 2020 by what were quite clearly politically hired killers. The privileged access provides the opportunity for an international public to get a handle on a driven personality who consistently said things very few others are willing to risk. Anyone who follows contemporary international politics will eat it up.

Sony Pictures Classics has acquired the North American rights to “Living,” the film from Oliver Hermanus starring Bill Nighy that made tis premiere at the Sundance Film Festival out of competition.The film is a new take on Akira Kurosawa’s 1952 film “Ikiru” and is written by Kazuo Ishiguro, a Nobel Prize-winning author. Sony Pictures Classics also picked up rights to the film in Latin America, India, Scandinavia, Eastern Europe, Germany, South Africa, Southeast Asia, and airlines worldwide.

Rebecca Rubin Film and Media Reporter“Living,” an acclaimed re-imagining of Akira Kurosawa’s classic meaning-of-life story, has been sold to Sony Pictures Classics follow its premiere at Sundance Film Festival.Sony Pictures Classics, the indie division of Sony Pictures, has acquired rights in North America, Latin America, India, Scandinavia, Eastern Europe, Germany, South Africa, Southeast Asia, and airlines worldwide. A release date has not been announced yet.“Living” was directed by Oliver Hermanus and written by Nobel Prize-winning author Kazuo Ishiguro.

EXCLUSIVE: Living, one of the Sundance buzz titles since its January 21 premiere, has been acquired by Sony Pictures Classics for around $5 million for North American and some international territories, Deadline hears. This after a brisk auction involving the likes of Neon, Bleecker Street, and Focus Features.

EXCLUSIVE: Living, one of the Sundance buzz titles since its January 21 premiere, is near a deal to be acquired by Sony Pictures Classics for around $5 million for North American and some international territories, Deadline hears. This after a brisk auction involving the likes of Neon, Bleecker Street, and Focus Features.

Peter Debruge Chief Film Critic“What would you do if you had six months left to live?” asks the doctor who diagnoses a do-nothing bureaucrat with terminal cancer in “Ikiru,” a 1952 masterpiece I suspect precious few of those who see its English-language remake, “Living,” will recall. Quite unlike anything else in Akira Kurosawa’s career, “Ikiru” ranks among the Japanese director’s best: With no samurai battles or set-pieces, the low-key contemporary melodrama raises profound questions about how we choose to spend the limited time we’re afforded, focusing on a stoic functionary about whom even the narrator apologizes, “He might as well be a corpse.”Culturally specific as so much of “Ikiru” may be, its lessons translate quite well to midcentury British society, courtesy of Nobel-winning novelist Kazuo Ishiguro, who did the work of adapting it to 1953 London for director Oliver Hermanus (“Moffie”).

Things have not been going well for Emily. Some of it is just terrible luck.

Albeit beautifully shot and made tolerable by the warm presence of Carla Juri in the leading role, blood is a frustratingly indulgent study of emotional recovery after the loss of a loved one. This fourth feature by Bradley Rust Gray is splendidly appointed with locations in Japan and Iceland and an appreciation of emotional openness expressed by all the characters. All the same, the mostly short scenes of recent widow Chloe handling her grief day by day possess little compelling drama and are handicapped by a scruffy Japanese male lead who just doesn’t match up with his appealing female counterpart in any credible way. As with the director’s previous work, you come out of it wondering who this film was made for.

Writer-director Jamie Dack has expanded her widely admired 2018 short film Palm Trees and Power Lines into a considerably more thorny and disturbing feature of the same title. Shot verité style on the most banal possible locations, the film, which is making its world premiere in the U.S. Dramatic Competition section of the Sundance Film Festival, takes an unvarnished look at an environment that is arid both literally and figuratively, one in which young people seem to be given precious little guidance or structure by family or society. Dack doesn’t explicitly editorialize but makes acutely clear the vulnerability of adolescents left too much to their own devices at a formative age.

In 2009, when I was in the Air Force and stationed in Germany, I traveled to Berlin on New Year’s Eve to celebrate. As my friends and I were getting turnt up in the bar, I came out as a lesbian. The moment was random and unprovoked. I shared the news with all my friends and had a dope night ringing in the 2010s, but panic set in when I woke up the next day. I’m 27 years old and a lesbian: what do I do now? 

Attempting to remake a classic film is never an easy assignment. Especially when said classic is as revered as Akira Kurosawa’s 1952 drama “Ikiru.” Director Oliver Hermanus and screenwriter Kazuo Ishiguro could have placed the story in contemporary times, making a new version more palatable for some critics, but instead, set it in the exact same era only interchanging London for Tokyo.

With a promising start with his first film Shithouse for which he starred, directed and wrote and won the Grand Jury Narrative Prize at SXSW, Cooper Raiff looms now also to be one of the breakouts of this year’s Sundance Film Festival where Cha Cha Real Smooth, his small but splendid second film for which he performs the same triple threat duties debuted Sunday as part of the Dramatic Competition lineup. I can only imagine if the festival had managed to be in person as originally planned rather than virtual in this Omicron-stricken year it would be met with a massive standing ovation. Raiff is bound to become an indie darling as if further proof was needed, but Cha Cha Real Smooth cements him as the real deal both in front of and behind the camera.

The film had its premiere in the U.S. Dramatic Competition lineup at the Sundance Film Festival.

Even right down to the title this religious comedy debuting appropriately today on a Sunday  in the Premieres section of the Sundance Film Festival can’t seem to decide what it wants to be. Is it Honk For Jesus.? Or is it Save Our Soul.? OR is it as the credits say both? It is a indication of the main problem with this self-styled satire on scandal-ridden Southern Baptist megachurches. Is it supposed to be a comedy? Or is it aiming to be something deeper and more dramatic?  Or is it both?  Even for the best of satirists trying to keep an even tone without watching the whole souffle fall is a slippery slope, one that writer/director Adamma Ebo hasn’t quite solved, but not for lack of trying. As many have discovered, drama is easy, comedy is hard.