Academy Invites 397 New Members, Including Billie Eilish, Anya Taylor-Joy, Jamie Dornan, Dana Walden
Anya Taylor-Joy, Billie Eilish, Sheryl Lee Ralph, Caitríona Balfe, Jamie Dornan and Disney exec Dana Walden are among the 397 artists and executives invited to join the membership of the Academy of Motion Pictures Arts and Sciences. If all of this year’s invitees accept membership, it will bring the total number of Academy members to 10,665, with 9,665 eligible to vote for the 95th Oscars set to take place on March 12, 2023.
The 2022 class is 44 women, 37 belong to underrepresented ethnic/racial communities, and 50 are from 53 countries and territories outside the United States. There are 71 Oscar nominees, including 15 winners, among the invitees. Some of the big names invited are recent winners Ariana DeBose (“West Side Story”) and Troy Kotsur (“Coda”), and nominees Jessie Buckley (“The Lost Daughter”), Jesse Plemons and Kodi Smit-McPhee (“The Power of the Dog”). Also invited are a slew of global artists and artisans such as actors Robin de Jesús, Olga Merediz...
The 2022 class is 44 women, 37 belong to underrepresented ethnic/racial communities, and 50 are from 53 countries and territories outside the United States. There are 71 Oscar nominees, including 15 winners, among the invitees. Some of the big names invited are recent winners Ariana DeBose (“West Side Story”) and Troy Kotsur (“Coda”), and nominees Jessie Buckley (“The Lost Daughter”), Jesse Plemons and Kodi Smit-McPhee (“The Power of the Dog”). Also invited are a slew of global artists and artisans such as actors Robin de Jesús, Olga Merediz...
- 6/28/2022
- by Clayton Davis
- Variety Film + TV
Emily Atef, whose latest film “3 Days in Quiberon” competed at the Berlinale in 2018, is getting ready to shoot “More Than Ever,” a melodrama headlined by Vicky Krieps (“Phantom Thread”) and Gaspard Ulliel (“It’s Only the End of the World”). Jesper Christensen (“Before the Frost”) and Liv Ullmann will also star.
The Match Factory is representing the project in international markets.
“More Than Ever” (formerly known as “Mister”) was penned by Atef and German scribe Lars Hubrich, whose screenwriting credits include Fatih Akin’s 2016 film “Goodbye Berlin.” The movie is produced by Xénia Maingot at Eaux Vives Productions, and co-produced by Nicole Gerhards at Niko Film, Jani Thiltges at Samsa Film and Maria Ekerhovd at Mer Film.
The film follows Hélène, a 33-year-old women who lives in Bordeaux, France, and is in a happy relationship. Her life takes an unexpected turn when she finds out that she suffers from a rare lung disease.
The Match Factory is representing the project in international markets.
“More Than Ever” (formerly known as “Mister”) was penned by Atef and German scribe Lars Hubrich, whose screenwriting credits include Fatih Akin’s 2016 film “Goodbye Berlin.” The movie is produced by Xénia Maingot at Eaux Vives Productions, and co-produced by Nicole Gerhards at Niko Film, Jani Thiltges at Samsa Film and Maria Ekerhovd at Mer Film.
The film follows Hélène, a 33-year-old women who lives in Bordeaux, France, and is in a happy relationship. Her life takes an unexpected turn when she finds out that she suffers from a rare lung disease.
- 3/4/2021
- by Elsa Keslassy
- Variety Film + TV
Stéphane Batut, director of Burning Ghost (Vif-Argent) starring Thimotée Robart and Judith Chemla: “I saw a lot of films on TV very late in the evening, a lot of American films, John Ford, Vincente Minnelli.” Photo: Anne-Katrin Titze
On Tuesday afternoon, Film at Lincoln Center’s Florence Almozini made a surprise announcement that the Burning Ghost (Vif-Argent) director would be doing a brief Q&a following the Us première. This gave me the opportunity to comment to Stéphane Batut on the costumes designed by Dorothée Guiraud (Céline Sciamma’s Portrait Of A Lady On Fire; Lucie Borleteau’s Perfect Nanny; Mathieu Amalric’s The Blue Room) for his début feature.
Stéphane Batut on Juste’s (Thimotée Robart) costume anchoring the love scene: “I needed for the jacket to be particularly striking.”
Known as a much-in-demand casting director (Serge Bozon’s Mrs. Hyde; Mathieu Amalric’s Barbara; Claire Denis’ Let The Sunshine In...
On Tuesday afternoon, Film at Lincoln Center’s Florence Almozini made a surprise announcement that the Burning Ghost (Vif-Argent) director would be doing a brief Q&a following the Us première. This gave me the opportunity to comment to Stéphane Batut on the costumes designed by Dorothée Guiraud (Céline Sciamma’s Portrait Of A Lady On Fire; Lucie Borleteau’s Perfect Nanny; Mathieu Amalric’s The Blue Room) for his début feature.
Stéphane Batut on Juste’s (Thimotée Robart) costume anchoring the love scene: “I needed for the jacket to be particularly striking.”
Known as a much-in-demand casting director (Serge Bozon’s Mrs. Hyde; Mathieu Amalric’s Barbara; Claire Denis’ Let The Sunshine In...
- 3/15/2020
- by Anne-Katrin Titze
- eyeforfilm.co.uk
“Painterly” might be an overused term to describe a certain aesthetic of period cinematography, informed by candlelit interiors and sweeping outdoor compositions. But it seizes the essence of French writer-director Céline Sciamma’s deeply feminist 18th-century gay romance set on the coast of Brittany, “Portrait of a Lady on Fire,” which debuted in theaters on Valentine’s Day.
To bring to life the story of unwilling bride-to-be Héloïse (Adèle Haenel) and artist-for-hire Marianne (Noémie Merlant), tasked with painting a secret wedding portrait of Héloïse, Sciamma and cinematographer Claire Mathon visited art museums alongside classically trained painter Hélène Delmaire. Through their research, the trio aimed to define Marianne’s style and process on the canvas and make a movie that leans into artful compositions.
Delmaire created most of Marianne’s paintings in the film, drawing inspiration from 18th- and 19th-century greats like still-life genius Jean-Baptiste-Siméon Chardin, miniaturist Adélaïde Labille-Guiard, portrait painter...
To bring to life the story of unwilling bride-to-be Héloïse (Adèle Haenel) and artist-for-hire Marianne (Noémie Merlant), tasked with painting a secret wedding portrait of Héloïse, Sciamma and cinematographer Claire Mathon visited art museums alongside classically trained painter Hélène Delmaire. Through their research, the trio aimed to define Marianne’s style and process on the canvas and make a movie that leans into artful compositions.
Delmaire created most of Marianne’s paintings in the film, drawing inspiration from 18th- and 19th-century greats like still-life genius Jean-Baptiste-Siméon Chardin, miniaturist Adélaïde Labille-Guiard, portrait painter...
- 2/21/2020
- by Tomris Laffly
- Variety Film + TV
Céline Sciamma’s Portrait of a Lady on Fire is one of the most beautiful and transporting films you will ever see. The titular subject is Héloïse (Adèle Haenel), a reluctant bride-to-be who refuses to sit for a wedding portrait commissioned by her French Countess mother (Valeria Golino) in 1770. Subterfuge is the order of day as mom instructs the artist, Marianna (Noémie Merlant), to study her daughter by posing as her companion on her daily cliffside walks, then painting her from memory in secret. The artist falls under the spell of her subject,...
- 12/5/2019
- by Peter Travers
- Rollingstone.com
Portrait of a Lady on Fire is like a moving painting. But it's even more transfixing when its characters' interior lives hold you still.
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There is much talk about the standards and shackles of convention in Portrait of a Lady on Fire. This should not be a surprise since the exquisitely realized film from writer-director Céline Sciamma follows a young painter in the 18th century who is assigned the task of crafting a portrait literally intended for the male gaze. But just as this woman and her living subject debate the merit of aesthetic truth, and the fleeting quality of an individual’s essence, the film itself is a triumph in unconventional, honest moviemaking.
Constructing a slow boil romance between two women whose shared words barely rise above an innocuous simmer, Sciamma creates a vision as detailed as the best of 18th century artistry. The toast of...
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There is much talk about the standards and shackles of convention in Portrait of a Lady on Fire. This should not be a surprise since the exquisitely realized film from writer-director Céline Sciamma follows a young painter in the 18th century who is assigned the task of crafting a portrait literally intended for the male gaze. But just as this woman and her living subject debate the merit of aesthetic truth, and the fleeting quality of an individual’s essence, the film itself is a triumph in unconventional, honest moviemaking.
Constructing a slow boil romance between two women whose shared words barely rise above an innocuous simmer, Sciamma creates a vision as detailed as the best of 18th century artistry. The toast of...
- 9/27/2019
- Den of Geek
Halfway through Céline Sciamma’s razor-sharp and shatteringly romantic “Portrait of a Lady Fire” — as perfect a film as any to have premiered this year — the three main characters sit around a candlelit dinner table and argue the meaning of what happened between Orpheus and Eurydice. More specifically, the point of contention hinges on what motivated Orpheus to ignore the instructions he was given and turn around to look at his love, even though he knew it would cause her to vanish from the world forever.
Sophie (Luàna Bajrami), a naïve young house servant, opts for the most literal interpretation of the ancient tale: She insists that Orpheus was an idiot. But Héloïse (a brilliant Adèle Haenel), the older, booksmart, but similarly inexperienced daughter of the absent widow who owns the place, awakens to a different understanding. To her mind, Orpheus was completely in control of his wits, he just...
Sophie (Luàna Bajrami), a naïve young house servant, opts for the most literal interpretation of the ancient tale: She insists that Orpheus was an idiot. But Héloïse (a brilliant Adèle Haenel), the older, booksmart, but similarly inexperienced daughter of the absent widow who owns the place, awakens to a different understanding. To her mind, Orpheus was completely in control of his wits, he just...
- 5/19/2019
- by David Ehrlich
- Indiewire
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