Tribeca: Jon Hamm Gets a ‘Corner Office’

By Abe Friedtanzer

 

Offices in movies and television are typically represented in a stark and uninteresting way, where joy goes to die and monotony rules each boring day (even in comedies like The Office). That’s certainly the case in Corner Office, a Tribeca entry that casts Jon Hamm as Orson, a new employee who is intent on following a carefully-set schedule that ensures no time for shenanigans and nothing more than a five-minute break each hour for any sort of non-work activity. While Orson is dull and has no ability to read social cues, he too finds his time in the office draining, until he discovers a door to a large and old-fashioned office that no one else seems to know exists…

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Cannes Diary #2: Sweet cruel nature and Hollywood's top gun

by Elisa Giudici

Did Tom Cruise save Cannes Film Festival on the very first day? Well, he surely helped the 75th edition with old school star power. Thierry Frémaux welcomed Tom Cruise as a king, a savior, or maybe just a big Hollywood player willing to lend all of his charismatic  in order to give a sense of a grandiose overture.

Considering how good reviews are for Top Gun: Maverick, Cannes needed Cruise more than Cruise needed Cannes. Nevertheless, the actor presented himself as an ally of festivals and theatres, a strong advocate of in-person cinematic experiences. In the dedicated Q&A, Cruise said that during the pandemic he reassured even the popcorn guy at his local cinema, who had phoned him to know if Top Gun Maverick could end up on a streaming platform as an exclusive. 'No way!' Wait, the popcorn guy at Cruise’s nearest cinema has his phone number? was my first reaction. Well, Cruise is for sure #TeamGoingToTheTheatre. He claims he goes regularly himself, wearing a cap so he's not recognized...

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Cannes Diary #1: The festival opens with zombies... again

Elisa Giudici reporting again from Cannes!

Cannes is back again trying to rewrite its new normal. After the skipped 2020 edition and the anomalous summery one in 2021, the 75th Cannes Film Festival is has kicked off with the Croisette in full blossom. Masks are almost gone in theatres (even if before every movie a recorded voice “strongly suggests” to wear one), Marché du film (the huge Film Market's event in Cannes) has ended a period of crisis and low presence. COVID-19 changed the French festival and some changes are here to stay...

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Drive My Cannes: The New Competition Lineup!

Direct from France, please welcome longtime reader / first time contributor Arnaud Trouvé to talk about the Cannes festival and share the new lineup... uPDATE 04/23: new additions indicated below under red headlines

Ruben Östlund's "Triangle of Sadness" © SF Studios

by Arnaud Trouvé

My first encounter with the Cannes Film Festival was in 1998, when Roberto Benigni kissed Martin Scorsese’s feet after winning the Grand Prix for Life is Beautiful (which he mistakenly took for the Palme d’Or). Cannes ceremonies are always broadcast live on French TV and my interest grew rapidly over the years. Flash-forward to 2009: the Paris visual effects company I’m working for had to deliver over a hundred shots for an upcoming production destined for the Croisette. "It has to be ready for Cannes," was the motto as we worked on a very tight schedule. This production happened to be Gaspar Noé’s Enter The Void and we managed to screen it in Competition at the last minute, with no opening or closing credits!

A decade later, the announcement of the Cannes lineup is still an annual event for cinephiles around the world. And after a bonkers ceremony in the summer of 2021 that saw the victory of Titane, the festival is ready to get back to its usual May slot. Let’s have a look at its anticipated official selection unveiled today by artistic director Thierry Frémaux...

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SXSW: Andrea Riseborough Shines in ‘To Leslie’

By Abe Friedtanzer

 

It's an unwritten rule that every festival must include at least one movie starring Andrea Riseborough, sometimes as many as four (that was Sundance 2018). While I’ll note that I haven’t seen one of her more recent entries – Brandon Cronenberg’s Possessor – most of her turns in the past few years have been very subdued in lackluster films like Nancy, Luxor, and Here Before. I fondly remember her standout performances even with minimal roles in Birdman and The Death of Stalin, and I’m pleased to report that her latest effort, To Leslie, gives her a superb platform again in a leading part…

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