Vicky Krieps Says She’ll Star Next In A Viggo Mortensen-Directed Western Set In Mexico

Vicky Krieps says, a bottle of Evian in her hand, her hair hidden beneath a pink baseball cap and a brown shawl wrapped theatrically around her neck. “It was like being dropped out of an airplane onto a different planet, or surviving a shipwreck. ” The Luxembourg-born actor is describing her life in the aftermath of Phantom Thread, the 2017 Paul Thomas Anderson film that put her toe-to-toe with Daniel Day-Lewis, as the waitress who becomes muse and lover to his society dressmaker.

David Cronenberg’s new film “Crimes Of The Future” asks its audience to go on quite a journey to the dystopian future. The film’s most quotable line, “surgery is the new sex,” only scratches the surface.

Some former cast members of The View apparently weren’t too happy with the way Star Jones was dishonest about her weight loss back in the day!

The stars of Crimes Of The Future gather up for the premiere of the film at Walter Reade Theater on Thursday (June 2) in New York City.

Last week at the Cannes Film Festival, Viggo Mortensen addressed a longstanding rumor about his “Crimes Of The Future” director David Cronenberg. The story goes that in 1999 when Cronenberg headed the Cannes Jury, he “deprived” Pedro Almodóvar‘s “All About My Mother” to award the Palme d’Or to the Dardennes‘ “Rosetta.” In an interview with Indiewire’s Eric Kohn, Mortensen called the rumor “bullshit” and claimed the Palme vote for “Rosetta” was not only the fastest one ever but also unanimous.

Ncuti Gatwa did a great job at keeping his Doctor Who casting a secret.

Jury Prize: “Joyland,” directed by Saim SadiqBest Director Prize: Alexandru Belc for “Metronomes”Best Actor Prize (jointly awarded):Vicky Krieps in “Corsage”Adam Bessa in “Harka”Best Screenplay Prize: “Mediterranean Fever,” directed by Maha HajCoup de cœur Prize: “Rodeo,” directed by Lola Quivoron

Guy Lodge Film CriticFrench film “The Worst Ones (Les Pires)” is the surprise winner of the top prize at this year’s Un Certain Regard awards ceremony, with Italian actor-director Valeria Golino and her fellow jurors also handing prizes to Pakistani breakout “Joyland,” Romanian drama “Metronom” and “Corsage” star Vicky Krieps.

Elsa Keslassy International CorrespondentMagnolia Pictures has acquired U.S. rights to “King’s Land,” a period epic movie reuniting “A Royal Affair” helmer Nikolaj Arcel with Mads Mikkelsen.

It’s a Cannes Film Festival legend. Supposedly, at the 1999 festival, when David Cronenberg headed the competition jury, he swayed his jury cohorts to award the Palme d’Or to the Dardennes’ “Rosetta” over Pedro Almodóvar‘s festival favorite, “All About My Mother.” Now, at this year’s festival, “Crimes Of The Future” star Viggo Mortensen put the myth to bed, stating that it’s a “bullshit” rumor and that the jury’s choice for “Rosetta” was unanimous.

Leo Barraclough International Features EditorWhen filmmaker Marie Kreutzer was writing “Corsage,” which chronicles a critical period in the life of Empress Elisabeth of Austria, also known as “Sissi,” she had in mind the experience of other women in the public eye, in particular Princess Diana and Meghan Markle. In recent weeks, she has been mulling the treatment of Amber Heard as well.

Owen Gleiberman Chief Film CriticMost filmmakers who want to unsettle you in a horror movie will reach for a familiar set of tools: slashers, demons, shock cuts, soundtracks that go boom! in the night. But in “Crimes of the Future,” the writer-director David Cronenberg is out to provoke and disturb us with something far more traumatic than mere monsters.Am I talking about the fact that in the distant future where the film is set, human beings grow mysterious new organs in their bodies? Or that having those organs removed through surgery has become, for a creepy rebel aesthete named Saul Tenser (Viggo Mortensen), a species of performance art? Or that people no longer experience physical pain, and will therefore stand in the street late at night cutting each other for cheap thrills, as if they were shooting heroin in a back alley? Or that surgery itself, as someone puts it, has become “the new sex”? If you see “Crimes of the Future,” you’ll witness all of these outrages, and a few more besides.

Director Emily Atef’s Cannes Un Certain Regard drama More Than Ever is a careful, fastidious, Tradition of Quality film about impending death that’s easy to admire but won’t exactly pack ‘em in.

IFC Films has nabbed North American rights to “Corsage,” Marie Kreutzer’s bold costume drama starring Vicky Krieps as the Empress Elisabeth of Austria known as Sissi. Represented in international markets by MK2 Films, the movie world premiered at Cannes’ Un Certain Regard and earned unanimous praises.

Inspired by her own late mother’s long battle with multiple sclerosis, writer/director Emily Atef’s (“Molly’s Way,” “3 Days in Quiberon”) latest work, “More Than Ever,” delivers a poignant and well-acted story. Featuring Gaspard Ulliel’s last performance, the film asks its audience to face the reality of and ponder the inevitability of death as well as the line between those who have experienced a type of suffering and those who haven’t.

Leo Barraclough International Features EditorLeading arthouse sales company the Match Factory has acquired the rights to “Bachmann & Frisch,” a biopic about the radical Austrian writer and poet Ingeborg Bachmann, directed by Venice Golden Lion winner Margarethe von Trotta. The film stars Vicky Krieps — who appears in two Cannes Film Festival films this year, “Corsage” and “More Than Ever” — as the poet, and Ronald Zehrfeld (“Barbara,” “Phoenix”) as her partner, the Swiss writer Max Frisch.The pickup follows the international sales success for the Match Factory with Von Trotta’s “Hannah Arendt” in 2012.

A silver spoon clunks loudly inside a bowl of beef broth. The meal — well, barely a meal — is served to Empress Elisabeth of Austria (Vicky Krieps) twice a day, her diet a strict combination of insipid soup and wafer-thin slices of lemon.

Jessica Kiang The Empress is unimpressed. Introduced to us at the beginning of Marie Kreutzer’s sneaky and terrific Un Certain Regard premiere “Corsage,” submerged in a bathtub during one of her many self-imposed endurance training rituals, Duchess Elisabeth Amalie Eugenie in Bavaria, Empress of Austria and Queen of Hungary, is holding her breath underwater for as long as she can.

It took the Empress Elisabeth’s strongest lady’s maid an hour every morning to lace her stays. The Emperor Franz-Joseph’s wife Sisi, as she was fondly known to the subjects of the Austro-Hungarian empire, was famous for the narrowness of her waist, which reputedly measured 19 and a half inches; the slightest weight gain was a matter of seething public interest. It looks very much as if Vicky Krieps, who brings great complexity to her portrait of the empress in Marie Kreutzer’s Un Certain Regard title Corsage, shares the imperial measurements. Let’s hope that is just a trick of the camera. So much corsetry — or corsage, the word we hear much used in the royal dressing-rooms of 19th-century Vienna — doesn’t leave much room for little things like ribs.