"I love trees."

A message today from Juliette Binoche's instagram.

Box Office: Solo Flies Low, Binoche Charms, and Book Club Holds.

by Nathaniel R

Holiday Weekend Box Office Estimates (May 25th-27th)
W I D E 800+ screens	L I M I T E D excluding prev. wide
Solo: A Star Wars Story	Disobedience
1.🔺Solo $83 *NEW* REVIEW, BEHIND THE SCENES	1. 🔺 RBG $1.1 on 415 screens (cum. $5.6)  REVIEW
2. Deadpool 2 $42.7 (cum. $207.4)	2. Disobedience $368k on 224 screens (cum. $2.5) REVIEW
3. Avengers Infinity War $16.4 (cum. $621.6) REVIEW	3. 🔺 Pope Francis - A Man of His Word $290k on 385 screens (cum. $1)
4. Book Club  $9.4 (cum. $31.8) REVIEW	4. 🔺 First Reformed $282k on 29 screens (cum. $425k) REVIEW
5. Life of the Party $5.1 (cum. $39.1)	5. 🔺 How Long Will I Love U $210k on  23 screens *NEW*

These numbers will go up given that this weekend is extra long and there's still Memorial Day monday in which families are free to see movies if they'd like. But the numbers won't go high enough for Disney's taste. Now, $83 million in one weekend is nothing to scoff at but for a film within the Star Wars saga it's surprisingly low. Lots more on multiple films after the jump...

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Burning Question: Most egregious Weinstein-backed Oscar Nods?

Upon seeing Harvey Weinstein in handcuffs yesterday our friend Rob asked a very timely question on Twitter which we though we'd share here for rabid discussion purposes. 

In the spirit of the day: Which ridiculous Oscar nomination that Harvey Weinstein facilitated was the most infuriatingly egregious?

My personal vote goes to Chocolat's 5 nominations (including Best Picture!!!) in 2000. The fluffy disposable film was nominated over obviously well-liked films like Billy Elliott, Wonder Boys, and Almost Famous... and great but divisive films like Dancer in the Dark and. 

And though Juliette Binoche is one of the all time great screen actors, there was simply no excuse for that Best Actress nod when Michelle Yeoh (Crouching Tiger Hidden Dragon) and Björk (Dancer in the Dark) were both RIGHT THERE, totally inspired, and more than worthy of nominations. Even further outside the race there were still other leading ladies who were running circles around one of Binoche's least impressive performances including Michelle Pfeiffer's genre transcending in What Lies Beneath, Renée Zellweger's comic skill in Nurse Betty, and Gillian Anderson, all tragic and ravishing in The House of Mirth! 

But what's your answer to the question? And if you are 2000 focused, please let us know you're ideal Best Picture/Best Actress lineup that year.

NYFF: "First Reformed" and "Let the Sunshine In"

by Murtada

First Reformed
A middle aged priest in crisis sits down with a young man suffering from his own disillusionment with the status of our current world. Once the pleasantries are done with and the futility of existence and our doomed world become the topic of conversation, the alarm sirens start going off. It took the audience at the New York Film Festival screening a few moments to realize that the sirens are not part of the movie unfolding, but an actual false fire alarm asking us to vacate the cinema.

That’s how deeply engrossing Paul Schrader’s First Reformed is...

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The Furniture: Slack Bay's Giddy Grotesqueries

"The Furniture," by Daniel Walber, is our weekly series on Production Design. You can click on the images to see them in magnified detail.

“Look! Mussel-gatherers!” Isabelle Van Peteghem (Valeria Bruni-Tedeschi) shrieks. “How picturesque!”

Her deranged tone of voice, along with the confused faces of the mussel-gatherers, let you know that you’re watching a Bruno Dumont film. Slack Bay is a comedy of manners and hats, kidnapping and cannibalism. Set on the coast of Northern France in 1910, it’s a period piece with no shortage of surprises.

Initially, the film seems to be making a fairly straightforward point about tourism and class. André (Fabrice Luchini) and Isabelle Van Peteghem are nightmarishly enthusiastic. Aude (Juliette Binoche), André’s sister, is even worse. They all find everything terribly amusing, including the budding friendship between Aude’s daughter, Billie (Raph), and a local kid named Ma Loute (Brandon Lavieville). The interior of their home mimics the interiors of their heads, packed with dusty, fancy nonsense.

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