Despite having a strong film industry creatively – recent Swedish films include Roy Andersson’s Toronto Film Festival player “About Endlessness” and Sweden’s Oscar entry in the International Feature Film category, Levan Akin’s “And Then We Danced” – Sweden is among a forlorn group of just four countries in the European Union and the European Economic Area that still don’t have a national government-funded film and TV filming incentive.
Whereas Finland, Norway and Iceland, with their 25% incentives, are more sought after location destinations for foreign producers, Sweden and Denmark – the most prolific countries of Nordic cinema – are still waiting for their
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Toby Wallace’s turn as a small-time drug dealer in Shannon Murphy’s debut feature Babyteeth has won him the Venice Film Festival’s Marcello Mastroianni Award for best young actor.
It is the second year in a row that the prize has been won by an Australian, with last year’s gong going to Baykali Ganambarr for his debut performance in Jennifer Kent’s The Nightingale.
In Babyteeth, Wallace stars as Moses, the love interest of Eliza Scanlen’s Milla, a terminally ill teenager. Their relationship is a nightmare for Milla’s parents, played by Ben Mendelsohn and Essie Davis, but Milla teaches those in her orbit how to live like there is nothing to lose.
Produced by Alex White and based on Rita Kalnejais’ Belvoir Theatre play of the same name, the film was critically lauded after its debut in competition at Venice last week.
The film about the Batman villain, which has inspired a slew of debate online since its premiere, will be released in the UK on October.
Roman Polanski's An Officer And A Spy - which had already sparked controversy by being included due to the director's Us fugitive status after his conviction for statutory rape in 1978 - won the Grand Jury Prize.
Polanski's wife Emmanuelle Seigner, who stars in his dramatisation of the Dreyfus affair political scandal - which also won the Fipresci award - collected the award on his behalf.
The Silver Lion went to Roy Andersson for About Endlessness, while writer/director Yonfan won the best screenplay for his Hong Kong animation No. 7 Cherry Lane.
The acting awards in the main
Joker has been capturing headlines since its world premiere on August 31st. It has received positive critical reviews and an abundance of praise for Joaquin Phoenix's transformative performance. Under Todd Phillip's direction and a script from Phillips and Scott Silver, Joker seems to surprise and delight.
The film centers around Batman's iconic arch nemesis. It is an original standalone story that explores the man who would become known as The Joker. Phoenix plays Arthur Fleck, a man struggling to find his place among the divided and troubled society of Gotham.
About Endlessness is Roy Andersson’s fourth film of this century; it looks much like the previous three, and nothing like anything else ever made. Mostly unrelated blackout scenes are shot on forced-perspective studio sets stripped bare of the real world; minor-key moments of human angst, like a waiter ineffectually mopping up a red wine spill with an absolutely sodden towel, or a housewife’s half-consoling, half-embittered impatience
However, those critics who gave the dark R-rated movie a thumbs down didn’t hold back in their grousing over this attempt to display the sociopathic instincts that take root in angry urban misfits who are determined to leave their mark. “Time” critic Stephanie Zacharek wrote these damning words: “Phillips may want us to think he’s giving us a movie all about the emptiness of our culture,
How do you think “About Endlessness” differs from your previous work?
In recent years, the Venice Golden Lion has gone to films that went on to have legs in the awards-season conversation stateside. Last year’s Lion went to Alfonso Cuarón’s “Roma,” which won three Academy Awards for Netflix but lost Best Picture to “Green Book.” The year prior, the Golden Lion went to Guillermo del Toro’s “The Shape of Water,” which won Best Picture at the Oscars in 2018.
In a surprise upset over Joaquin Phoenix in hot competition title “Joker” (until it carried off with the Golden Lion), Best Actor went to Luca Marinelli for
The comic book film starring Joaquin Phoenix in an origin story of the iconic Batman villain beat out a lineup that also included films such as James Gray’s “Ad Astra” and Steven Soderbergh’s “The Laundromat” for the top prize.
“I want to thank Warner Bros. and DC for stepping out of their comfort zone and taking a big swing on me,” director Todd Phillips said as he accepted the Golden Lion.
Polanski’s “An Officer and a Spy” stars Jean Dujardin in a film about the Dreyfus Affair. His presence at the festival generated some backlash, as it’s his first film since the director
Among the most contested titles, from even before the fest kicked off, is Roman Polanski’s An Officer And A Spy which nevertheless held sway with Italian critics in an annual poll. Any win tonight would certainly seem to cement the divide between U.S. and Euro perspectives in the #MeToo era.
Overall, and for Hollywood, among the biggest show-stopping moments of the past 10 days was the world premiere of Warner Bros’ Joker with a mesmerizing turn by star Joaquin Phoenix. Also highly-praised are such
Todd Phillips’ Joker, starring Joaquin Phoenix as the DC Comics villain, cemented its Oscar credentials after winning the Golden Lion at this year’s Venice Film Festival.
At tonight’s award ceremony (September 7) the Silver Lion grand jury prize went to Roman Polanski’s An Officer And A Spy. Despite the controversy following the director, the film also picked up the Fipresci prize yesterday.
Swedish veteran Roy Andersson won the best director award for comedy About Endlessness.
The Lucrecia Martel-led jury awarded best screenplay to Hong Kong animation No.
It’s a rarity for a major Hollywood studio production to take the top prize at Venice, and unprecedented for a superhero-adjacent property to take any such honor, but the Warner Bros. title established itself early on as the festival’s lightning rod: a film that sparked headlines and critical discussion to the very end of the festival, as many other competing titles came and went without a ripple.
Variety chief critic Owen Gleiberman was among its many champions, acclaiming it as “a neo-‘Taxi Driver
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