olivier assayas Tagged Articles at Cinematical

Deals. Michel Gondry's doc The Thorn in the Heart may not have generated much positive buzz when it premiered at Cannes last week, but it impressed the folks at Oscilloscope Laboratories. They acquired North American rights to the film and are planning a theatrical release, according to indieWIRE. Thorn examines the life of Gondry's aunt, a schoolteacher for more than 30 years in rural France. David Hudson at IFC's The Daily gathered links to the coverage, in which one critic calls Thorn a "glorified home movie" and another predicts that "normal people will simply walk out of it," while others defend it as "a lovely, minor-key ode" and "mildly diverting."

Box Office. Stephen Elliott's Easy Virtue led the way, earning a very tidy $110,443, according to Box Office Mojo, which averages out to $11,044 per screen. Jessica Biel gives her best performance so far as an American race car driver who marries a young British man (Ben Barnes) after a whirlwind romance, and then must deal with his stuffy mother (Kristin Scott Thomas), curiously distanced father (Colin Firth), and flighty sisters. It's a romantic comedy with dramatic depth, light on its feet yet unafraid to stand still and contemplate fate and mortality.

Expanding into 52 theaters in its second week of release, Rian Johnson's con man comedy The Brothers Bloom rode a wave of appreciative reviews to a per-screen average of $7,394, just a little ahead of Olivier Assayas' critically-acclaimed family drama Summer Hours, starring Juliette Binoche. (We've embedded the lively trailer for the latter title below.) The highly-praised doc Burma VJ opened on one theater with a modest take of $5,554 -- not bad on a crowded weekend.

After the jump: The festival beat goes on in Seattle and at Silverdocs.

In telling the story of Joy Division's Ian Curtis, director Anton Corbjin focuses on his wife Deborah (Samantha Morton) as much as the singer (Sam Riley) himself. Control hits DVD today courtesy of The Weinstein Co.; Corbijn contributes an audio commentary and a conversation. Other extras include a "making of" feature, extended live performances, and music videos from Joy Division and the Killers. James Rocchi reviewed Control and so did Christopher Campbell.

Mr. Rocchi also saw Olivier Assayas' Boarding Gate, but he noticed one problem: "The film has no motor to drive it. " Even the more adventurous and/or devoted fans of director Assayas may wish to proceed with caution. Asia Argento and Michael Madsen star. The DVD from Magnet Releasing includes interviews with Ms. Argento and a feature entitled: "Boarding Gate: In Touch with Asia."

Michael Radford's heist film Flawless inspired Eric D. Snider to write a glowing guarded recommendation; he concluded: "Michael Caine and the rest of the mostly British cast are serious enough to pull the job off, and they make the flick eminently watchable." Look for the DVD from Magnolia.

Do you really need to know what Twisted: A Balloonamentary is about? The title alone justifies a rental, but if you insist on knowing more, I refer you to Richard von Busack's recent post on the film's theatrical success. The DVD includes an audio commentary, deleted scenes, and much more.

The big story of the weekend was the success enjoyed by Under the Same Moon (Fox Searchlight / The Weinstein Co.), which earned $8,910 per screen playing on 266 screens, according to estimates compiled by Leonard Klady at Movie City News. Our own Jette Kernion described it as "essentially an old-fashioned family melodrama." She pointed out that the film has an "overt agenda" in its message about U.S. undocumented workers, but concluded: "Despite its flaws, Under the Same Moon is an entertaining film that knows how to charm an audience."

Playing at one theater in New York and one in Los Angeles, Planet B-Boy (Elephant Eye Films) made $14,500 per screen, giving it the highest per-screen average. Benson Lee directed the documentary, "which weaves the stories of numerous crews from 18 nations vying in the Battle of the Year championship in Braunschweig, Germany," in the words of Ed Gonzalez in The Village Voice. "What most sticks is Planet B-Boy's aesthetic, which feels jocked from the school of Michael Moore."

Earlier this month, I posted about a secret film debuting at the Cannes Film Festival. All that was known at the time was that it would be a compilation of 30 shorts, each about three minutes long and directed by an internationally respected filmmaker, and that it wouldn't be shown to the public. Now, thanks to an official press release, we learn that there are in fact 33 shorts from 35 filmmakers (including two pairs of brothers) and that the film, titled To Each his Own Cinema, will air on French television on May 20 following its premiere at the festival. So now I don't have to wish I could attend Cannes; I have to wish I got Canal +.

Also revealed are the names of the 35 participants, all of whom were supposed to be kept secret until the film's unveiling, and a few details about the project. Each director was assigned the task of filming, "their current state of mind as inspired by the motion-picture theater." The only individual specifics mentioned in the press release, which was written by festival head Giles Jacob, are that Wim Wenders shot in the Congo, Tsai Ming Liang shot in Kuala Lumpur and David Cronenberg shot "in the ... toilet!" (probably meaning the bathroom, not the bowl). But anyone familiar with the directors involved can imagine the kind of diversity that will be seen in the film.

See the names of the 35 collaborators after the jump.

Museums haven't been completely separate from film, especially in the art world, where modern art installations often include video imaging. So, it wouldn't be surprising to hear that two leading museums are involving themselves in film. However, I'm not talking about art installations, but full-length films. Both Musee d'Orsay and the Louvre, Paris' leading museums, are joining the cinematic world by underwriting films by internationally-acclaimed directors.

For Musee d'Orsay's 20th anniversary, the museum has chosen to work with four filmmakers to create a series that includes different plots, but centers around the museum. The filmmakers in question: American Jim Jarmusch, France's Olivier Assayas, Chilean Raoul Ruiz and Chinese director Hou Hsia-Hsien. Each will star veteran French actress Juliette Binoche and will range from a tribute to the French classic, The Red Balloon, that has the balloon sailing into d'Orsay, to a film about what the building was before -- a train station and hotel.

The Louvre is being a little more secretive for its first foray into film financing. Out of the three upcoming films they plan to co-produce and co-finance, only one has been discussed in any detail -- Faces by Taiwan's Tsai Ming Liang, who was a winner at the Berlin film festival for The River. Jean-Pierre Leaud will star, and the film will take place completely in the museum.

This is, obviously, a great way for museum's to advertise themselves abroad and keep their names on the tips of the world's tongues -- the same motivation that drove Greece to allow Vardalos to be only the second director to shoot at the Acropolis (the last being Coppola for New York Stories). What are your thoughts? Should museums dip their toes in this area?

The news that arthouse legend Hsiao-hsien Hou is working on his first film outside Asia has been drifting around the web for a few weeks now, but details about the project are few and far between. Currently shooting in Paris, the film is reportedly called Orsay and revolves around a little boy and his Chinese student babysitter "who inhabit the same imaginary world. Throughout their adventures they are followed by a strange red balloon." The film's working title was Ballon Rouge, and the presence of the balloon is clearly a tribute to 1955's Le Ballon rouge; Juliette Binoche will play the boy's mother.

Interestingly, the film is apparently not a stand-alone project. In fact, it's the first installment in a four-film series, created to celebrate the 20th anniversary of Paris' Musee d'Orsay. The other directors involved? Oh, no one important -- only Olivier Assayas, Jim Jarmusch and Chilean director Raoul Ruiz. Damn, that's a museum with some pull! Hopefully the films will at least get limited runs here in the US.

Well, hell. I've been all excited (and, hopefully, the few of you interested in Hong Kong film have, as well) about the fact that Simon Yam is part of the ever-expanding cast for Olivier Assayas' multi-cultural Boarding Gate, and now it turns out that Yam isn't going to be able to do the film. Which, you know, sort of sucks. The good news, though, is that Yam pulled out of the project because he's committed to playing a part in Johnnie To, Tsui Hark and Ringo Lam's "puzzle film." In case you've forgotten, the film will be directed in thirds, with each section being completed before the next is made. The three will reportedly tell a single story, but each director will have to write his segment based on what the director before him does with his own piece -- for example, if Hark, who is going first, kills off his main character at the end of his segment, To, who comes next, will have to come up with a way to deal with that event.

As a frequent collaborator with To, Yam apparently felt he had to make the puzzle film a priority (plus, it sounds like a hell of a lot of fun); because it was likely to shoot at the same time as Boarding Gate, he was forced to pull out of Assayas' project.

Just last week, I shared the exciting news that Hong Kong superstar (and a pretty good actor, to boot) Andy Lau was going to appear in Olivier Assayas' Boarding Gate, assuming the film fit into his schedule. It now appears, unfortunately, that despite the fact that Assayas reportedly flew all the way to Hong Kong (From Paris, I assume. It's less impressive if he was in Beijing before making the trip.) to make the request in person, Lau won't be able to take part in the project. Before you fans of HK film get too depressed, however, check this out: Both Kelly Lin and Simon Yam (aka one of the most wonderful supporting actors the world has ever known) will now be appearing in the film. Yay! As long as this sucker doesn't turn into an HK-stars-making-cameos mess (which, since we're talking about Assayas, seems very unlikely), it's sounding more exciting by the second.

In other news from Hong Kong, Johnnie To has announced that he recently signed a deal with Meridian Pictures. Under the terms of the deal, To will reportedly direct 3-4 "big budget" films for the studio over the next six years. What's interesting about this news is that the first project has already been revealed: It's called Butterfly Flies and will star Li Bing-bing and Vic Chow in a story about "a girl who has a fight with her boyfriend right before he dies in an accident. She gets depressed, and then she meets his ghost." (A far cry from To's output for Milky Way, huh?) There's no word on the timeframe for this one (the script is yet to be written), but things happens fast in Hong Kong, so it could easily be out sometime next year.

According to reports on the foreign wires, ageless Hong Kong legend Andy Lau is in talks to star in the next film from critic-turned-director Olivier Assayas, a project that would mark Lau's English-language debut. As we reported back in February, the film, entitled Boarding Gate, already features a cast including Asia Argento and Maggie Q (and, if you believe the IMDb and various web reports, Michael Madsen and both Tony Leungs), and is set to shoot this summer in Hong Kong and France.

Early reports indicated the movie has an awesomely convoluted plot, involving "An Italian woman [Argento] who lives in London [and] has a passionate affair with a former financial big gun [Madsen]. She also had a second lover [a Leung], a contract killer who has to kill the big gun. Her second lover's wife [Yeoh] is behind the scenes, pulling the strings." So it sounds pretty damn great, no matter who Lau might play. The problem, however, is that Lau is supposed to be shooting a film with Derek Yee this summer as well, and it may be difficult for him to find time to appear in Boarding Gate. According to Lau, though, there is still hope, because Assayas has said he'll "try to work around my schedule."

I just wish we had a damn release date for this thing -- the combination of cast and director on this one is making it one of my most-anticipated upcoming projects.

French director Olivier Assayas has an impressive filmmaking pedigree: his father was writer/director Jacques Rémy and, like François Truffaut and Jean-Luc Godard before him, he wrote for Cahiers du cinéma before taking up direction. Irma Vep, his international breakthrough, got a certain degree of exposure in the US, but despite its complexity and relative success, he's be largely overlooked here since then. While it's unlike that anything will change with the release of his next project (which he wrote and will be directing) it nevertheless sounds intriguing.

Entitled Boarding Gate, the movie boasts a multicultural universe of stars, including Michelle Yeoh, Asia Argento, Michael Madsen, and not one but two Tony Leungs. According to early web reports, the film's convoluted plot revolves around "An Italian woman [Argento] who lives in London [and] has a passionate affair with a former financial big gun [Madsen]. She also had a second lover [a Leung], a contract killer who has to kill the big gun. Her second lover's wife [Yeoh] is behind the scenes, pulling the strings."  With Assayas at the helm, the chances that the movie will be the straightforward genre story that summary suggests is pretty much nil, so it'll be exciting to see what approach he takes. No information is yet available about when he might begin shooting, however, and it's likely to be a while before we get to take a look.