TIFF 2012: More movies, Galas announced Published on Tuesday August 14, 2012 By Linda Barnard Movies Writer
The Toronto International Film Festival will close on an inspirational note with British director Paul Andrew Williams’s Song for Marion, starring Vanessa Redgrave, Terence Stamp and Gemma Arterton.
Described as “a feel-good, heart-warming story” about an elderly couple who have different thoughts on a local choir, the movie was one of three additional Galas (making 20 in total) and 18 Special Presentation films announced Tuesday morning, with eight world premieres among them, adding to the anticipation as TIFF kicks off for 11 days starting Sept. 6.
The final tally for Special Presentation films is 70 with 48 bragging World Premiere status. Among the new titles announced is Paul Thomas Anderon’s hotly anticipated The Master, staring Philip Seymour Hoffman and Joaquin Phoenix, Oscar-winning director Susanne Bier’s (In a Better World) Love is All You Need, starring Pierce Brosnan, Brain De Palma’s erotic thriller, Passion and Nick Cassavetes’ Yellow.
Danish director Susanne Bier made her international reputation with a series of stirring, powerful dramas, from Open Hearts to Brothers to the Academy Award®–winning In a Better World. But this remarkably accomplished filmmaker has always had a lighter side as well, as evidenced by her breakthrough film The One and Only, which initiated Bier's long collaboration with her frequent star Paprika Steen. Steen returns alongside Trine Dyrholm and Pierce Brosnan in Love Is All You Need, a sparkling romantic comedy that revives the spirit of Bier's earlier work.
Returning from her final, successful chemotherapy treatment, Ida (Trine Dyrholm) arrives home only to find her boorish husband Leif (Kim Bodnia) in a compromising position with a ditzy co-worker (Christiane Schaumburg-Müller). Stricken, she takes off to Sorrento alone to attend the wedding of her daughter Astrid (Molly Blixt Egelind) to Patrick (Sebastian Jessen) in a beautiful Italian villa, where the lemon groves and cypress trees form the perfect backdrop for a young couple who appear to be blissfully in love. Unexpectedly, Leif arrives with his new bimbo paramour in tow, leading Ida to give her husband a piece of her mind — and a face full of champagne. This display does little to impress Patrick's no-nonsense father Philip (Brosnan), a dashing but brooding widower who seems less than pleased with his life, his son, and his soon-to-be in-laws. When the young couple's future happiness is suddenly jeopardized, Ida and Philip are brought together to try to set things right — and find that life might have a second chance in store for them as well.
Bier's films have always been marked by their outstanding ensemble casts, and Love Is All You Need is no exception. Dyrholm invests Ida with a nervous energy (she's constantly adjusting her post-chemo wig) as well as warmth and humour. Brosnan delivers a delightful straight-man performance as the staid Phillip, while Steen is simply uproarious as the lustful sister-inlaw. Hilarious, touching and inspiring, Love is All You Need is a rousing toast to those who have the courage to transform their lives.
COLOGNE, Germany - Susanne Bier's modern-day romance Love is All You Need and two historic dramas -- Nikolai Arcel's A Royal Affair and Marie Kroyer from Billie August -- have made the shortlist to become Denmark's official entry for the 2013 Best Foreign Language Film Oscar.
A committee set up by local film industry organizations and the Danish Film Institute selected the three films and will name the final Danish Oscar candidate on September 18.
Both Bier and August are Oscar veterans. In a Better World won Bier the Best Foreign Language nod last year while August took the honor with Pele The Conqueror in 1989.
Arcel's A Royal Affair premiered at the Berlin Film Festival, where it won honors for best screenplay and best actor for star Mikkel Boe Folsgaard. The 18th-century drama stars Mads Mikkelsen as a reform-minded doctor who becomes physician to the royal Danish court and begins an illicit affair with the Danish queen (played by Alicia Vikander).
Bier's Love Is All You Need features Pierce Brosnan and In a Better World actress Trine Dyrholm. It will premiere in competition in Venice and, along with A Royal Affair, will also screen in Toronto in September.
Marie Kroyer, the story of the marriage between the painters Marie and P.S. Krøyer, co-stars Birgitte Hjort Sorensen and Soren Saetter-Lassen and marks the first Danish-language film August has shot in 25 years.
TrustNordisk is handling sales on both Love and A Royal Affair while Svensk is the world sales agent for Marie Kroyer.
The Academy of Motion Picture Arts and Sciences will announce the five nominations for Best Foreign Language Film on Jan. 15. The 2013 Oscar winners will be announced in Los Angeles Feb. 24.
Toronto's Programmer Steve Gravestock Shares His Views On His Nordic Picks
By Nordisk Film & TV Fond August 24, 2012
In two weeks 14 Nordic titles will be screening at the 37th Toronto International Film Festival (TIFF) including the latest additions from Sweden - Call Girl by Michael Marcimain and Eat Sleep Die by Gabriela Pichler, both selected for the Discovery section. In this exclusive article, long-time Nordic programmer for TIFF Steve Gravestock gives his personal views on the latest artistic output from the Nordic region.
"This year's Nordic films at TIFF are rather difficult to categorize neatly. The range really is quite spectacular, from larger and smaller scale historical pieces (Espen Sandberg and Joachim Rønning's Kon-Tiki; Nikolai Arcel's A Royal Affair; Mikael Marcimain's Call Girl; and Baltasar Kormákur's The Deep) to pieces about contemporary life (Eva Sørhaug's 90 Minutes; Gabriela Pichler's Eat, Sleep, Die; Sara Johnsen's All That Matters is Past; Jesper Ganslandt's Blondie; Tobias Lindholm's A Hijacking; Mika Kaurismaki's Road North; Thomas Vinterberg's The Hunt to romantic comedies like Susanne Bier's Love is All You Need and a fractured horror/fable like Thale.
But even these broad delineations break down upon further reflection. The historical films, for instance, are quite different - and in numerous cases they share deeper more profound connections with the contemporary work. Sandberg and Rønning's stirring Kon-Tiki, which deals with Thor Heyerdahl's attempt to cross the Pacific in a balsa wood raft, kind of reminds me of David Lean's epic movies. It's an adventure film first and foremost, and has more than its shares of thrilling sequences (my favorite is when a whale nearly upends their raft), but it also hearkens back to when scientists did work in the field, sometimes risking their lives, as opposed to a corporately funded laboratory. The film's approach to its hero is also intriguing and, in some ways, slyly funny. The filmmakers are very aware of how profound Heyerdahl's folly is. He can't even swim and his first recruit is a refrigerator salesman.
Baltasar Kormákur's The Deep also deals with men at sea, but here the scale is different, focusing on a totally remarkable everyman. Also based on a true story, The Deep follows an Icelandic fisherman whose boat goes down in the frigid North Atlantic and he has to swim for hours to get to shore, in temperatures most people wouldn't last ten minutes in. The film gradually assumes almost mythic status while saying a great deal about endurance and the nature of heroism.
Some of the historical films, like A Royal Affair, use the past as a distant mirror. The film looks at a physician (played by the great Mads Mikkelsen) who revolutionized Danish society by convincing the King to institute a sweeping range of reforms (and by sleeping with the queen). It's as much a critique of the conservative and isolationist elements in Danish society as it is about history. Similar issues are raised in Thomas Vinterberg's extraordinary Cannes hit The Hunt with Mikkelsen as a daycare worker/teacher who's accused of lewd conduct with one of his charges. His friends, whom he's known for decades, turn on him immediately.
Though it's set in the present, Jesper Ganslandt's Blondie also deals with the past through a well-off family (a mother and three daughters) who reluctantly reunite for the mother's 80th birthday. They're there to re-connect but secretly they all want some sort of payback for past slights. It uses that old Bergman trope of an isolated house basically inhabited exclusively by women, but it's an almost aggressive deconstruction of it.
Like Blondie, Johnsen's exquisite, tragic All That Matters is Past is partly about the past returning to haunt the present. It tells the story of star-crossed lovers (Kristoffer Joner and Marie Bonnevie) who leave society for the rural area they grew up in, only to be threatened by a sinister figure from their past. The scientist hero of Thale tries to right past wrongs while the heroine (played by the great Trine Dyrholm) of Susanne Bier's lovely and affecting Love is All You Need struggles to break with her dour past and embrace a new more promising future. Dyrholm delivers up a touching performance and she's abetted by a great cast including Pierce Brosnan.
Also based on true events, Marcimain's Call Girl deals with a 1970s prostitution scandal which was never fully exposed or investigated but came close to bringing down a party that had been in power for decades. It's related to the policier genre and the kind of political thrillers Costas-Gavras was famous for and sort of like an anti- Girl with the Dragon Tattoo - there are no Nazis, serial killers or punk computer geniuses with elaborate haircuts. It's very much about the arrogance power breeds and about that specific period in Swedish society. It also features a major performance by Pernille August as the Swedish Heidi Fleiss.
The other contemporary pieces are all over the place stylistically but frequently linked by an immediacy and a determination to deal with the current state of things. Pichler's Eat Sleep Die, one of the finest debuts from Sweden in recent memory, deals with an enclave of Balkan workers whose community is falling apart due to an economic downturn and the harsh realities of life in modern day Europe, where recent émigrés are replaced by newer arrivals who will work for less money. Eva Sørhaug's 90 Minutes -which some have likened to Michael Haneke's work- is a startling and profoundly disturbing portrait of Norwegian society through three unconnected stories about the last 90 minutes of a person's life, and it may be the first film of the post- Anders Brevik era.
Lindholm's impressive A Hijacking looks at modern pirates in a gritty, authentic way (down to using real locations and actors who have actually been involved in similar situations in real life) which invests the film with an extraordinary amount of tension.
With Road North, Finnish master Mika Kaurismäki continues his examination of male relationships, focusing on a wastrel father and his uptight son, and asking whether our determination to carve a different path than our parents isn't just as likely to lead us to similar fates. This isn't necessarily a contemporary story, but for anyone who has a complicated relationship with a parent (which is probably everyone to some degree), it definitely feels pretty immediate."
Michael Barker and Tom Bernard, two of TIFF’s greatest hitmakers Published on Thursday August 23, 2012
David Needleman/Corbis Outline “One thing we learned a long time ago — when you have fights, just make sure it gets over quickly," says Michael Barker, left, who has partnered with Tom Bernard at Sony Pictures Classics for 20 years.
By Peter Howell Movie Critic
Michael Barker and Tom Bernard talk about their uncanny movie partnership, which has sparked many TIFF hits, as if it were a successful marriage.
And why not? Their 20 years as co-presidents and co-founders of Sony Pictures Classics, the New York distribution and production label behind such hits as Ang Lee’s Crouching Tiger, Hidden Dragon and Woody Allen’s Midnight in Paris, means they’ve been together longer than many marital unions.
“One thing we learned a long time ago — when you have fights, just make sure it gets over quickly. We never leave the room without resolving it,” says Barker, 58, the chatty live wire of the duo.
Adds Bernard, 60, the pair’s taller and quieter member: “We’ll try and convince each other of an idea or a plan, but it’s in a manner of what is the best idea for whatever we’re working on. The conflict would be to try and find the solution.”
It seems the fights have been few and far between, judging by the high number of quality films released by Barker and Bernard under the SPC banner, which together have received 126 Academy Awards nominations (many for Best Picture) with 29 wins.
Even a partial list of their films reads like a greatest hits collection of quality cinema of the past two decades, both for dramatic and documentary works. Their eclectic choices span the globe and all genres.
Besides Crouching Tiger and Midnight in Paris, they’ve also brought to the art house — often via a TIFF premiere — such notables as Capote, An Education, A Separation, Run Lola Run, Take Shelter, The Raid: Redemption, Inside Job, The Fog of War, The Lives of Others, All About My Mother plus two recent Palme d’Or winners from Cannes, The White Ribbon and the brand new Amour.
The list goes on and on. So do the kudos Barker and Bernard receive from such influential film figures as TIFF director Piers Handling, who has long counted on them — as well as SPC co-founder Marcie Bloom and Executive Vice President Dylan Leiner — to bring great movies to Toronto.
“They bring us a rich and diverse mix of some of the best films made every year, films that our public loves,” Handling says.
“They’ve remained true to their belief in an artist-driven cinema, know how to get the maximum out of every screening, and approach each festival with the precision and dedication needed to land a rover on Mars.”
The admiration is mutual. Bernard and Barker, who first went to TIFF in 1979 and 1981 respectively, joke that they’ve been working Toronto’s film festival longer than Handling, who joined TIFF in 1982 (although he’d been attending as a film buff since its 1976 debut as the Festival of Festivals).
“It’s always been one of the most important film festivals in the world,” Barker says. “But even more than that, I think going to the Toronto film festival and seeing the movies in those big theatres with the responsive Canadian audiences really helps us do our job.
“It not only launches our movies and has the movies shown in the best possible way, but it also gives us direction on how to handle our movies, how to market them to the public.”
Bernard agrees, but he shares an oft-voiced concern that TIFF may be straying from its serious auteur roots into becoming more of a glittery festival of stars and Hollywood packaging.
“It’s taken (TIFF) a long time to get caught up in the premiere thing,” he says. “Their motivation was to show the best movies, not just the latest ones.
“They’re starting to get a little caught up in the premiere thing and I think that’s a mistake . . . it’s an easy trap to fall into and the festival hasn’t, but you hear rumblings every now and again.”
There will be no shortage of top-drawer auteur directors at TIFF as long as Barker and Bernard have anything to do with it. This year they’re bringing eight films to the fest, including Amour, the late-life love story that this year won Austria’s Michael Haneke his second Palme d’Or at Cannes.
The other seven films on SPC’s TIFF 2012 slate include savvy picks from Cannes, Sundance and other cinema hot spots: Jacques Audiard’s offbeat love story Rust and Bone, Pablo Larraín’s politically aware No, Amy Berg’s justice-denied doc West of Memphis, Susanne Bier’s Nordic rom-com Love is All You Need, Dror Moreh’s Israel counter-terrorism doc The Gatekeepers, Ramin Bahrani’s rebel son drama At Any Price and James Ponsoldt’s tippling teacher drama Smashed.
How do Barker and Bernard spot great films? They follow the people who make them.
“We have always subscribed to the auteur theory,” Barker says.
“We study filmmakers and we come from the point of view of trying to make choices about filmmakers that you believe in. A through-line of our survival in the business is sticking with the filmmakers we choose.
“This year we have Rust and Bone with Jacques Audiard; we were at TIFF three years ago with A Prophet. We are at TIFF this year with Michael Haneke and his Palme d’Or winner Amour; we were there three years ago with The White Ribbon, and two years before that with Caché. Sometimes (the directors) go away, but eventually they come back to you.”
The two are also on the lookout for great cinema experiences that make them want to get behind a film, even an unconventional or challenging one.
“It’s the film that speaks to me, that connects to me — that’s the one,” Bernard says.
“I don’t think that the technical aspects necessarily are something that’s important. I think it’s how the story is told and the elements that are used to tell that story. They could be as a loose as a movie like Easy Rider or as sophisticated as a movie like (Kurosawa’s) Ran. There’s a magic to me in how the story touches people, how it is told.”
The duo both name Crouching Tiger, Hidden Dragon as their top success. They got involved with this 2000 martial arts drama when it was just a glimmer in director Ang Lee’s eye, with Bernard persuading Barker that an Asian film could do well in the Western world.
Did it ever: Crouching Tiger took in $128 million at the North American box office and garnered 10 Oscar nominations (including Best Picture), winning four of them (including Best Foreign-Language Film).
“It was a breakthrough movie, the way it spoke to so many different audiences,” Bernard reflects.
“It broke the subtitle barrier. It put an Asian director in a world of the Oscars that don’t normally acknowledge those people or that group.”
Bernard and Barker have actually been together for close to 30 years. Prior to creating and running SPC, they established the specialty film imprints United Artists Classics (Ticket to Heaven, The Grey Fox) and Orion Classics (Ran, Slacker, Babette’s Feast, Women on the Verge of a Nervous Breakdown).
Those two labels have since becomes victims of downturns, mergers and other industry upheavals, but Sony Pictures Classics endures, as does the partnership of Barker and Bernard.
And it gets right back to that marriage analogy again.
“The thing is, we’re very different kinds of people and I think we both acknowledge that — one has a skill that the other one doesn’t,” Barker says.
“Tom has skills I don’t have, and he acknowledges to me that I have skills he doesn’t. We feel a need to complete ourselves with the skills of the other person.”
Adds TIFF’s Handling: “They believe in long-term relationships — Pedro Almodovar, Michael Haneke and Woody Allen are just a few examples — and champion foreign-language films in an increasingly conservative marketplace.
“They love the artist and will fight tooth-and-nail to have their films seen and appreciated by as many people as possible. I admire their taste, commitment and love of the game.”
Post by piercebrosnanhot on Aug 30, 2012 8:23:09 GMT -5
"Ainult armastust" on soe ja positiivne komöödia, mis näitab veenvalt, et ka kõige lootusetumas olukorras võib kõik hea alles ees oodata. Film on Taani-Rootsi-USA koostöö ning peaosades on Eesti publikule tuntud Taani näitlejanna Trine Dyrholm ning USA staar Pierce Brosnan.
Režissöör Susanne Bier ("Brothers", "In a Better World") on filmi pannud nii armastust, absurdi, huumorit, teravmeelset dialoogi kui ka südamlikke karaktereid. Kaks väga erinevat perekonda kohtuvad kaunis Itaalia villas, et tähistada koos romantilist, viimse detailini planeeritud pulmapidu. Loomulikult ei lähe kõik nii, nagu plaanitud...