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Thread: Cannes

  1. #46
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    Ha. Another Tarantino publicity stunt

    Never mind the post above.

    Cannes Adds Quentin Tarantino's 'Once Upon a Time in Hollywood' to Competition Lineup
    3:01 AM PDT 5/2/2019 by Rhonda Richford


    Andrew Cooper
    'Once Upon a Time in Hollywood'

    The addition will bring Brad Pitt, Leonardo DiCaprio and Margot Robbie to the red carpet, while Abdellatif Kechiche and Gael Garcia Bernal also join the lineup.
    Quentin Tarantino's highly anticipated Once Upon a Time in Hollywood will have its world premiere at the Cannes Film Festival, the film festival unveiled Thursday.

    The addition means that Brad Pitt, Leonardo DiCaprio and Margot Robbie will be adding a burst of star power to this year's festival.

    The film had been expected in the original lineup, unveiled on April 18, but artistic director Thierry Fremaux told reporters that day that the film wasn't ready.

    In an interview with The Hollywood Reporter, he said he was “really, really, really focused” on Tarantino finishing the film in time to make the festival. He compared the director to Orson Welles and Martin Scorsese and said Tarantino was part of the Cannes family.

    While Fremaux had hinted there would be one or two titles named to the lineup, he added a slew of films in the announcement Thursday.

    Alongside Tarantino, Palme d'Or winner Abdellatif Kechiche will also be in competition with the second part of his Mektoub, My Love epic series. The Intermezzo installment of the young love story will unspool at four hours.

    Out of competition, Gaspar Noe's mid-length Lux Aeterna starring Charlotte Gainsbourg and Beatrice Dalle will take a midnight screening berth, apropos for his story about witches.

    Gael Garcia Bernal's Chicuarotes will join the lineup as a special screening, alongside Patricio Guzman's La Cordillera de los Suenos, Leila Conners's Ice on Fire and Dan Krauss's Ward 5B.

    Lorenzo Mattotti's La Famosa Invasione Degli Orsi in Sicilia and Larissa Sadilova's Odnazhdy v Trubchevske will join the Un Certain Regard lineup.

    Festival regular Tarantino, who won the Palme d'Or for Pulp Fiction, screened Death Proof and Inglorious Basterds in competition in Cannes and served as president of the jury last year, will join Pedro Almodovar, Terrence Malick and Ken Loach among the famed directors in this year's lineup.

    RHONDA RICHFORD
    THRnews@thr.com
    @thr

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  2. #47
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    Last Blood at Cannes

    Cannes: Sylvester Stallone to Present First Look at 'Rambo 5'
    11:04 AM PDT 5/8/2019 by Rhonda Richford


    Getty Images
    Sylvester Stallone

    The star will also show a restored copy of the 1982 original at a gala screening.

    Rambo is set to arrive on the Croisette, with Sylvester Stallone added to Cannes' official selection to present a restored version of the 1982 action classic and preview the first images of the latest installment in the film franchise.

    Stallone is bringing back his iconic character 37 years later in Rambo V: Last Blood, which is set to hit theaters Sept. 20. The sequel co-stars Paz Vega and Oscar Jaenda and is directed by Adrien Grunberg.

    The restored copy of Rambo has a French connection: It is backed by StudioCanal and completed by Eclair in Paris. The pic is set for a gala screening May 24.

    The last time Stallone was in Cannes, he brought along his Expendables 3 co-stars, including Arnold Schwarzenegger, Mel Gibson, Jason Statham and Antonio Banderas, and rode two tanks down the Croisette before parking them in front of the famed Carlton hotel.
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  3. #48
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    Well alright. Now I'm invested in this.

    FILM
    CANNES
    Michelle Yeoh Joins ‘Gunpowder Milkshake’ – Cannes
    By Mike Fleming Jr
    Co-Editor-in-Chief, Film
    @DeadlineMike


    Matt Baron/Shutterstock

    Michelle Yeoh has committed to star in Gunpowder Milkshake, joining Avengers: Endgame and Guardians of the Galaxy‘s Karen Gillan, Game of Thrones‘ Lena Headey, Black Panther‘s Angela Bassett and Billions‘ Paul Giamatti. Pic is a female-driven high-concept assassin story that has a rich mythology and spans multiple generations.

    Written and directed by Big Bad Wolves‘ Navot Papushado, the film begins shooting at the Babelsberg FilmStudio in Germany, with principal photography commencing June 3. Ehud Lavski has co-written.

    Studiocanal and The Picture Company partners Andrew Rona & Alex Heineman produce. Papushado’s Big Bad Wolves’ partner Aharon Keshales is exec producer.

    Yeoh is coming off shooting the Avatar sequels, Crazy Rich Asians and Star Trek: Discovery. She returns to the action game after Crouching Tiger, Hidden Dragon and the 007 film Tomorrow Never Dies. She is represented by her manager David Unger of Artist International.

    Studiocanal will release in the UK, Australia, New Zealand, Germany and France, and will be selling the rest of world at Cannes. It is co-repping U.S. rights with UTA.

    The Picture Company has an overall deal with Studiocanal.
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  4. #49
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    Cannes

    Cannes: Huayi Brothers' Chinese War Epic 'The Eight Hundred' Sells Wide
    5:00 PM PDT 5/13/2019 by Patrick Brzeski


    Huayi Brothers Media
    'The Eight Hundred'

    The big-budget epic features action scenes designed by Hollywood veteran Glen Boswell and is hoping to do for the war epic in China what local blockbuster 'The Wandering Earth' did for sci-fi.
    China's hotly anticipated World War II epic The Eight Hundred has sold to multiple territories around the world, including North America.

    Directed by Guan Hu and produced by veteran Chinese studio Huayi Brothers Media, The Eight Hundred is being pitched to buyers at the Cannes Film Market as China's first big-budget, grippingly realistic war epic.

    The producers are hoping the film will do for the war movie in China what local blockbuster The Wandering Earth ($780 million) did for the sci-fi genre earlier this year — set a new standard for production quality while making a bundle at the box office.

    Huayi Brothers launched sales on the film at Berlin's European Film Market in February. So far, it has sold theatrical rights to the U.S., Canada, Australia and New Zealand (CMC Pictures, which also distributed The Wandering Earth in the U.S.); South Korea (First Run), Germany (Koch), the U.K. (Trinity), Singapore and Brunei (Shaw); Malaysia, Vietnam, Cambodia, Myanmar and Laos (GSC); and worldwide in-flight (Emphasis).

    The film is set to open in China on July 5, in the thick of summer blockbuster season. Most of the international territories sold so far are lined up for day-and-date theatrical releases with China, or not far behind. Huayi Brothers is expecting to close out remaining territories during the Cannes film market.

    The Eight Hundred is said to have a production budget in excess of $80 million — which sits at the very upper end in China, where the industry remains nonunionized and production costs run much lower than in Hollywood.


    Huayi Brothers Media

    The film is already generating buzz in Beijing among local producers and executives who have viewed early cuts. The most common comparison has been that the film is like "China's answer to Dunkirk."

    The Eight Hundred was already underway before the release of Christopher Nolan's impressionistic WWII film, but the Huayi Brothers project does bear some similarities to Dunkirk — both in its realistic approach to action and that its story focuses on a heroic sacrifice and retreat rather than a decisive victory.

    The film is based on a pivotal battle in 1937 during the Sino-Japanese war: the historic siege and defense of the Si Hang Warehouse in Shanghai. This brutal, merciless encounter marked the last stand of the Chinese forces in the Battle of Shanghai and ended with the Japanese occupation of China's most cosmopolitan city. About 400 fighters, an unlikely mix of soldiers, deserters and civilians who, as the story turned to legend, became known as the “Eight Hundred Heroes," held out against waves of Japanese forces for four days and four nights in order to cover for China's principal forces, which retreated west to protect the country's heartland during the next phase of aggression.

    The film features an ensemble cast of — in order of appearance — Ou Hao, Wang Qianyuan, Jiang Wu, Zhang Yi, Du Chun, Wei Chen, Tang Yixin, Li Chen, Liang Jing, Ethan Ruan, Liu Xiaoqing, Yao Chen, Zheng Kai, and Huang Xiaoming.

    On the production side, Eight Hundred continues the recent trend of big-budget Chinese films hiring Hollywood veterans to collaborate alongside local technical staff. The key production team includes: Chinese cinematographer Cao Yu (Nanking Nanking), production designer Lin Mu (Design of Death), sound designer Fu Kang (Summer Palace), American action director Glenn Boswell (Lord of the Rings, The Matrix), Australian Oscar-nominated visual effects supervisor Tim Crosbie (X-Men: Days of Future Past), and original music by Rupert Gregson-Williams and Andrew Kawczynski, both past Hans Zimmer collaborators. Italian singer Andrea Bocelli is recording the film's theme song.

    Director Guan's most recent release was the gritty crime drama Mr. Six (2005), which became a sleeper hit for Huayi Brothers, earning $137 million in China. The film closed the 72nd Venice International Film Festival in an out-of-competition screening.
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  5. #50
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    Cannes

    More news from Cannes - Shanghai Fortress has Shu Qi in it so I guess I'm in although I'm really more interested in the wake of The Wandering Earth.

    ASIA MAY 13, 2019 1:30PM PT
    Cannes: China’s Times Vision Bets on Sci-Fi ‘Shanghai Fortress’ (EXCLUSIVE)

    By REBECCA DAVIS


    CREDIT: TIMES VISION

    Chinese sales and distribution company Times Vision has brought two new titles to Cannes this year, including “Shanghai Fortress,” a big-budget summer sci-fi blockbuster that producers hope will replicate the success of “The Wandering Earth.” Its other film at the Marche is family drama “Looking Up.”

    “Shanghai Fortress” stars Taiwanese actress Shu Qi and Chinese idol Lu Han, one of the country’s highest-paid celebrities, who rose to fame as a member of the South Korean boy band Exo. It is expected to debut in early August, with China Film Group as the primary distributor.

    Adapted from a popular sci-fi novel by writer Jiang Nan, the futuristic romance was produced by HS Entertainment Group Inc. The firm was behind the 2013 romantic comedy “So Young,” the directorial debut of actress Vicky Zhao Wei and the 2017 TV series “Nothing Gold Can Stay,” a palace drama.

    “Looking Up” is a family drama starring Deng Chao (Zhang Yimou’s “Shadow,” 2016’s “The Mermaid”) that centers on the changing relationship between a father and his young son. Deng directed the feature jointly with writer-director Yu Baimei (“Devil and Angel,” “The Break-Up Guru”). It is set to hit Chinese theaters July 26, with Maoyan as the China distributor.

    Times Vision recently sold the rights to action thriller “Savage,” the debut feature from Chinese screenwriter Cui Siwei, to numerous territories worldwide. Rights were purchased by Well Go for North America, Wild Bunch for France, Koch Films for Germany, Cai Chang for Taiwan, At Entertainment for Japan, NK Contents for Korea, and Encore for in-flight.

    The film debuted April 30 in China but, overshadowed by “Avengers: Endgame” and “Capernaum,” has not performed very well, making just $3.92 million (RMB27 million).

    But Times Vision CEO Nathan Hao told Variety he was optimistic for the prospects of his new slate, particularly “Shanghai Fortress.” “We think the film will have a good chance because there’s been such great achievements in the world box office and streaming for ‘The Wandering Earth,'” he said. That film debuted in February and has gone on to become the second-highest grossing film of all time in the country, with earnings of $677 million (RMB4.66 billion), paving the way for the genre in the Middle Kingdom.
    Gene Ching
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  6. #51
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    Donnie Yen on How Kong Kong Action Cinema Can Reclaim Its Glory

    9:40 PM PDT 5/14/2019 by Karen Chu


    COURTESY OF MANDARIN MOTION PICTURES

    "Being able to play the same character in four films is a rare opportunity," says Donnie Yen of his role in 'Ip Man 4.'

    As his career-defining 'Ip Man' franchise comes to a close, the Hong Kong superstar — who will be featured in Disney’s upcoming live-action remake of 'Mulan' — also discusses improving onscreen Asian representation: "I hope we can make more breakthroughs."
    Since taking up the mantle of Wing Chun grandmaster in Ip Man 4, Donnie Yen has become increasingly synonymous with the real-life martial arts legend, who famously trained Bruce Lee.

    In the intervening years, Yen became a part of the Star Wars franchise, playing the fan-favorite blind warrior Chirrut Îmwe in spinoff Rogue One, and will be featured in Disney’s upcoming live-action remake of Mulan. But it has been the Ip Man franchise that brought him into hand-to-hand combat with Mike Tyson and secured him a place among hard-core kung fu aficionados as one of the great action superstars to come out of Hong Kong.

    Yen will reprise the role for the last time in Ip Man 4 — on offer to international buyers at the Marché du Film from Pegasus — which follows the title character as he accompanies his protege Bruce Lee when he relocates to San Francisco in the late 1950s.

    Along with Mulan, which co-stars fellow Hong Kong legend Jet Li and Chinese actress Gong Li, Yen will soon appear as a plus-size but highly deadly cop in the Hong Kong action-comedy Enter the Fat Dragon, to be released this year. Yen, 55, spoke with The Hollywood Reporter about craving better representation for Asian actors when he was a teenager, how Hong Kong action cinema can reclaim its former glory and why he has resisted training his own children in martial arts.

    You have played the character of Ip Man for more than 10 years now. Would you say that this role has defined your career?

    Yes, it has. Being able to play the same character in four films is a rare opportunity, and I have to thank the fans of the films for their appreciation. The role has brought me more work and more fans, given me fame and fortune and made me realize that an actor’s life is an unceasing pursuit of bringing to life a character and becoming inseparable from that character in people’s minds.

    Fans petitioned online for Disney not to whitewash this remake of Mulan. How did you feel watching that movement unfold? What’s your view on Hollywood’s attempt to embrace diversity in recent years?

    I think they should have done this years ago. Since the beginning of time, the world has been diverse. Different ethnicities and cultures have always lived on this Earth. [The pattern of whitewashing ] comes from the fact that Hollywood product has dominated the film industry for decades. And we’ve grown up watching Hollywood films and had been under their influence. For a lot of people, you and me included, when they think of princes and princesses, they’d think of someone with blond hair and white skin. This image has been ingrained in us. But if we think about it, we’d realize that, around the world, Chinese people are quite numerous, too. (Laughs.) So shouldn’t it be time to express these characters and stories with different aesthetics? Something that more people worldwide can share and identify with?

    Did you yearn for more onscreen representation for people of Asian descent when you lived in the U.S. during your teenage years?

    Certainly. That’s one of the reasons why, growing up during that time, we were all so fascinated by Bruce Lee. Bruce Lee gave us a sense of pride and belonging. We grew up watching Hollywood films and accepting their standards. It was easy to lose track of who we were. When we looked in the mirror, we might wonder why we didn’t look like those onscreen. Of course we also wondered when we’d see something different. But the world is changing, there has been an African American president in the U.S. — that’s something that used to be unimaginable. There are also more and more Chinese actors achieving success on the global stage. As a filmmaker of Chinese descent, I’m very happy and encouraged, and hope we can make even more breakthroughs.


    JASON LAVERIS/FILMMAGIC

    "I feel it’s lacking a bit of spark," says Yen of the current state of action filmmaking in Hong Kong.
    Will you be accepting more Hollywood roles for that reason?

    Well, it depends, first of all, on whether the subject matter and the character interest me. Then it depends on my schedule, since I want to make more Hong Kong films from now on. I’ve always been a Hong Kong filmmaker; I’ve never left. Hong Kong is my home; my children live here. Now that I have a little bit of influence and pull, I’d like to use that to make more films in Hong Kong.

    The film you’re shooting now, Raging Fire, is the first time you’ve worked with Nicholas Tse since you both starred in Dragon Tiger Gate (2006). Can you say anything about the project yet?

    I’m very happy to reunite with Nicholas, and also Benny Chan, who was the producer and director of two television series I made in the 1990s. We haven’t worked together for over 20 years. As for the plot, I can’t really comment on it now. But the film is action-packed.

    Kung fu and action cinema were at the heart of Hong Kong cinema’s heyday. What is your take on the state of action filmmaking in Hong Kong?

    I feel it’s lacking a bit of spark. Hong Kong filmmakers are always talking about bringing glory back to the Hong Kong film industry. But what is that exactly? The world is changing rapidly. It’s no longer the same world it was when we were making action films. Hollywood hadn’t developed the visual vocabulary to shoot action, kung fu and combat scenes in our style at that time. But they are very fluent in this language now. So if we stay where we were, the industry will eventually die out.

    You have two kids. Is passing your martial arts skills on to them important to you?

    My daughter sings and dances, but she’s not that interested in kung fu. My son is still quite young, so I’d rather he learns martial arts from a teacher. Learning martial arts is serious, rigorous business. I don’t want to have any conflicts, or that kind of sternness, with my kids. I don’t spend enough time with them as it is, so I’d like to have quality time — filled only with smiles — when I do spend time with them.

    This story first appeared in The Hollywood Reporter's May 15 daily issue at the Cannes Film Festival.
    THREADS
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  7. #52
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    Godmother Z

    MAY 9, 2019 12:58PM PT
    Zhang Ziyi Named Godmother of the Trophée Chopard 2019 at Cannes Film Festival
    By DANIEL NISSEN


    CREDIT: EVAN AGOSTINI/INVISION/AP

    Actress Zhang Ziyi has been named “Godmother” of the 19th annual Trophée Chopard 2019 at Cannes Film Festival.

    As godmother, Zhang will present the award to both a male and female young actor on the rise. She follows “Godmother” Diane Kruger, who presented the award to Joe Alwyn and Elizabeth Debicki at Cannes film Festival 2018.

    Charlize Theron, Elton John, Robert De Niro, Sean Penn, Cate Blanchett, Julianne Moore, Jude Law, Gwyneth Paltrow and Helen Mirren are among previous presenters. Previous recipients also include Marion Cotillard, Ezra Miller, Shailene Woodley, Logan Lerman, James McAvoy, John Boyega and Gael García Bernal.

    Zhang, who gained international fame for her role in “Crouching Tiger, Hidden Dragon,” is the second ever Chinese presenter, after Gong Li. Zhang and Ghong appeared together in the 2005 film “Memoirs of a Geisha.”

    President of the festival Pierre Lescure, general delegate Thierry Frémaux and co-president and artistic director of Chopard Caroline Scheufele will hold the the ceremony in Agora, near the festival.

    This year’s festival has a slate of highly anticipated films. Quentin Tarantino’s “Once Upon a Time in Hollywood,” Jim Jarmusch’s “The Dead Don’t Die,” Terrence Malick’s “A Hidden Life,” Werner Herzog’s “Family Romance, LLC” and Ken Loach’s “Sorry We Missed You” will all premiere at the festival.

    Zhang is in the upcoming “Godzilla: King of the Monsters,” coming to theaters May 31.

    Variety has partnered with Chopard on the annual event since 2012.
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  8. #53
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    Creasun Entertainment USA

    I didn't expect Kung Fury 2 to be a topic at Cannes.

    Cannes: 'Kung Fury 2' Lands Major Investor, Sets Production Start (Exclusive)
    10:00 AM PDT 5/16/2019 by Alex Ritman


    'Kung Fury'

    The feature-length follow-up to the cult 2015 short, set to star Michael Fassbender and Arnold Schwarzenegger, will go into production July 29.
    Kung Fury 2 — set to star Michael Fassbender, Arnold Schwarzenegger, Eiza Gonzalez, David Hasselhoff and the titular kung fu cop himself, David Sandberg — is a go!

    The feature-length follow-up to the cult 2015 short Kung Fury — the cheesy and comically OTT homage to '80s martial arts and police action films that became a crowdfunded sensation, premiered in Cannes and amassed in excess of 40 million views on YouTube — has landed a major investor and an official production start date.

    Creasun Entertainment USA, the recently launched L.A.-based financing and production arm of Minglu Ma’s Asian VFX powerhouse Creasun Media and run by Ma and George Acogny, has taken a majority stake in the film and come aboard as co-producer. Creasun joins Argent Pictures, the production and financing outfit run by Jill Ahrens, Ryan Ahrens and Ben Renzo, who is co-financing and co-producing the project.

    The brainchild of Swedish filmmaker Sandberg, who returns as director and the time-traveling, Nazi-bashing hero, Kung Fury 2 is now set to go into production July 29 in Bulgaria and Germany, with Oscar-winning British VFX giant Double Negative producing the special effects together with Ma.

    Co-written by Sandberg and Tyler Burton Smith, the action is set in 1985, the best year ever. Miami is kept safe under the watchful eye of Kung Fury, the greatest **** cop of all time. His Thundercops are the ultimate police force assembled from across history to defeat the villainous Kung Fuhrer, Adolf Hitler. But after the tragic death of one of their members causes the group to disband, a mysterious villain emerges from the shadows to aid in the Fuhrer’s quest to attain the ultimate weapon. Kung Fury must travel through space and time to save his friends, defend the prestigious Miami Kung Fu Academy and defeat evil once and for all.

    "Kung Fury 2 is the very exciting vision of David Sandberg, and it contains all the elements of a magical and fun ride for all ages," said Acogny. "We are thrilled to be part of this great project and can’t wait to share it with the whole world, where it will no doubt create excitement across the globe!"

    Ma and Acogny of Creasun Entertainment, Jill Ahrens and Ryan Ahrens, and Renzo of Argent Pictures, Sandberg and Pelle Strandberg of Laser Unicorns, David Katzenberg, Seth Grahame-Smith, and Aaron Schmidt of KatzSmith Productions, Philip Westgren of B-Reel Films and Fassbender of DMC Film are producing. Argent Pictures partners Drew Brees, Tony Parker, Derrick Brooks and Michael Finley are executive producing. Conor McCaughan of DMC Film is co-producing.

    Endeavor Content is handing international sales for Kung Fury 2, and co-repping with CAA Media Finance for North American rights.

    Creason Entertainment is also co-financing Come Away, starring Angelina Jolie, Michael Caine and David Oyelowo and currently in postproduction, and financed and co-produced a miniseries remake of the original HG Wells story War of the Worlds.
    Gene Ching
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    Undisputed TV show

    Undisputed TV show sold at Cannes

    Cannes: Martial Arts Franchise 'Undisputed' Being Rebooted for TV (Exclusive)
    10:30 PM PDT 5/16/2019 by Alex Ritman


    Credit: Millennium
    'Undisputed'

    Millennium and Empire are teaming on the Cannes sales launch of the small-screen adaptation.
    Martial arts movie franchise Undisputed — the four-strong hit film series that began in 2002 and has starred the likes of Wesley Snipes and Ving Rhames and helped break out Scott Adkins as major action name **— is being rebooted for the small screen, with original producer Millennium on board alongside London-based sales banner Empire Films, The Hollywood Reporter can reveal.

    Sales are kicking off in Cannes, with the original director Isaac Florentine once again at the helm and a cast due to be announced soon.

    Set in New York in the opulent world of international underground fight tournaments, the Undisputed series will continue the journeys of the characters from the film franchise. The story follows the self-discovery voyage of Yuri Boyka (played by Adkins in the films), a Russian prison fighter on parole who seizes the opportunity to participate in the world’s biggest and most prestigious underground fighting tournament. Exposing the lucrative and intricate underbelly of fighting rings, Undisputed will reveal the microcosm of an expansionist international crime organization and connects everyone in it; those who participate in it, organize it, protect it, investigate it and collect the money. This is a world where every action has consequences.

    The show will be exec produced by Yariv Lerner (Hellboy, The Expendables, Rambo), alongside series developers Rouslan Ovtcharoff (The Expendables, The Mechanic, Criminal) and Benjamin Jackendoff (Black Eyed Peas Present: Masters of the Sun: The Zombie Chronicles), with Empire founder Sean O’Kelly (Gun Shy, Damascus Cover, Iron Sky) and Marc Bikindou (Breaking Point, Den of Lions, Swelter) producing.

    Production is slated to commerce from March 2020 at NuBoyana studios in Bulgaria.

    “There’s been a tremendous amount of buzz and pre-sales interest around Undisputed the TV series, with buyers quick to recognize its broad commercial appeal,” said O’Kelly. “As one of the most original and talented directors working today, Isaac Florentine will be sure to deliver the same riveting, high-octane action experience that Undisputed fans around the world have come to love and expect.”

    Since April 2016, the Undisputed franchise has been viewed more than 1.2 billion times. At the 2017 Shanghai Film Festival, Boyka Undisputed 4 won the Best Fight Award, while Adkins won the Jackie Chan Best Action Movie Actor Award for his portrayal of Yuri Boyka.

    "I am hoping that the mainstream American audience will finally discover the character of Yuri Boyka and like him the way he’s adored in the rest of the world," said Florentine.

    Added Lerner: "NuBoyana studios was the home for all the Undisputed movies and we are excited to offer the same unparalleled production value to the series."
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    7 mins

    Once Upon A Time In Hollywood’ Gets 7-Minute Standing Ovation After Cannes Premiere
    By Nancy Tartaglione
    International Editor
    @DeadlineNancy


    Quentin Tarantino Once Upon A Time In Hollywood
    Vianney Le Caer/Invision/AP/Shutterstock

    The crowd that was able to get into the Cannes Film Festival’s world premiere of Quentin Tarantino’s Once Upon a Time in Hollywood gave the film a seven-minute standing ovation at the end of one of the most anticipated screenings at the prestigious festival in recent years.

    “Thank you for being such a fantastic audience for the first time we’ve ever showed it to an audience,” Tarantino told the crowd after the screening in very brief remarks, thanking the studio, producers, cast and crew.

    It was an enthusiastic response to the film, Tarantino’s ninth and most recent film in Cannes since Inglourious Basterds in 2009. He won the Palme d’Or 25 years ago for Pulp Fiction.

    The plot revolves around TV star Rick Dalton (Leonardo DiCaprio) and his longtime stunt double Cliff Booth (Brad Pitt), who make their way around an industry in 1969 Los Angeles they hardly recognize anymore. It is Tarantino’s tribute to the final moments of Hollywood’s golden age. Margot Robbie as Sharon Tate, Al Pacino, Kurt Russell, Timothy Olyphant, Dakota Fanning, Luke Perry and Margaret Qualley lead the loaded ensemble cast.

    Sony dropped the trailer for the pic just before the screening began. The film from Columbia Pictures hits theaters in the U.S. on July 26.


    Leonardo DiCaprio, left, Quentin Tarantino, Daniela Pick, David Heyman, Shannon McIntosh, Margot Robbie and Brad Pitt on Tuesday
    David Fisher/Shutterstock

    It had been foul weather in Cannes for the fest so far, but the sun came out for the Hollywood red carpet Tuesday. Just before 6 PM local time, Tarantino and the cast including DiCaprio, Pitt, Robbie and Dakota Fanning elicited hoots and applause from the crowd inside the Palais who watched as they appeared on the giant screen and, as is custom, signed autographs for the throngs of fans lining the Croisette.

    (At the same time, some ticket holders were held back between security and the red carpet, wondering if they would make it into the cinema — many didn’t get in.)

    On the red carpet, the crew posed for photographers in a scene that felt more subdued than when Inglourious Basterds was here — Tarantino danced his way up the Palais steps with Melanie Laurent on his way to the screening.

    Also mounting the steps on the 25th anniversary of Tarantino’s Pulp Fiction world premiere were Sony’s Tom Rothman and producers David Heyman and Shannon McIntosh.

    Inside ahead of the screening of the 2 hour, 39 minute film, Cannes boss Thierry Fremaux told the audience not to reveal spoilers — an unusual onstage opening here. “It’s a bit exceptional because the production and Quentin Tarantino asked me to ask you not to discuss the film,” Fremaux said. “They would greatly appreciate that you not reveal anything that would prevent audiences worldwide from experiencing what you do today.”

    He then introduced the cast and Tarantino, who had the crowd on its feet as he flashed his trademark peace sign.

    Without giving anything away, Deadline’s Pete Hammond who was in the crowd Tuesday, already was formulating his take:

    Pete Hammond
    @DeadlinePete
    Tarantino’s onceUpon A time In Hollywood Is justendind. A terrific and entertaining and highly satisfying film. Unexpected in one way but absolutely right on. Pitt and DiCaprio are great!

    10
    11:56 AM - May 21, 2019
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    Once upon a time In Hollywood is a true love letter to LOS angeles of the 60’s. QT just thanked the audience and studio. “See you on the Crroisette” he said .

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  11. #56
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    The Widow FTW!

    Congrats to Emily Beecham. I've had the pleasure of meeting her three times, interviewing her once and having dinner seated next to her once. She's very sweet and drop dead gorgeous in person.

    Britain's Beecham joins A-list with Cannes best actress win
    AFP AFP•May 25, 2019


    Beecham has spent most of her career in supporting roles (AFP Photo/Valery HACHE)


    Beecham has spent most of her career in supporting roles (AFP Photo/Valery HACHE)

    Cannes (France) (AFP) - Britain's Emily Beecham has been catapulted into the movie big time by winning best actress at the Cannes film festival for playing an enigmatic scientist in "Little Joe".

    Beecham, who has spent most of her career in supporting roles, was a surprise choice for the award for her performance as a botanist working on a flower that gives off a scent so ambrosial it makes people euphoric just to sniff it.

    Indeed she admitted that she was so shocked that "I forgot to pack my toothbrush" when she received a call, after she'd left Cannes, telling her to come back and pick up the prize.

    But while Beecham's rise has hardly been meteoric, the 35-year-old has been marked out as a talent to watch for a decade, winning best actress awards at both the Edinburgh and London Independent film festivals for one of her first films, "The Calling", in 2009.

    Her big break came two years ago playing what Variety called "one of the more unpleasant characters in recent memory", a misanthropic young woman who witnesses a stabbing in Peter Mackie Burns' arthouse gem, "Daphne".

    That helped consolidate the reputation the Manchester-born actress had won for a stream of British television roles including in the award-winning series "The Unforgiven", and the even more acclaimed "The Village", where she played opposite Maxine Peake and John Simm in the gritty historical rural drama.

    - Martial arts queen -

    Doors really began to open up for her in the United States, her mother's homeland, after she landed a small part in the Coen brothers 2016 sword and sandals send-up, "Hail, Caesar!"

    By then she had landed the role of The Widow in the US martial arts action series, "Into the Badland".

    Although her father is a pilot, she caught the acting bug at her school, the elite Hurtwood House in Surrey, which bills itself as "the most exciting school in England".

    It is also the alma mater of the "Mary Poppins" star Emily Blunt and Princess Sarah Zeid of Jordan.

    Beecham told AFP that she jumped at the chance to work with the highly-rated "Little Joe" director Jessica Hausner.

    "She's one of the only female directors I've worked with so far. She's extraordinary," Beecham said of the Austrian, who was vying for Cannes top prize, the Palme d'Or.

    "But I'm noticing more scripts and things come through with female directors attached. It's brilliant."

    - Smart women -

    The actress, who played opposite fellow Briton and "Mary Poppins" star Ben Whishaw and New Zealander Kerry Fox in the movie, said she was "profoundly inspired" by the French microbiologist Emmanuelle Charpentier and the naturalist Jane Goodall as she researched her role.

    "One thing they both talked about -- Jane Goodall discussed it specifically -- is that her relationship with her family interfered with her research. She kind of had to put (her family) on the back burner and put the chimpanzees in the forefront."

    Beecham said that she tried to work the pain of that into her character, a senior researcher in a biotech firm in the UK of the near future.

    Hausner said she wanted to explore how "crazy" becomes a label used to keep women down.

    "I was always fascinated by the films about crazy women. I felt that male perspective and I thought 'Yeah, but what's so crazy about them?'" she said.

    "The 'craziness' of women is actually the very interesting point about them because I think it's also about being sensitive and intelligent."

    Beecham told AFP after she won the prize that she was drawn to Hausner after seeing her previous film "Lourdes", set in the French town where some Catholics believe the Virgin Mary appeared.

    "So I loved her work already. Ben Whishaw was attached and I read the script and it was unquestionably a great project to be involved in and I really wanted to do it," she said.
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  12. #57
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    Tarantino = Cannes savior

    Variety.com
    Menu MAY 28, 2019 8:37AM PT
    How Quentin Tarantino Saved Cannes, While Abdellatif Kechiche Set It Back a Decade

    By PETER DEBRUGE
    Chief Film Critic
    @AskDebruge


    CREDIT: SONY

    Once upon a time in Cannes, a wild-eyed rebel kicked his foot through the basement window of Hollywood, stealing helter skelter from his favorite B-movies and lowbrow genres, and splicing them into the king of all cult movies. Mind you, that was a quarter-century ago, the year Quentin Tarantino’s “Pulp Fiction” won the Palme d’Or.

    It’s a different world now, and Cannes is a different beast. Unspooling 25 years to the night after “Pulp Fiction,” Tarantino’s latest meta-movie remix, “Once Upon a Time … in Hollywood,” may have been the hottest ticket of the event, but the film hardly made the same impact. Ultimately something of a disappointment, the 159-minute fetish exercise — an epic homage to dirty feet, neon-lit classic L.A. dives and showbiz in-jokes, set half a century ago, on the eve of the Manson Family murders — got the customary standing ovation following its red-carpet premiere (that’s standard practice at Cannes), but elicited nary a clap at the press screening two hours earlier (unusual for such a hotly anticipated title, but a clear sign that this is far from Tarantino’s best). On closing night, the Alejandro G. Iñárritu-headed jury, which gave prizes to nine of the 20 films in competition, didn’t so much as mention the movie (instead, their prizes mostly went to worthier films).

    What a curious situation: Tarantino’s film (a last-minute addition to the lineup) — together with the rhinestone-embellished Elton John biopic “Rocketman” — may have saved Cannes’ reputation for another year, but premiering at the festival may not have done it any favors. Set in 1969, Tarantino’s “Hollywood” contends with how television changed the film biz. That’s ironic, considering that worldwide, more people were tuned to the finale of HBO’s “Game of Thrones” than what was happening in Cannes. Had either of those two glitzy pics skipped the Croisette, however, it would have made the festival’s decline undeniable.

    Where Cannes once stood undisputed as the most coveted place to premiere serious works of film art — and by extension, a kind of cinema mecca for filmmakers and critics — it’s been losing ground in recent years to a trio of end-of-summer showcases: Venice, Telluride and Toronto. Cannes has felt less crowded these past couple years, and in terms of sheer auteur wattage (on paper, at least, not to be confused with overall breadth and quality), not a single edition this century can rival last year’s Venice lineup, which boasted not just “Roma,” “A Star Is Born” and “First Man,” but new films from Yorgos Lanthimos, Mike Leigh, Jacques Audiard, Carlos Reygadas, László Nemes and Olivier Assayas — all directors traditionally associated with Cannes. Quality matters, of course, and Cannes is to be applauded for passing over some of these established directors in favor of newer voices, but in terms of perception, Venice’s strategy of inviting the big names (at the expense of women and emerging voices) is having the desired effect: To the American press and industry, Venice now feels more vital. And while it’s still far from rivaling Cannes in terms of either glamour or press coverage, Venice is clearly on the ascent.

    You could blame the shift of power from Cannes to the fall festivals on changes in Hollywood’s awards-season strategy, as well as the rise of a single disruptor — namely, Netflix. A desperate strategy of banning the streaming service’s offerings from competition in Cannes has sent the new-media studio looking elsewhere to launch its choice titles: independent, auteur-driven works that have every right to be shown alongside those destined for theatrical distribution. Don’t be surprised to see Martin Scorsese’s “The Irishman” premiere at a fall festival, the way “Roma” did at Venice, or “The Outlaw King” kicked off Toronto last year.

    To make up for those films getting away, festival director Thierry Frémaux needs to convince Hollywood distributors that it makes sense for them to premiere their prestige films in Cannes. In his favor, there’s Spike Lee’s “BlacKkKlansman,” which became a major contender in the Oscar race after playing Cannes. But that strategy backfired on David Robert Mitchell’s “Under the Silver Lake” for A24, all but destroyed by bad reviews from critics who come with knives sharpened (for whatever reason, the press is kinder in Venice, seldom booing the way they do in Cannes). When films skip Cannes, the standard explanation is that they “weren’t ready,” but it’s still telling that James Gray’s “Ad Astra” (previously dated for a May release), Benh Zeitlin’s “Wendy” and Miranda July’s upcoming feature appear to be eyeing fall festivals instead.

    Frémaux has no control over when films will be ready, and is ultimately limited to the titles available to him in late spring — which presumably explains why films such as Claire Denis’ “High Life” and Mike Leigh’s “Peterloo” skipped Cannes last year. But it’s telling that certain producers are no longer rushing to get their films done in time for the festival’s cutoff: In the past, the prospect of premiering in Cannes has been so important to some that they’d scramble to be considered (in 2004, a work-in-progress print of Wong Kar-Wai’s “2046” arrived still wet from the labs) or turn down invitations from Berlin and other festivals in hopes of debuting in Cannes (with “The Tree of Life,” Terrence Malick held off an entire year for the honor). Now that DCPs have taken the place of 35mm prints, filmmakers can cut it closer than ever, working right up to the last minute, which leads to a different set of problems.

    Afraid of losing an important film (or several) to Venice, Frémaux is often forced to accept movies that aren’t yet done when he screens them. This is normal practice for film festivals, by the way, although I can’t think of a more exasperating example than Abdellatif Kechiche’s “Mektoub, My Love: Intermezzo,” a continuation of the “Blue Is the Warmest Color” director’s sprawling, body-ogling 2017 “Canto Uno” (which Frémaux may have regretted letting go to Venice instead) that runs an monotonous 206 minutes, centered around a three-hour nightclub sequence in which his actresses twerk the night away — interrupted for 13 minutes to accommodate a marathon oral-sex scene, in which Kechiche explicitly demonstrates how gluteophiles express their appreciation. Practically any shot from the film might be considered gratuitous, but the sum total is downright punishing. It’s enough to make “Cheeky” director Tinto Brass blush, and in no universe does it deserve the kind of platform Cannes gave it.

    Rumors suggest that Frémaux screened 25 minutes of the unfinished sequel in late April, and on the strength of what he saw — the film is so repetitive that a random core sample taken from any point should have been fairly representative — invited the Palme d’Or winner to screen in competition. It’s hard to imagine a worse decision on the part of Frémaux, who’s been obstinate about his reasons for not including more female directors. As he told Variety in 2018, “Many of these films directed by women are first or second films. They are still young filmmakers, and I wouldn’t be doing them a favor by putting their films in competition.” (Whereas men, he seems to imply, can take the scrutiny of that spotlight.)

    Granted, the press reactions at Cannes can be harsh, and though I’ve never heard boos at a red-carpet premiere, they’re not uncommon in press screenings — which is no doubt one of the reasons why Frémaux canceled the practice of showing competition films in advance to critics, as no director wants to walk the red carpet knowing that his film had been rudely received earlier that day. But putting “Mektoub” in competition is nothing short of scandalous, revealing just how deep the festival’s chauvinist double-standard goes. Publicly, Frémaux says loud and clear that Cannes won’t lower the bar to include works by women, when it’s abundantly clear that they’ll take whatever garbage a more established man tosses their way. (Personally, I loved Malick’s “A Hidden Life” — a woozy, wide-angle meditation on heaven and earth from an artist who’d lost his way — but its detractors found it to be another case where the festival accepts familiar works from male artists, but doesn’t stretch to accommodate innovative forms from avant-garde women.)


    continued next post
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  13. #58
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    Continued from previous post

    Meanwhile, it says something that of the four female-made movies in competition this year, three earned prizes: French-Senegalese director Mati Diop’s “Atlantics” (acquired by Netflix), Jessica Hausner’s “Little Joe” and Céline Sciamma’s “Portrait of a Lady on Fire.” There’s no question that juries are now more motivated to celebrate the cinematic achievements of women. So are critics and audiences, who’ve been forced to rely on more inclusive showcases — such as Sundance, SXSW and Toronto — to find the female talents whose work festivals like Cannes and Venice refuse to accept.

    Of these films, Sciamma’s “Portrait of a Lady on Fire” distinguishes itself as the most political, dramatizing via an 18th-century encounter between two women — one a female artist, the other the noblewoman whom she’s been commissioned to paint — the way that so much of the female experience went undocumented. When art, literature and cinema are forbidden from depicting certain forbidden practices — such as an abortion, or erotic love between women — then everyone who dares to engage in such behavior feels as if she is inventing it for the first time. “Portrait” captures the thrill and challenge of that discovery, and beautifully makes the case that every artist perceives things differently, and that female artists in particular have much to add to our understanding of the world, if only because their outlook has been suppressed for so long.

    Contrast the way Sciamma portrays sex and the female form from “Mektoub,” and it’s instantly apparent that Kechiche — with his leering, hot-and-bothered gaze — is literally taking the place from someone more deserving in competition. He’s entitled to his point of view as well, but it repeats and exaggerates the worst tendencies in hyper-sexualized objectification, and carving out a space for such a stunt (for there’s no doubt that Kechiche is baiting and antagonizing his critics, without adding anything meaningful to the conversation) denies other original voices a spot in competition.

    We should be grateful for those others who, offered entrée by their reputations, are doing something new in their latest films. Ken Loach’s “Sorry We Missed You” and the Dardenne brothers’ “Young Ahmed” both feel like the work of young directors, despite the fact the filmmakers each have two Palmes already to their names. I’ve often resisted the work of Bong Joon-ho, but have no complaints about him winning this year’s festival with his latest, “Parasite,” which puts his slick, genre-melding skills in service of a venomous class portrait. And just when I thought queer Spanish auteur Pedro Almodóvar had gotten comfortable in his late career, he caught me completely by surprise with his latest — and best — film, the intimate autofiction “Pain and Glory,” in which Antonio Banderas delivers the performance of his career as a director partly inspired by Almodóvar himself.

    Which brings us back to Tarantino — the 800-pound gorilla in this year’s competition. Where nearly every one of the director’s previous works has rocked the film world, leaving audiences bristling with excitement for every minute of their deranged running times, this one feels unforgivably self-indulgent. It’s bogged down by long, dull stretches (into which the director crams excerpts, real and imagined, from duly forgotten film and TV episodes of the time) during which we experience none of Tarantino’s usual gift for tension. The auteur’s signature strategy is to manipulate anticipation and suspense on a scene-to-scene level, creating situations of imminent and unpredictable violence — a diabolically polite Nazi officer searching for hidden Jews, two gun-toting hitmen tasked with recovering a stolen briefcase — and stretching them to all-but-unbearable lengths via directorial showmanship and colorfully written dialogue, before letting these risky situations snap back on themselves like the elastic band of a slingshot.

    Here, instead of masterfully playing our nerves at such a micro level, Tarantino attempts — and stumbles — with a different high-wire act. Early on, he indicates that events are pointing to Aug. 8, 1969, the night the Manson family murdered Roman Polanski’s pregnant wife, Sharon Tate: The film’s co-dependent protagonists, faded star Rick Dalton (Leonardo DiCaprio) and his trusty stunt double Cliff Booth (Brad Pitt), live on Cielo Drive, where the bloody home invasion took place; Hollywood history buffs may recall that a stuntman was murdered around that time at Spahn’s movie ranch; and Tate, radiantly oblivious to her fate, even appears as a character (played by Margot Robbie). Confident those elements all point to who-knows-what kind of confrontation to come, Tarantino no longer focuses on generating electricity within individual scenes, trying instead to make it span the entire picture.

    Between Tarantino’s indulgence, Malick’s resurgence and Kechiche’s concupiscence, the festival was heavy with men who felt they’d earned the right to fill hours of screen time with their most personal preoccupations. Such is the luxury of the established filmmaker. But where Cannes really ought to be using its power — and the fact that, for what could be a limited time, it has first dibs on new work — is in finding the emerging voices who don’t yet presume to have audiences’ attention, but have the freshest things to say. It’s the paradox of being first: The world expects big names, but relevance depends on bold, outside-the-box choices.

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    Quote Originally Posted by EqualStage View Post
    Quentin Tarantino ... What a pity that the film didn't win any awards. But still, I look forward to watching it.
    I dunno, man. QT got more publicity out of Cannes than anyone. Who needs awards?
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  14. #59
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    Parasite

    And the winner is...
    MAY 30, 2019 9:47PM PT
    Cannes Palme d’Or Winner ‘Parasite’ Has $3.9 Million Opening Day in Korea

    By PATRICK FRATER
    Asia Bureau Chief


    CREDIT: COURTESY OF CJ ENTERTAINMENT

    “Parasite,” the Palme d’Or-winning film from South Korean director Bong Joon-ho, has enjoyed a winning start at its home box office. It earned $3.93 million on Thursday, according to data from Kobiz, the tracking service of the Korean Film Council.

    That put it far ahead of holdover title “Aladdin,” which came in second place ($527,000), and the fourth-place start for “Godzilla: King of the Monsters,” which opened a day earlier, on Wednesday, and earned only $212,000 on Thursday for a two-day cumulative of $768,000.

    Since “Parasite’s” victory in Cannes last Saturday and Bong’s return home Monday, the film has enjoyed nonstop enthusiastic coverage in the South Korean media. It was screened for Korean media on Tuesday.

    Plaudits were also heaped on actor Song Kang-ho, who has appeared in four of Bong’s films and who plays the father of a poor but resourceful family that works its way into the good graces of a richer family. “Parasite” also stars Lee Sun-kyun, Cho Yeo-jeong, Choi Woo-shik and Park So-dam.

    The positive reactions helped exhibitors to expand the film’s opening to a massive 1,783 of the country’s 2,600 cinema screens. The film is distributed by CJ Entertainment.

    In third place was “The Gangster, The Cop, The Devil,” which played in a midnight screening slot in Cannes and had its commercial release in South Korea on May 15. It earned $261,000 on Thursday, for a cumulative $22.7 million after two weeks.

    In North America, distributor Neon announced Thursday that “Parasite” would get an awards season release. It will start in Los Angeles and New York from Oct. 11.
    Cool. I love Bong's work.
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  15. #60
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    Oct 11 in LA & NY

    This deserves its own thread independent of the Cannes thread. Maybe there will be some archery or something martial in it.

    MAY 30, 2019 12:49PM PT
    Cannes Winner ‘Parasite’ Gets Awards-Season Release
    By DAVE MCNARY
    Film Reporter
    @Variety_DMcNary


    CREDIT: COURTESY OF CANNES FILM FESTIVAL

    Bong Joon-Ho’s dark comedy “Parasite,” which won the Palme d’Or at the Cannes Film Festival, has been scheduled by Neon for an awards season release of Oct. 11 in Los Angeles and New York.

    Neon made the announcement Thursday, asserting that it has positioned the title as a prime awards season contender in the international film category and beyond. “Parasite” will receive a traditional arthouse platform release with a gradual expansion.

    “Parasite” is a return to Korean-language film for Joon-Ho following “Okja” and “Snowpiercer.” It is also his fourth collaboration with Song Kang-Ho, who stars in the film, as well as his fifth collaboration with Neon CEO Tom Quinn.

    The film also stars Lee Sun-kyun, Cho Yeo-jeong, Choi Woo-shik and Park So-dam. Jessica Kiang called the film “brilliant” in her review for Variety out of Cannes.

    The story centers on the interactions between two families — one being the picture of aspirational wealth and the other rich in street smarts but not much else. The poorer family members provide “indispensable” luxury services while gaining a way out of their shabby circumstances. But this new ecosystem turns out to be fragile.

    Kwak Sin Ae and Jang Young Hwan from Barunson E&A Corp produced, with CJ Entertainment handling international sales and distributing in Korea.

    Neon bought North American rights to “Parasite” last October. At Cannes, Neon also acquired Celine Sciamma’s “Portrait of a Lady on Fire,” which won the best screenplay award at the festival.
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