Women Filmmakers Make Steady Progress in France

Toronto International Film Festival to discuss their new film “Chevalier,” a period drama about a Black 18th century classical composer who faced constant racism even as his music won the favor of Marie Antoinette. Played by “Luce” star Kelvin Harrison Jr. in the film, Chevalier de Saint-Georges — born Joseph Bologne in Guadeloupe in 1745 — was the child of a white French plantation owner and an African slave.

Alice Diop’s “Saint Omer” has scored U.S. distribution with Neon’s boutique label Super after making its world premiere at the Venice Film Festival, where it won two major competition awards.Super will release the film in theaters, following its U.S.

Pat Saperstein Deputy Editor Super, the boutique distribution label from Neon, has acquired U.S. rights to Alice Diop’s “Saint Omer” after it won the Silver Lion Grand Jury prize in Venice along with the Luigi De Laurentiis Lion of the Future award. “Saint Omer” was recently shortlisted for France’s submission to the Academy Awards and will premiere at the New York Film Festival and play the BFI London Festival. Neon plans a theatrical release. “Saint Omer” is Diop’s debut fiction feature, which she co-wrote with Amrita David and Marie NDiaye, and it stars Kayije Kagame, Guslagie Malanda, Valérie Dréville and Aurélia Petit. Toufik Ayadi and Christophe Barral of Srab Films produced alongside Arte France Cinéma and Pictanovo Hauts-de-France.

Jessica Kiang There are no flirtations with the fourth wall in Frances O’Connor’s “Emily.” There is no synthpop on the soundtrack. No one ranks the relative attractiveness of the Brontë sisters on a scale out of 10, or attempts, bustle be damned, to twerk. Yet despite lacking all markers of the recent trend for girlbossified costume drama, the directorial debut from O’Connor — an actor who is no stranger to corsetry herself after “Mansfield Park” and “The Importance of Being Earnest” — gives us a strikingly current take on the Brontë behind “Wuthering Heights.” Unlike many a literary biopic, it feels anything but pagebound. If “Emily” were a book, however, it would be a fresh reissue of a Penguin Classic, with its timeless orange cover unobtrusively updated to be crisp and covetable all over again. 

Jáde Osiberu, the co-writer and director of Gangs of Lagos, has signed an overall deal with Prime Video, the studio behind the upcoming feature drama.

Ben Croll Acclaimed documentarian Alice Diop marks her narrative debut with “Saint Omer,” a pulled-from-the-headlines legal drama that won the Grand Jury Prize and the award for best debut feature at the Venice Film Festival. High profile slots in Toronto, New York, and London are to come — making the French title one of the real breakouts of this fall season. The wrenching film follows Rama (Kayije Kagame), a young novelist covering the trial of an immigrant mother accused of infanticide. With major elements never in doubt – the accused, Laurence (Guslagie Malanda), admits to the act, though she still pleads not guilty – the Venice winner turns around more intimate, philosophical, and unsettling questions.

On the inhospitable shores of Berck-sur-Mer, France, where the sounds of the tide mingle with a woman’s breathless running, is where Alice Diop’s narrative-feature debut “Saint Omer” begins.

Star Trek: Strange New Worlds and Star Trek: Prodigy are expanding their casts. Oscar nominee Carol Kane is set for a recurring role in Star Trek: Strange New Worlds, and Billy Campbell has joined the voice cast of animated series Prodigy. The news was announced Thursday as part of the global live-streamed Star Trek Day event.

Tilda Swinton is gracing the red carpet at the 2022 Venice Film Festival!

Jessica Kiang In 2016, in the courtroom of Saint-Omer, a small, untouristed town off a D-road between Calais and Lille, the trial took place of a young Senegalese Frenchwoman accused of murdering her baby: an act so utterly antithetical to accepted ideas of motherhood and womanhood that it is inescapably considered the “worst of all possible crimes.” The woman, a PhD student with a reported genius IQ and a flair for flamboyantly intellectual French, confessed but claimed sorcery as the real culprit. It’s the kind of true story that presents an obvious opportunity for a sensitive social drama given to sober, sorrowfully objective observations about the perilous, tumbling vortex of class, gender, ethnic and cultural issues in which it plays out. “Saint Omer,” the deceptively austere, extraordinarily multifaceted fiction debut from documentarian Alice Diop, is not that film. 

After a lifetime spent creating outrage and offence, both on and off screen, Korean master Kim Ki-duk has left the world with this final film, finished by his friends after his death. The story of a passionate affair that curdles almost immediately into jealousy and hate – but ends on a lyrically wistful note – is a startlingly appropriate rogue’s epitaph.

EGOT winning The Voice coach and model/cookbook author/social media star through a number of ups and downs over the years, including Teigen’s bullying scandal in 2021, the 2018 fallout between Legend and Kanye West, and the recent joyful news that Legend and Teigen are expecting another child. Not long after revealing the pregnancy, Legend has now opened up about his family’s miscarriage, as well as the decision he had to make about West.

Guy Lodge Film Critic Six decades into a career of over 40 films, the last thing you might request of a new feature from 92-year-old documentarian Frederick Wiseman is that it surprise us. Yet after a run of expansive, richly process-oriented observations of mostly American institutions and communities, his new film, “A Couple,” upends expectations of his work in what feels an almost mirthfully perverse number of ways. For starters, it’s laser-focused on just one person, not a heaving collective of human labor and activity. It’s short — very much so, in fact, barely stretching past an hour. Also, lest we be burying the lede, it’s not a documentary. Wiseman’s first ever narrative feature sees him collaborating with French actor-writer Nathalie Boutefeu on a biopic of sorts: a portrait of Leo Tolstoy’s anguished wife Sophia, dramatizing her marital dissatisfaction and psychic pain with with a lyrical, literate ear.

ARMAGEDDON TIME (d. James Gray, U.S., 2022) BARDO, FALSE CHRONICLE OF A HANDFUL OF TRUTHS (d. Alejandro González Iñárritu, Mexico-U.S., 2022) BOBI WINE, GHETTO PRESIDENT (d.

Ben Croll Marion Cotillard will star as Coco Chanel in “Rencontre(s),” an immersive, interactive, and multi-sensorial project that whisks participants back to Paris of the Roaring Twenties. Making its world premiere as part of the Venice Film Festival’s recently rebranded Venice Immersive showcase for new-media projects, the pop-history experience mixes live elements with 2D animation and XR embellishments to retrace the creation of Chanel No 5. Variety debuts the teaser here (below). Commissioned by Chanel and produced by Paris-based studio Atelier Daruma, the 15-minute immersive experience puts participants into the shoes of Ernest Beaux, the Russo-French perfumer who created the iconic elixir for the fashion icon. Voicing an animated version of Coco Chanel in both English and French, the Oscar-winning actress plays the designer at the height of her Queen of Paris fame, as a 38-year-old doyenne and magnetic pole for the city’s modernist and avant-garde scenes.

From acrylics to matt, graphics and the classic French, manicure trends come and go. But Lila Moss pushed the boundaries of nail art as she unveiled a bold new style of pedicure - with her toenails honed to ultralong pointy talons.The pedicure, which she showed off in delicate sandals via Insta, disgusted and delighted her fans in equal measure. "Loving the toes," wrote Bella Freud, while another fan told the teen model: "The toes are looking super sexy." But not everyone felt this way.

Ben Croll Exploring Paris’ working-class suburbs with a fresh set of eyes while reframing the immigrant experience under a more incisive lens, a dynamic generation is blazing new trails in French cinema. And if artists like “Saint Omer” filmmaker Alice Diop, “Athena” co-writer Ladj Ly, and “The Gravity” writer/director Cedric Ido share little in common but age – interestingly enough, all were born within one or two years of one another – the group’s shared spotlight in Venice and Toronto certainly reflects a rise in opportunity for diverse perspectives. “Today, we do see renewal,” says Unifrance managing director Daniela Elstner. “There’s an altogether new breath, a young generation looking to change, to dare, and to propose new kinds of films, [and with that] a willingness on the part of festival programmers to welcome these filmmakers into main competitions a little bit faster than before.”

One thing has always been apparent about Sigala: the man knows his way around a bop.