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We’re now just about a month away from the U.S. release of Pedro Almodóvar’s first English-language The Room Next Door, starring Julianne Moore and Tilda Swinton. The feature took Venice Film Festival by storm, picking up the festival’s top honors with the Golden Lion, and now ahead of its December 20 release from Sony Pictures Classics, one of its stars has revealed it may be her final film.

Speaking in conversation with her co-star Moore in an Elle feature, Swinton revealed, “I’ve always intended that each film would be my final one. It was not wanting to jinx anything because I have had such fun from start to finish. I always thought, ‘Well, that’s a good one to go out on. Let’s just quit while we’re ahead.’ And I feel it today. I feel The Room Next Door is the last film I make.

Joshua Oppenheimer is tired.

The two-time Academy Award nominee isn’t simply spent at the tail end of an exhausting week for the American body politic. Nor has he tossed and turned his way through countless sleepless nights, doomscrolling through the nightmare scenarios of what a second Trump administration could mean for Americans’ civil rights, the rule of international law, women’s bodies, the fate of the planet — take your pick.

Speaking with Variety at the Thessaloniki Film Festival, where the “Act of Killing” director’s first fiction feature, “The End,” is the closing film, Oppenheimer has just arrived from Japan, where he spent two weeks with his husband, a Japanese novelist, visiting the in-laws while his partner researches his next book.

The filmmaker barely managed to sleep on the plane, though he is poised, thoughtful and gracious to a fault as he powers through his festival press junket. He is also determined and defiant,...

Get in touch to send in cinephile news and discoveries. To keep up with our latest features, sign up for the Weekly Edit newsletter and follow us @mubinotebook on Twitter and Instagram.NEWSLa région centrale.Donald Trump has been elected president of the United States for a second time.Major film distributors declined to pick up Ali Abbasi’s The Apprentice (2024) under threat of legal action from the Trump campaign, just as recent documentaries, including No Other Land and The Bibi Files (both 2024) have been neglected.In a stunning blow to film preservation, the Academy of Motion Picture Arts and Sciences (AMPAS) has laid off sixteen employees from its archive and library departments as part of a broad “restructuring” plan. Several were instrumental archivists who had been at the Academy for years.Not only are Moroccan filmmakers receiving plum spots in international festival lineups, but investments from foreign productions, a new streaming service,...

Creating an original musical in the year 2024 is an achievement in its own right, even if it’s only part of the reason why Joshua Oppenheimer’s new narrative feature “The End” is so audacious. Audiences seem to flock to new musicals like “Wonka” and “Mean Girls” because they offer an only slight alteration on a previously existing work of intellectual property that they are already familiar with, and even this year’s divisive “Emilia Pérez” has ostensibly sold itself on being a “musical for people that hate musicals.” If there’s anything that “The End” does that is most worthy of admiration, it’s that Oppenheimer does not insert a hint of derisiveness or irony within his razzle dazzle, Golden Age style musical. If it weren’t for the very specific correlations made to recent events in world history, “The End” could have feasibly have been released in the...

Joshua Oppenheimer, who has been nominated for an Academy Award, is making his first narrative feature picture, “The End,” a post-apocalyptic musical starring Tilda Swinton and Michael Shannon. The movie is about how people connect in a world where the environment is breaking down.

The movie is set 25 years after Earth stops being livable. It takes place in an underground bunker where a biological family and their friends are shocked when a stranger shows up. Oppenheimer started the project after doing a lot of study on how the rich stay alive. He went to see former Soviet command bunkers and decommissioned nuclear missile silos that were being turned into high-end underground spaces.

Oppenheimer told people at the Thessaloniki Film Festival, “It’s a miracle this got made.” Live musical performances shot in a salt mine were just one of the many ambitious parts of making the movie. It was only...

Greece’s Thessaloniki Film Festival ends this evening with a screening of The End, the latest feature project from the enigmatic filmmaker Joshua Oppenheimer.

Best known for his intellectually rich and Oscar-nominated non-fiction works The Act of Killing (2012) and The Look of Silence (2014), Oppenheimer’s latest is his first fiction project, and for it he has recruited one of the most impressive ensembles of the year. Starring are Oscar winner Tilda Swinton (Michael Clayton), Oscar nominee Michael Shannon (Revolutionary Road), BAFTA-nominee George Mackay (1917), and Emmy-nominee Moses Ingram (The Queen’s Gambit).

Styled as a Golden Age Hollywood musical, The End is set in a post-apocalyptic world twenty-five years after environmental collapse left the Earth uninhabitable. A biological family and their companions – part-found-family, part-hired-help – live in harmony in a subterranean bunker. But the arrival of a stranger smashes the synthetic veil of their strictly organized world. The ensuing struggle to maintain their...

Lo protagonizan Tilda Swinton, George Mackay, Moses Ingram y Michael Shannon. © Avalon

Neon ha publicado el primer tráiler de The End, un musical post-apocalíptico (por muy extraño que suene) del director de The Act of Killing y The Look of Silence, Joshua Oppenheimer.

The End sigue a una de las últimas familias de la Tierra, compuesta por un exmagnate energético (Michael Shannon), una exbailarina (Tilda Swinton) y su hijo (George MacKay), quienes viven en un lujoso búnker en unas minas de sal junto a un doctor (Lennie James), un mayordomo (Tim McInnerny) y una amiga (Bronagh Gallagher), hasta que la llegada de una chica superviviente (Moses Ingram) empieza a sacudir la aparente perfección de sus vidas y a sacar a la luz todas las verdades y sentimientos reprimidos que han ido forjando en su idílico mundo.

La película está protagonizada por Tilda Swinton, George MacKay, Moses Ingram, Michael Shannon, Bronagh...

Tilda Swinton and George Mackay star in apocalyptic musical The End, and the first trailer has landed. Right here.

Actor George Mackay is set return to the world of big screen musicals with The End, which is, er, joyously set during the apocalypse.

The cast also includes Bronagh Gallagher, Tim McInnerny and Lennie James.

The songs were written by Marius De Vries and Josh Schmidt. De Vries won a BAFTA and an Ivor Novello award for his score to Baz Luhrmann’s 1996 film Romeo + Juliet, while The End marks the feature debut of Schmidt. Joshua Oppenheimer, best known for the award-winning documentaries The Act Of Killing (2012) and The Look Of Silence (2014) directed the film from a screenplay he co-wrote with Rasmus Heisterberg.

George MacKay is no stranger to movie musicals. In 2013 he starred in Dexter Fletcher’s film adaptation of Stephen Greenhorn’s ebullient Proclaimers musical Sunshine On Leith...

Neon has debuted a trailer for the apocalyptic musical feature ‘The End.’ featuring Tilda Swinton and George McKay.

From director Joshua Oppenheimer comes a poignant and deeply human musical about a family that survived the end of the world.

The family consists of a couple and their young adult son who has never seen the outside world. There’s also a maid, a doctor, a butler and a young woman who managed to survive and find her way in. Initially feeling righteousness over their survival, the couple are soon haunted by regret for those they lost and guilt over their own contribution to the apocalypse.

The movie stars Tilda Swinton (Michael Clayton), Michael Shannon, George MacKay (1917) and Moses Ingram.

Also in trailers – “She’s been feeding us government secrets…” Trailer drops for Netflix series ‘Black Doves’

The post “Who could we trust?” Tilda Swinton stars in trailer for ‘The End’ appeared first on HeyUGuys.

„The End“ von Joshua Oppenheimer mit Tilda Swinton, Michael Shannon und George MacKay gehörte zu den großen Filmen der diesjährigen Herbstfestivals. Nun gibt es einen ersten US-Trailer des apokalyptischen Musicals, das in Deutschland bei Mubi gestartet wird.

Dass „The End“ in jedem Kinojahr zu den ungewöhnlicheren Filmen des Jahres zählen würde, sollte feststehen. In unserer Besprechung aus San Sebastián schrieben wir: „Und jetzt, tada, ein Musical über das Ende der Welt. Oder besser: über die Familie, die das Ende der Welt mitverschuldet hat und nun zu sechst seit 20 Jahren in einem Bunker in einer Salzmine weit unter der Erde haust. Von Joshua Oppenheimer in seinem Debüt als Spielfilmregisseur, der legendäre Dokumentarfilmer, dem es für ,The Act of Killing‘ gelungen war, Mitglieder indonesischer Todesschwadronen ihre Taten in nachgestellten Filmszenen durchspielen zu lassen. Wenn man so will, ist es von dort nur ein kleiner Schritt zu ,The End‘, der auf oft faszinierende,...

The trailer for Tilda Swinton‘s new apocalypse movie has been released!

The 63-year-old Oscar-winning actress stars in Joshua Oppenheimer‘s new musical movie The End about a family that survived the end of the world alongside Michael Shannon, George MacKay, and Moses Ingram.

Keep reading to find out more…Here the synopis: “Twenty-five years after environmental collapse left the Earth uninhabitable, Mother, Father and Son areconfined to their palatial bunker, where they struggle to maintain hope and a sense of normalcy byclinging to the rituals of daily life—until the arrival of a stranger, Girl, upends their happy routine. Son, anaïve twenty-something who has never seen the outside world, is fascinated by the newcomer, andsuddenly the delicate bonds of blind optimism that have held this wealthy clan together begin to fray. Astensions rise, their seemingly idyllic existence starts to crumble, with long-repressed feelings of remorseand resentment threatening to destroy the family’s delicate balance.

What if you were trapped in a bunker with Tilda Swinton, and she kept breaking out into song?

That’s (an extremely reductive version of) the premise for “The End,” director Joshua Oppenheimer’s oddball post-apocalyptic musical, for which Neon released a trailer on Monday. The trailer teases a romantic musical set in a billionaire family’s bunker after the end of the world they helped cause, with elegant sets and an unusual tone.

The film is Academy Award-nominated documentary filmmaker Oppenheimer’s (“The Act of Killing”) first narrative feature, which he wrote with Rasmus Heisterberg and produced with Signe Byrge Sorensen and Swinton. The film stars Academy Award winner Swinton (“Michael Clayton”), George Mackay (“1917”), Moses Ingram (“The Queen’s Gambit”), Bronagh Gallagher (“The Commitments”), Tim McInnerny (“One Day”), Lennie James (“The Walking Dead”), and Academy Award nominee Michael Shannon (“Nocturnal Animals”). The music is by Joshua Schmidt (“Midwestern Gothic...

It’s difficult to imagine that following apocalyptic events, the remaining humans will arbitrarily feel like busting out singing. But that’s what writer-director Joshua Oppenheimer envisions in The End. Described as a cautionary tale, The End opens in theaters on December 6, 2024.

The cast includes Academy Award winner Tilda Swinton (Michael Clayton), Academy Award nominee Michael Shannon, George MacKay (1917), and Moses Ingram (The Queen’s Gambit). Bronagh Gallagher (Brassic), Tim McInnerny (Gladiator II), and Lennie James (Fear the Walking Dead) also star.

“From Academy Award-nominated director Joshua Oppenheimer (The Act of Killing) comes a poignant and deeply human musical about a family that survived the end of the world. Twenty-five years after environmental collapse left the Earth uninhabitable, Mother, Father and Son are confined to their palatial bunker, where they struggle to maintain hope and a sense of normalcy by clinging to the rituals of daily life—until the arrival of a stranger,...

"I think I like her!" "But you've never met anybody before..." Neon has unveiled the full trailer for a unique musical creation called The End, the first narrative feature film directed by the acclaimed doc filmmaker Joshua Oppenheimer. This cynical take on the end of the world is a Golden Age-style musical about the last human family. Described as a poignant and deeply human musical about a wealthy family living in an ornate bunker in a salt mine. An urgent and unforgettable cautionary tale, The End stars Academy Award-winner Tilda Swinton, Michael Shannon, George MacKay, with Moses Ingram. Featuring original songs from Joshua Schmidt (music) and Joshua Oppenheimer (lyrics). The cast also includes Bronagh Gallagher, Tim McInnerny, and Lennie James. I've heard mixed on this - some people love it, some people hate it, as if the movie was trolling the audience the entire time. A musical about a family of rich idiots?...

Almost three years have gone by since Joshua Oppenheimer, the director behind the documentaries The Act of Killing and The Look of Silence, announced that he was teaming up with Neon to make his narrative feature debut with The End, “a golden-age musical about the last human family.” That film went into production last year, with a cast that includes Tilda Swinton (We Need to Talk About Kevin), Michael Shannon (The Shape of Water), George MacKay (1917), Moses Ingram (The Tragedy of Macbeth), Bronagh Gallagher (Pulp Fiction), Tim McInnerny (Notting Hill), Lennie James (The Walking Dead), and Danielle Ryan (The Silencing). Now it’s making the festival rounds, building up to a December theatrical release. The film is scheduled to start playing in New York and Los Angeles on December 6th, with the limited release expanding on December 13th. As those dates are swiftly approaching, a trailer for The End has...

Neon has revealed the trailer and poster for the apocalyptic musical film The End, which was co-written and directed by Joshua Oppenheimer. The movie will open in Los Angeles and New York on Dec. 6 and in select cities on Dec. 13.

From Academy Award-nominated director Joshua Oppenheimer comes a poignant and deeply human musical about a family that survived the end of the world.

Twenty-five years after environmental collapse left the Earth uninhabitable, Mother, Father and Son are confined to their palatial bunker, where they struggle to maintain hope and a sense of normalcy by clinging to the rituals of daily life—until the arrival of a stranger, Girl, upends their happy routine.

Son, a naïve twenty-something who has never seen the outside world, is fascinated by the newcomer, and suddenly, the delicate bonds of blind optimism that have held this wealthy clan together begin to fray.

As tensions rise, their...

From Academy Award®-nominated director Joshua Oppenheimer comes Neon’s The End, being described as “a poignant and deeply human musical about a family that survived the end of the world.” Watch the official trailer below.

End of the world musical The End will release in theaters on December 6, 2024.

An urgent and unforgettable cautionary tale, The End stars Academy Award® winner Tilda Swinton (Michael Clayton), Academy Award® nominee Michael Shannon, George MacKay (1917) and Moses Ingram.

The screenplay is by Joshua Oppenheimer and Rasmus Heisterberg (A Royal Affair), with songs by Joshua Schmidt (music) and Joshua Oppenheimer (lyrics).

Bronagh Gallagher, Tim McInnerny, and Lennie James also star.

The post ‘The End’ Official Trailer – Tilda Swinton and Michael Shannon Star in Apocalyptic Musical appeared first on Bloody Disgusting!.

A decade after his staggering documentaries The Act of Killing and The Look of Silence, Joshua Oppenheimer has now returned, but this time with a narrative feature. The End, which stars Tilda Swinton, George MacKay, Michael Shannon, Moses Ingram, Bronagh Gallagher, Tim McInnerny, and Lennie James has a logline unlike another this year: a human musical about a family that survived the end of the world. Following its Telluride and TIFF festival premieres, Neon will release the film on December 6 and has now debuted the first trailer.

In a rave from the premiere, Caleb Hammond said in his review, “From the jump, The End embodies a more classical filmmaking mode. Following an establishing shot of an unspeakably beautiful underground salt mine, a lush orchestral score plays over close-ups of oil paintings while opening credits roll. A remarkable level of craft is visible at once and maintained throughout the extended 148-minute runtime.

A quoted review in the new trailer for Joshua Oppenheimer's The End hails it as "one of the most unique cinematic experiences ever." Based on the clip Neon dropped today, that might actually be true. The End is a musical (with actual singing in the trailer!) starring Tilda Swinton,...

The 65th Thessaloniki Film Festival kicked off on October 31st with a mission to use film as a tool for exploring complex social and political issues. Festival director Orestis Andreadakis said movies can help audiences understand real-world challenges like war, climate change, and the rise of extremism.

The opening night film was “Maria,” a biopic about Greek opera singer Maria Callas starring Angelina Jolie. The festival will close with Joshua Oppenheimer’s dystopian musical “The End.” Andreadakis said the lineup features films that provide meaningful commentary on contemporary global themes.

One highlight is a tribute program called “We, the Monsters,” curated by former Berlin and Locarno director Carlo Chatrian. It examines how filmmakers have depicted society’s fears through monstrous imagery and stories of marginalized groups. Andreadakis noted this can reveal humanity’s potential for inhumane acts within political systems and individual actions.

The 11-day festival will screen 252 feature films...

Despite blue skies over Greece’s second city ahead of the opening ceremony, the 65th Thessaloniki Film Festival kicks off Oct. 31 under clouds of uncertainty, with the war in Ukraine raging toward its three-year anniversary and the year-old Israel-Hamas conflict spilling into neighboring countries and threatening to engulf the entire Middle East. The U.S., meanwhile, heads to the polls next week for an election that’s been framed as a referendum on the fate of American democracy itself — with the eyes of the world watching.

For Thessaloniki festival director Orestis Andreadakis, a veteran film critic who’s been at the helm of the festival since 2016, global events have only brought a renewed sense of urgency “to find movies that matter,” he tells Variety on the eve of opening night. “Movies that say something about our lives, our situation in the world, with so many changes, so many dangers — wars,...

Greece’s Thessaloniki International Film Festival returns this evening for its 65th edition with a screening of Maria, the latest feature from Chilean director Pablo Larraín.

The pic, which stars Angelina Jolie and debuted at this year’s Venice Film Festival, will screen for audiences at Thessaloniki’s Olympia Theatre following an opening ceremony.

Running 31 Oct – 10 Nov, Thessaloniki will this year screen 12 films in its international competition. Titles include Edinburgh-based filmmaker Laura Carreira’s haunting debut feature On Falling. The pic, which debuted at Toronto and landed the Sutherland Award for debut film at London, follows Aurora, a young Portuguese woman who struggles to make ends meet across one week in her adopted home of Glasgow, Scotland. Other titles include Ariane Labed’s debut feature September Says and the buzzy Palestinian feature To A Land Unknown. A total of 252 feature and short films will be screened at Thessaloniki. The international...

While there’s a few more fall film festivals popping up in the next month, the major ones are behind us, which means we have a strong sense of the films to have on your radar in the coming months and even through 2025. We’ve asked our writers from across the globe to weigh in on their favorite world premieres from Locarno Film Festival, Venice Film Festival, Telluride Film Festival, Toronto International Film Festival, New York Film Festival, and BFI London Film Festival.

Our coverage will continue with a few more reviews this week, and far beyond as we provide updates on the journey of these selections, so continue to explore all of our festival coverage here. In the meantime, check out top picks from our writers below and return soon for our extensive year-end coverage.

Soham Gadre (@SohamGadre)

1. April (Dea Kulumbegashvili)

2 and 3. Youth (Homecoming and Hard Times) (Wang Bing...

The Chicago International Film Festival is gearing up for its 60th edition with an exciting lineup of global cinema, running from October 16 to 27, 2024. This year’s competition slate promises a wide array of international storytelling, with films spanning from Azerbaijan to Brazil, Japan to Tunisia, all competing for the festival’s prestigious Gold Hugo awards. The films are set to debut across multiple categories: International Feature, International Documentary, and New Directors, along with entries for the OutLook and Shorts competitions.

A remarkable 30 feature films are making their North American or U.S. premieres, with three world premieres adding to the anticipation. Some filmmakers are no strangers to Chicago, returning to the festival after prior successes, like Péter Kerekes, whose film 107 Mothers earned him the Silver Hugo for Best Director in 2020, and documentary powerhouse Joshua Oppenheimer.

Among the festival’s top-tier International Feature Competition, several standout titles have already made waves at Cannes,...

Exclusive: Emmy nominated actress, Moses Ingram, has signed with Linden Entertainment.

Ingram was most recently seen starring in AppleTV+’s limited series Lady In The Lake opposite Natalie Portman as well as Raven Jackson’s All Dirt Roads Taste Of Salt for A24. Later this year, Ingram will be seen in Joshua Oppenheimer’s feature debut The End opposite Tilda Swinton, Michael Shannon, and George McKay for Neon. Ingram is currently in production on Kathryn Bigelow’s Untitled Netflix film.

Prior roles include Netflix’s Emmy winning limited series The Queen’s Gambit for which she garnered an Emmy nomination for her role; Disney+’s limited series Obi Wan Kenobi; AppleTV’s limited series The Big Cigar; Joel Coen’s The Tragedy Of Macbeth and Peter Hedges’ The Same Storm and Michael Bay’s Ambulance.

Linden Entertainment will rep Ingram alongside Innovative Artists, Fox Rothschild and The Lede Company.

Linden Entertainment...

Modern Films has acquired UK-Ireland rights to Jacob Perlmutter and Manon Ouimet’s documentary Two Strangers Trying Not To Kill Each Other.

The duo’s feature debut debuted at Cph:dox in March, winning a Special Mention in the Dox:Award competition. Its festival run since has included Galway Film Fleadh and Melbourne; while it plays in Zurich Film Festival today (October 4), with upcoming slots at BFI London Film Festival and in the Best of Fests strand at IDFA.

Modern Films is scheduling a theatrical release for early 2025. Cinetic Media handles world sales on the film.

Two Strangers Trying Not To Kill Each Other...

There's no doubting the ambition from the start in this sequel to Todd Phillips' Joker - though anyone expecting Batman to be back in action should think again as this is a character study/psychodrama set within courthouse and prison walls with action set-pieces switched out for musical numbers. The musical element is something of a minor trend at the moment, with Joshua Oppenheimer’s equally ambitious, but less successful, The End, also using it to clue us into the characters’ inner thoughts in the traditional mould, even if the backdrop is considerably more grim than your average song and dance setting - think Dennis Potter rather than Andrew Lloyd Webber. Those looking for fully fledged musical numbers in a crime setting, meanwhile, should be sure to catch Emilia Perez when it arrives in cinemas, which trumps the lot.

For the record, I loved Joker, thanks largely to Joaquin Phoenix’s transformative performance.

The Virginia Film Festival is kicking off its 37th year with a lineup featuring a couple of Cannes winners that are now taking the fall festival circuit by storm.

Located in Charlottesville, and set for October 30 through November 3, the festival has chosen Sean Baker’s “Anora” as its Opening Night Film. The dramedy, which stars Mikey Madison as a Brooklyn sex worker who enters into a whirlwind romance with the son of a Russian oligarch, won the Palme d’Or at Cannes and was a runner-up for the coveted People’s Choice Award at TIFF. In addition to special guests from the cast set to be in attendance, Tom Quinn, Founder and CEO of Neon, the film’s distributor, will be on hand to receive the inaugural Impresario Award on behalf of the company.

For the Centerpiece Film, the festival has programmed Jacques Audiard’s “Emilia Pérez,” which has had...

The 72nd San Sebastian Film Festival’s Golden Shell for best film has gone to Albert Serra’s Afternoons of Solitude, a documentary on bullfighting, edging out strong competition from narrative features by Joshua Oppenheimer, Edward Berger and Mike Leigh.

The Spanish director’s film focuses on Peruvian-Spanish bullfighter Andrés Roca Rey. While noting that the doc’s graphic cruelty makes it a harrowing watch, The Hollywood Reporter‘s chief film critic David Rooney in his review called it “transfixing … a unique study of discipline, bravado, laser-focus and showmanship.” It beat out Leigh’s Hard Truths and Berger’s Conclave, as well as Oppenheimer’s dystopian musical The End.

Elsewhere, Pamela Anderson and the cast of Gia Coppola’s The Last Showgirl took home the Special Jury Prize for best ensemble cast. THR‘s review of the film said: “Even if The Last Showgirl feels slender overall, more consistently attentive...

Sometimes, in a closely contested festival competition, it pays to be the one thing that isn’t like the others. A starkly powerful, observational study of contemporary bullfighting, Spanish auteur Albert Serra’s “Afternoons of Solitude” was the only documentary in the main competition at this year’s San Sebastian Film Festival — and this evening won the Golden Shell for best film of the festival, beating some big-name narrative competition.

The award was presented by last year’s Golden Shell winner, Spanish filmmaker Jaione Camborda, heading a jury that also included directors Ulrich Seidl, Christos Nikou and Fran Kranz, producer Carole Scotta and Argentine journalist Leila Guerriero.

Centred on star Peruvian matador Andrés Rey Roca, “Afternoons of Solitude” is candid in its depiction of the violence of the sport, and has already proven controversial on home turf, with Spain’s animal-rights party Pacma calling for the film to be withdrawn from the festival.

The European Film Academy has added a further 16 feature films to the longlist – known as the Feature Film Selection – for the European Film Awards. With the already announced 29 films the list comprises 45 titles.

These films will now be considered for the nomination stage of the European Film Awards. The nominees will be revealed on Nov. 5.

Among the titles are several Venice award-winners: Pedro Almodóvar’s Golden Lion winner “The Room Next Door,” Grand Jury Prize winner “Vermiglio,” Special Jury Prize winner “April,” and Horizon winner “The New Year That Never Came.” Other titles include Edward Berger’s “Conclave,” Mike Leigh’s “Hard Truths” and Luca Guadagnino’s “Queer.”

The films were selected by the European Film Academy Board, who consulted with a team of invited experts.

The European Film Awards take place on Dec. 7 in Lucerne, Switzerland.

These are the additional titles in the Feature Film Selection:

“April,” directed by Dea Kulumbegashvili

“Conclave,...

Mitte August hatte die European Film Academy die ersten 29 Spielfilme benannt, die ins Rennen um eine Nominierung für die European Film Awards gehen, nun wurde die Liste um 16 weitere Titel erweitert – darunter auch deutsche (Ko-)Produktionen.

Die weiteren Filme der Spielfilmauswahl für die European Film Awards stehen fest (Credit: European Film Academy)

Wie bereits im August anlässlich der Bekanntgabe einer ersten, 29 Titel umfassenden Liste an Spielfilmen angekündigt, hat die European Film Academy nun weitere Filme benannt, die sich Hoffnung auf eine Nominierung für die am 07. Dezember in Luzern stattfindende Verleihung der European Film Awards machen können. Mit den 16 weiteren Filmen gehen nun insgesamt 45 europäische Spielfilme ins Rennen. Ausgewählt wurden die Produktionen vom Vorstand der European Film Academy, der sich dabei von europäischen Filmexpertinnen und -experten beraten ließ.

Dies sind die zusätzlichen Titel in der Spielfilmauswahl:

• „April“

• „Konklave“

• „Hard Truths“

• „Harvest“

• „Misericordia“ (Regie: Emma Dante; Italien)

• „Mond“ (Regie: Kurdwin Ayub; Österreich...

Luca Guadagnino’s Queer and Pedro Almodóvar’s The Room Next Door are among the 16 films added to the European Film Award 2024 contenders.

Several UK features have been shortlisted including Edward Berger’s Conclave, Mike Leigh’s Hard Truths and Athina Rachel Tsangari’s Harvest. Joshua Oppenheimer’s The End, a UK co-production with Denmark, Germany, Ireland and Sweden, has also been selected.

Further features include Dea Kulumbegashvili’s April, which won the special jury prize at Venice Film Festival as well as Maura Delpero’s Vermiglio, a Silver Lion winner at Venice and Italy’s submission for international feature at the Oscars.

Joshua Oppenheimer is optimistic. The filmmaker says his postapocalyptic musical film The End, starring Tilda Swinton, Michael Shannon and George MacKay, is an opportunity to spark change.

Speaking to The Hollywood Reporter at the San Sebastian Film Festival, where his movie is screening, Oppenheimer described being motivated to make this film after visiting the bunker of an oligarch who, perhaps eerily, refused to discuss exactly why he was investing in a bunker.

The End tells the story of a wealthy family living in their palatial bunker 25 years after environmental collapse left the Earth uninhabitable. Mother (Swinton), Father (Shannon) and Son (MacKay) are confined to the space and soon find themselves struggling to maintain hope and a sense of normalcy by clinging to the rituals of daily life. The family pushes harder to deafen the noise of creeping guilt — breaking out into show tunes about “a bright future.”

“When you’re...

Joshua Oppenheimer and George Mackay during the press conference After establishing himself as a successful documentarian with The Act Of Killing and The Look Of Silence, Joshua Oppenheimer tackles a musical about the end of the world with his fiction debut, The End. Set in a near-future, a family has retreated to a bunker underground. There a Father (Michael Shannon), Mother (Tilda Swinton) and their Son (George Mackay) live with a butler (Tim McInnery), a doctor (Lennie James) and Mother’s friend (Bronagh Gallagher), who also essentially takes care of the housework. Their world is one of recreated comfort, packed with famous artworks, where the older members of the household carefully curate their own version of history, which they pass on to the son, who was born into the environment. Their equilibrium is rocked when a Girl (Moses Ingram) unexpectedly enters their world as the family and their new guest...

Die deutsche Filmemacherin Pia Marais bringt ihr neuestes Werk „Transamazonia“ mit „Systemsprenger“-Star Helena Zengel in der Hauptrolle zum Filmfest Hamburg. Zusammen mit dem US-Regisseur Joshua Oppenheimer, der sein fiktionales Debüt „The End“ zeigt, ist beiden eine kleine, aber feine Werkschau gewidmet.

Joshua Oppenheimer (l.) und Pia Marais (Credit: Kathreine Gowman/Daniel Bergeron/Filmfest Hamburg)

Das Filmfest Hamburg (26.9.-5.10.) widmet der deutschen Filmemacherin Pia Marais und dem US-amerikanischen Regisseur Joshua Oppenheimer in der Reihe „Gegenwartskino im Fokus“ eine kleine, aber feine Werkschau, bei der unter anderem die neuesten Werke „Transamazonia“ und „The End“ im Mittelpunkt stehen werden und es jeweils auch Werkgespräche geben wird.

Die in Südafrika geborene, aber aus Deutschland heraus Filme machende Regisseurin Pia Marais wird gerne wegen ihres Studiums an der Deutschen Film- und Fernsehakademie in Berlin der sogenannten Berliner Schule zugeordnet. Was ihre Festivalerfolge anbelangt, kann man da auch mitgehen: Ihr neuestes Werk „Transamazonia“ (am 27.9. um...

Where to begin with The End? It’s such an odd concoction of ideas and styles, it’s hard to know. The concept of bringing unlikely things together has, of course, worked for Joshua Oppenheimer in the past. Asking genocidal mass killers to re-enact their crimes for a documentary is not something most people would have hit upon but the director made it viscerally pay-off with The Act Of Killing.

This time around, however, while his audacity remains, his delivery falls short. Set in a dystopian future, the action takes place in a scraped out bunker, filled with dunes of salt. Walk through a door, though, and you’re suddenly in what appears to be a tasteful upper middle-class home, lined with art masterpieces from the likes of Renoir with not a speck of dirt to be seen. This is where, what we assume to be one of the world’s last families,...

Das Chicago International Film Festival feiert dieses Jahr 60. Jubiläum. In den Internationalen Wettbewerb wurden u.a. Pia Marais‘ „Transamazonia“ und Mohammad Rasoulofs „Die Saat des heiligen Feigenbaums“ eingeladen. „Der Spatz im Kamin“ von Ramon Zürcher feiert seine US-Premiere, The Match Factory hat gleich drei Koproduktionen dort. Aus Österreich sind „Pfau“ und „The Village Next to Paradise“ im Debüt-Wettbewerb vertreten.

„Der Spatz im Kamin” (Credit: Zürcher Film)

Sowohl „Transamazonia“ von Pia Marais (hier unsere Spot-Besprechung) als auch „Der Spatz im Kamin“ von Ramon Zürcher (hier unsere Spot-Besprechung) feierten ihre Weltpremiere im Wettbewerb von Locarno. Beide Filme laufen nun auch in Chicago, genauer gesagt im internationalen Wettbewerb des Chicago International Film Festival, das dieses Jahr 60. Jubiläum begeht. „Der Spatz im Kamin“ sogar als US-Premiere („Transamazonia“ tut dies Anfang Oktober beim New York Film Festival). Ebenfalls nach Chicago wurde Mohammad Rasoulofs vielgepriesener „Die Saat des heiligen Feigenbaums“ (hier unsere Spot-Besprechung) eingeladen, der von...

by Abirbhab Maitra

In 2012, in an interview with The Hollywood Reporter, European auteur Michael Haneke discussed the challenges of dramatizing events with significant historical context in film. He argued that dramatization can lead to manipulation, stripping historical objectivity and imposing a subjective truth on the narrative. In his view, directors should take extra care to maintain a sense of responsibility towards both the historical events and the audience’s perception, encouraging them to confront history as their own, free from any kind of manipulation. Haneke illustrated his point by referencing Alain Resnais’s Holocaust documentary “Night and Fog”, which prompts spectators to reflect on their position in relation to the depicted events without succumbing to the comforts of melodrama.

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Joshua Oppenheimer‘s 2012 documentary, “The Act of Killing”, explores these ideas of confronting history through an objective lens. Based on the events...

Payal Kapadia’s Cannes grand prix winner All We Imagine As Light and Mohammad Rasoulof’s special prize recipient The Seed Of The Sacred Fig, along with Athina Rachel Tsangari’s Venice selection Harvest are among the international competition selections at the 60th Chicago International Film Festival running October 16-27.

A packed line-up also brings Joshua Oppenheimer’s Telluride entry The End to the International Feature Competition, along with the North American premiere of The Quiet Son from Delphine Coulin and Muriel Coulin, which debuted on the Lido.

There are world premieres for Clarissa Campolina and Sérgio Borges’s Suçuarana...

Payal Kapadia’s Cannes grand prix winner All We Imagine Is Light and Mohammad Rasoulof’s special prize recipient The Seed Of The Sacred Fig, along with Athina Rachel Tsangari’s Venice selection Harvest are among the international competition selections at the 60th Chicago International Film Festival running October 16-27.

A packed line-up also brings Joshua Oppenheimer’s Telluride entry The End to the International Feature Competition, along with the North American premiere of The Quiet Son from Delphine Coulin and Muriel Coulin, which debuted on the Lido.

There are world premieres for Clarissa Campolina and Sérgio Borges’s Suçuarana...

José Luis Rebordinos, director of the San Sebastian Film Festival, has just over a week until opening night when he sits down for an interview with Deadline, and he is still plagued by one niggling organizational issue.

“It’s always so difficult to close the jury,” Rebordinos explains as he rushes out of the room to take a call about his potential jury head.

When he returns, he explains: “A few weeks ago I was speaking with Thierry Fremaux. He said even for him it’s always a problem because jury members have to be at your festival for 10 days, you don’t pay, and it’s complicated because people are often working and when they aren’t, they want to spend time with their families and friends.”

A few days later, the competition jury is finally confirmed, with Spanish filmmaker Jaione Camborda leading alongside Leila Guerriero, Fran Kranz, Christos Nikou,...

Noch bis 2026 wird José Luis Rebordinos der Direktor des San Sebastián International Film Festival sein, dann will er in gut bestelltes Haus hinterlassen. Aber jetzt freut er sich erst einmal auf einen Jahrgang, den er für einen der besten überhaupt hält, wie er im Interview mitteilt. Heute Abend geht’s los mit der Weltpremiere von „Emmanuelle“.

San-Sebastián-Festivalchef José Luis Rebordinos (Credit: Ssiff)

Ein Blick aufs Programm sagt einem: ein außergewöhnlich gutes Jahr für San Sebastián. Fühlte sich die Auswahl diesmal anders an?

José Luis Rebordinos: Ich könnte nicht sagen, dass für uns irgendetwas anders gewesen wäre. Für uns ist die Arbeit immer gleich. Was sich ändert, ist das Angebot, sind die damit verbundenen Möglichkeiten. Für uns bedeutet das in diesem Jahr, dass ungewöhnlich viele große Namen in diesem Jahr im Line-up zu finden sind und mehr namhafte Regisseure im Hauptwettbewerb antreten. Ich vermute, das hängt damit zusammen, dass in...

In terms of stars — Cate Blanchett, Johnny Depp, Javier Bardem, Tilda Swinton, Pamela Anderson — and auteur power — Pedro Almodóvar, Sean Baker, Costa Gavras, Edward Berger, Mike Leigh, Kiyoshi Kurosawa, Joshua Oppenheimer, François Ozon, Lupita Nyong’o, Mohammad Rasoulof, Walter Salles, Maite Alberdi — this year’s San Sebastián Festival promises one of its biggest editions ever.

Yet it’s the Spanish festival’s wealth of new talent and rising names in its industry competitions sets it apart. Here are 10 things to expect from the fest, which runs Sept. 20-28 at the stunning Basque seaside resort:

Blanchett, Almodóvar, Bardem, Depp, Swinton, Anderson

Blanchett, Almodóvar and Bardem will collect career achievement Donostia Awards, with Blanchett talking up Guy Maddin’s Cannes hit “Rumours,” set for U.S. theatrical release via Bleecker Street on Oct. 18; Almodóvar and Swinton will present Venice success “The Room Next Door.” Depp will unveil “Modi,” his second film as a...

by Cláudio Alves

For a body horror nightmare, Else can be surprisingly beautiful.

It says something about the state of the world, or, at the very least, the collective mood, that the apocalypse is a prevalent concept among contemporary artists. At TIFF this year, several films tackled this fatalistic topic head-on, exploring cosmic dereliction through a litany of genres and registers, from high-budget passion projects to indie experiments. Last time, I broached the topic of Joshua Oppenheimer's divisive narrative feature debut, The End. Now, it's time for two other examples. There's Thibault Emin's feature-length adaptation of a pandemic short, Else. Secondly, an unexpected sci-fi proposition from Ukraine of all places, Pavlo Ostrikov's U Are the Universe. Both are love stories of sorts…...

by Cláudio Alves

Ambitious mess will always be more exciting and artistically valuable than cautious mediocrity. The timid filmmaker has their place, but they'll never rise above those whose ideas reach for the sky, the heavens, the likely impossible. Or, in Joshua Oppenheimer's case, those who burrow down below, digging to the center of the Earth, mayhap to hell. For his feature debut, The End, the director of The Act of Killing and The Look of Silence goes underground, setting the scene in a not-so-distant future when the Earth has been left ravaged by climate change and other related catastrophes, virtually inhabitable, so hostile to life that those who survive must fight one another for the scant resources around…...

Exclusive: Perfect Days, the comeback feature from legendary German filmmaker Wim Wenders, has become boutique operator Curzon Cinemas’s longest-running film after passing 30 continuous weeks this past Friday.

Perfect Days has played at Curzon Bloomsbury in London for 206 continuous days. The film passes Ryusuke Hamaguchi’s Drive My Car, which played for 26 continuous weeks, to become the operator’s longest-running title under modern tracking. Perfect Days is currently the 7th highest-grossing film at Curzon Bloomsbury of all time.

Wenders’s quietly radical, Tokyo-set drama, stars Japanese actor Koji Yakusho as a man with a love of trees and literature who mysteriously opts for a simple life by working as a toilet cleaner. The film debuted in Competition at Cannes in 2023 where Yakusho won Best Actor.

All rights on the film for the UK, Latam, India, and Turkey were acquired by Mubi from The Match Factory at Cannes 2023. The pic recorded...

Peter Sarsgaard, the veteran character actor who has received some of the best notices of his career this year for his performance on the Apple TV+ drama series Presumed Innocent and in the Paramount film September 5, will receive the Newport Beach Film Festival’s Film Performance of the Year Award and record an episode of The Hollywood Reporter’s Awards Chatter podcast live in front of a festival audience, Nbff announced on Tuesday.

Sarsgaard’s award presentation and podcast recording will take place on Wednesday, Oct. 23, during the 25th edition of Nbff, which will run Oct. 17-24.

The fest also announced its film lineup, which includes 112 films from 19 countries, including 16 world premieres, 10 U.S. premieres, 16 North American premieres, 13 West Coast premieres and 10 Southern California Premieres

This year’s Nbff will open on Oct. 17 with the world premiere of Simon West’s Old Guy, with West and star Chrostoph Waltz in attendance,...

The Woodstock ’99 music festival may have been an unmitigated disaster, but that town and that year brought us something far more lasting: The Woodstock Film Festival.

Fast-forward to 2024, and we’re celebrating the film fest’s 25th year. Among the slate’s highlights this fall is Paul Schrader’s latest film “Oh, Canada,” which will screen on Saturday, October 19. The screening will be followed by a conversation with Schrader, who will be further celebrated with the Honorary Maverick Award.

The 2024 festival will take place from October 15-20 at venues across the Hudson Valley towns of Woodstock, Rosendale, Kingston, and Saugerties. The centerpiece selection is Steve McQueen’s “Blitz,” with Jesse Eisenberg’s “A Real Pain” closing the festival.

“On this 25th anniversary of the film festival, and at this pivotal time in our nation and the world, I’m thrilled to welcome the many talented filmmakers who will be arriving...

Plot: Many years after an apocalyptic event they may have contributed to, a wealthy family survives in a luxurious underground fortress.

Review: One of the best things about attending a festival like TIFF is that you often walk into movies without preconceived notions. Films playing at the festival are so new that they barely have any stills available, much less any trailers, so you walk into them pretty much blind. The downside is that, once in a while, you end up seeing a movie that sounds intriguing, but pretty much right off the bat, once you see a few minutes of it, you’re hit by a sinking feeling that, “oh no, this might not be for me.”

Indeed, The End wasn’t for me. While I’m a sucker for movies about the apocalypse, and the premise (and dream cast) are intriguing, documentarian Joshua Oppenheimer’s narrative debut is a slog to get through.