You’ll shed a tear or two—especially if you’re a parent—and they’ll be totally earned.
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
An interview with the legendary James Ivory about the re-release of Heat and Dust and the upcoming Call Me By Your Name.
Premieres, Midnights, Special Events and more have been announced for next month's Sundance Film Festival.
Director James Ivory talks about his film adaptation of E.M. Forster's classic novel.
The latest and greatest on Blu-ray, DVD, and streaming including "Magic Mike XXL," "The Duke of Burgundy," "The Connection," and three Criterion releases.
"35 Shots of Rum". Two couples live across the hall in the same Paris apartment building. Neither couple is "together." Gabrielle and Noe have the vibes of roommates, but the way Lionel and Josephine love one another, it's a small shock when she calls him "papa." Lionel (Alex Descas) is a train engineer. Jo (Mati Diop) works in a music store. Gabrielle (Nicole Dogue) drives her own taxi. Noe (Gregoire Colin) claims only his much-loved cat is preventing him from moving to Brazil.
The prospect of filming "Waiting for Godot" has always fascinated me. Can film do it any justice? Better yet, will it even translate well on film? I believe it could work. However, it depends on who adapts the screen adaptation. I'm not talking about a re-imagining but a direct adaptation. I cannot see anything being changed in "Waiting for Godot" because if anything is changed it will not be Samuel Beckett's "Waiting for Godot" but [Director's Name]'s "Waiting for Godot."
Still, if nothing is changed, it still doesn't mean it will work as a motion picture. Some of the greatest works of literature have been adapted to the silver screen with a faithful structure and direct character quotations, only to fail miserably. Take Henry James' "The Europeans" for example. The novel is a perfectly enriched with interesting characters trying to adapt in a sudden clash of cultures.
“The White Countess” (2005) (producer)
CANNES, France -- Since my last dispatch I have seen nine films, four of them more than three hours long, bringing my Cannes total to 16 movies in six days. I feel like the hero of "A Clockwork Orange," who had his eyelids propped open with toothpicks while cinema was force-fed into his brain.
CANNES, France -- I am sure that the opening of this year's Cannes Film Festival will be a night to remember, but I will not remember it, because I will be elsewhere. I will not attend the inaugural screening of Roland Joffe's "Vatel," even though it does star Gerard Depardieu and Uma Thurman, and even though I am invited to the party afterward.
Ebert's Best Film Lists1967 - present
TORONTO -- I can't identify with a lot of the families I see in movies. They aren't like my family and I doubt if they're like anyone's. The family in "A Soldier's Daughter Never Cries" isn't like anyone else's family, either, but I never doubted for a moment that it existed. The movie could be advertised with a line like, "Apart from the fact that my dad was an alcoholic novelist and we were raised in the expatriate colony in Paris in the 1960s, I had a typical American childhood."
The Festival International du Film, held annually in Cannes, France, has become the world's most prestigious film festival—the spot on the beach where the newest films from the world's top directors compete for both publicity and awards.
"Schindler's List," the somber epic by Steven Spielberg about the Holocaust, won 12 Academy Award nominations, firmly establishing itself as the front-runner for this year's Oscars.
"Unforgiven" and "Howards End," both about dying castes, one in the old West, one in England, led the 1993 Academy Award nominations Wednesday morning with nine mentions apiece.
Ebert's Best Film Lists 1967 - present