Tom Tykwer‘s return to the big screen is getting closer. After 7 years working in television, co-creating and co-directing, with Henk Handloegten and Achim von Borries, four seasons of acclaimed period drama Babylon Berlin, the German director of Run Lola Run, The Internationaland Cloud Atlas will mark his movie comeback with the contemporary German-language drama The Light (Das Licht).
Tykwer’s production house X Filme Creative Pool, German distributor X Verleih and Beta Cinema, who have picked up international sales rights for the film, on Thursday unveiled the first look of The Light. The still, which almost resembles a Renaissance painting, features star Tala al Deen bathed in a radiant glow from a device on the table in front of her.
Al Deen plays Farrah, a mysterious Syrian woman who enters the lives of the Engels, a middle-class German family whose world is slowly unraveling. Nothing appears to be holding the Engels together but Farrah will put the family’s emotional world to an unexpectedly wild test.
Lars Eidinger, Nicolette Krebitz, Elke Biesendorfer, Julius Gause and Elyas Eldridge star as the Engels.
Beta is handling sales on The Light for all territories except German-speaking Europe, France and North America and will start pre-selling the film at Berlin’s European Film Market later this month.
“After quite a long time, which I spent with Babylon Berlin in the roaring 20s, I can finally turn my attention back to our present,” says Tom Tykwer on his new film. “In The Light, there is arguing, struggling and fighting, but there is also laughter, singing and dancing. The film aims to challenge the spectrum of emotions and the corresponding narrative possibilities. And the characters are very familiar to me. I want to try to reflect their inner turmoil and make their deep bond tangible for the audience.”
The Light is Tykwer’s first feature film since 2016’s A Hologram for the King starring Tom Hanks and his first German feature since 2010’s ménage à trois drama 3. A figure on the international film scene since his breakout hit Run Lola Run in 1998, Tykwer’s filmography includes The Princess and the Warrior (2000), Heaven (2002) and Perfume: The Story of a Murderer (2006). He co-directed 2012 sci-fi epic Cloud Atlas with the Wachowskis siblings, with whom he also collaborated on the Netflix series Sense 8 and composed music for the score on Lana Wachowski’s The Matrix Resurrections (2021). Babylon Berlin, which he co-created, is the most expensive German TV series of all time.
The Light, shot in Germany and Kenya, will roll out theatrically in Germany via X Verleih together with Warner Bros. Germany on Oct. 17. Uwe Schott produced the film through X Filme Creative Pool in co-production with ZDF, ARP Séléction, Gold Rush Pictures, Gretchenfilm and B.A. Filmproduktion with subsidy support from Germany’s DFFF film fund, federal film board the FFA and regional subsidies from the Medienboard Berlin-Brandenburg and the Film and Medienstiftung NRW.
His friendship with Emma Stone, unleashing new sides of Mark Ruffalo and Colin Farrell, his next film and the limitations of language. Those were just some of the topics that Poor Things director Yorgos Lanthimos discussed during an onstage interview organized by the British Film Institute (BFI) in London on Wednesday evening.
“I don’t really think of themes themselves,” Lanthimos shared when asked by an audience member what topics and themes he was planning to take on in future movies. “It is more about coming up with the stories and the structures and sensing that there’s something there that I’m interested in.” He also said that it was only “after that that you realize what it is about for yourself [since] for other people it could be about another thing. So it’s hard to say what the themes are.”
The filmmaker said he and his collaborators are “interested in humans and just going in deeper into those kinds of societal structures and behaviors and relationships.”
He then mentioned his latest project, which is entitled Kinds of Kindness and features Stone, Jesse Plemons, Margaret Qualley and Willem Dafoe, among others. “We’ve just shot this film … which is three different stories,” the director said, calling it “a contemporary film.” He added: “It’s three different stories, and we’re finishing the edit right now, and I still can’t tell you exactly what it is about. But I also wouldn’t want to tell you what I thought the stories are about because it just makes it so small. I try not to even think about it during the process, because I’m afraid that it will make my choices more narrow.”
The filmmaker behind such acclaimed movies as Dogtooth, The Lobster, The Killing of a Sacred Deer and The Favourite also discussed his body of work and creative process during the appearance at the British capital’s Southbank Centre. The event, under the title “Yorgos Lanthimos in Conversation,” drew a big crowd, including Stone, who sat in the front row.
Asked about his continuing creative partnership with Stone, Lanthimos told the audience: “The funny thing is, which I tell her, but she doesn’t believe me, I thought of her for The Lobster as well.” Stone was heard laughing when he said that, drawing appreciative laughs from the audience as well. “She has this wonderful speech impediment, it feels like a lisp,” he continued. “And in the world of The Lobster that would be very critical, a very particular characteristic. So she could be the lisping woman.”
How did Stone end up playing Bella Baxter in PoorThings? “We got to know each other really well, even before making The Favourite, because we started discussing it a couple of years before, and it took some time to get made. So we became friends during that time,” Lanthimos explained. “Then when we actually had the working experience, it just was obvious that we got along and we like working together.”
So he mentioned other projects to the star, “and she immediately jumped on Poor Things as soon as she heard the story. … And the rest is history.”
Asked about how he showed new sides of Mark Ruffalo in Poor Things, Lanthimos said the credit for the acting work should go to his stars and their creativity. But he did share that Ruffalo had some doubts initially, which the director managed to address.
“Well, I just set him free, he was ready to go,” the Greek director said, calling Ruffalo “a brilliant actor.”
“He was a little bit reluctant, I guess, because he hasn’t done anything like that,” he recalled. “Now that I know him better, I think in general he always thinks he’s not good for it.” But then Ruffalo got excited and “completely embraced” his role, Lanthimos recalled. “He came in strong when we started rehearsing. We had two or three weeks of rehearsal. He was the guy who was already there. And we had so much fun during rehearsals.”
Asked about his reaction to the broad appeal Poor Things has enjoyed, Lanthimos said: “I have been surprised.”
The filmmaker on Wednesday also lauded other stars he has worked with. Discussing Colin Farrell and his work in The Lobster, Lanthimos said: “He was looking to do different things,” such as InBruges. ”His comedic sense and, in general, his presence I thought was very strong. And I guess the thing with casting with me is, first of all, I want to try and find people that I want to work with, no matter if they fit the character exactly. That’s why he had to gain so much weight. But it’s mostly about people that I want to work with, meeting them and seeing if we get along.” Concluded the director: “It’s important to find the people that actually have this connection with your work and with you as a person.”
Farrell, of course, also appeared in The Killing of a Sacred Deer, along with Nicole Kidman and then-new discovery Barry Keoghan. Calling him “incredible,” Lanthimos recalled: “We saw hundreds of American kids” for his role. “It was clear immediately that he was so special.”
Having a veteran like Kidman on set also helped. “Nicole is extremely generous,” Lanthimos said in singing her praises. “That helps a lot.”
Overall, Lanthimos said he sees his work with actors as making sure “to give them space … (so) they can try stuff and they are safe.”
One of the things the director has gotten a reputation for is his unusual approach to his prep work and sets. “I come up with games for the actors to get to know each other and feel comfortable to make a fool of themselves and make the process light and fun,” the Greek filmmaker explained. “We shouldn’t be taking things too seriously. We are making movies.”
What games does he make his stars play? ”It’s a lot of physical stuff,” he shared, mentioning dancing and “silly walks” as examples, along with “raising the volume of your voice as you speak in a totally nonsensical way.”
So what does Lanthimos make of people describing his films as absurdist? “It’s always not the most pleasant thing to just be boxed into one thing,” he shared. “I guess there is some kind of absurdity in the films, but I hope they’re more complex than that.”
The BFI event’s description itself also lauded the filmmaker for “his exquisitely crafted, wild absurdist tales and darkly comic explorations of the human condition.”
Lanthimos understands such labels. “I understand why people have the need to describe it a certain way or make sense of it by using language,” he told the audience. “But the thing is, the trouble is language is not always sufficient for any kind of work of art.”
Emma Stone with Ramy Youssef (left) in Poor Things
Courtesy of Telluride Film Festival/ Yorgos Lanthimos/Searchlight Pictures.
Christopher Nolan appreciates all film projects, big or small, but he admits that he will likely continue to work on “large-scale” productions.
During an interview with Time magazine, published online Monday, the filmmaker said some of his recent favorite films were smaller-scale dramas, including Past Lives, which he said was “subtle in a beautiful sort of way,” and Aftersun, which he called “just a beautiful film.”
And though Nolan admires the beauty of those projects, he noted that he feels a “responsibility” to continue making blockbuster movies with large casts, elaborate sets and big budgets.
“I’m drawn to working at a large scale because I know how fragile the opportunity to marshal those resources is,” the Interstellar director told the outlet. “I know that there are so many filmmakers out there in the world who would give their eye teeth to have the resources I put together, and I feel I have the responsibility to use them in the most productive and interesting way.”
Nolan’s latest directorial project Oppenheimer, which scored 13 Oscar nominations, reportedly got a $100 million budget. While that’s still a large amount for a film, it’s definitely smaller than the budget for his 2020 movie Tenet, which had a more than $200 million budget. And it’s even more of a difference from the third film in The Dark Knight trilogy, which had an estimated $250 million budget.
But the director doesn’t take any of his resources for granted — for Oppenheimer, he shortened the shoot from 85 days to 57 to free up more of the budget for production designs and location shooting.
“The U.S. government gave [the Manhattan Project] $2 billion, three to four years and an Army Corps of Engineers to build the original Los Alamos,” production designer Ruth De Jong previously told The Hollywood Reporter. “I had [none of that].”
The Cillian Murphy-led film, which followed the story of American scientist J. Robert Oppenheimer and his role in the development of the atomic bomb, grossed nearly $1 billion at the box office since it was released in July.
Japan’s box office climbed 4 percent to a post-pandemic high of $1.5 billion (221.5 billion yen) in 2023, driven again by a strong slate of anime and a steady return to theaters. Hollywood films maintained the same market share of around 31 percent as the previous year, though a very weak yen reduced earnings in dollar terms.
The Japanese currency falling toward the 150-mark against the greenback means that when converted, the annual box office fell from last year’s $1.64 billion even though takings in yen climbed from 213 billion yen. Imported fare (676 films) took a total of $452 million, versus $995 million for 555 domestic productions.
The figures were announced in Tokyo on Tuesday by the Motion Picture Producers Association of Japan, locally referred to as Eiren.
Topping the 2023 box office rankings was The First Slam Dunk, an anime from Toei based on a hit basketball manga with $107 million, followed by The Super Mario Bros. Movie ($95 million), and the latest anime in the Detective Conan series ($94 million). Those three titles were the only ones to surpass the locally significant 10 billion yen ($68 million) domestic blockbuster benchmark in 2023, though overall takings were second only to the all-time high of $1.77 billion (261 billion yen) in 2019.
Hayao Miyazaki’s The Boy and the Heron was in fourth spot, taking $58 million. Mission: Impossible – Dead Reckoning Part One with $37 million was the only other Hollywood movie to make the top 10.
Total admissions were up 2 percent to 155.5 million, with the number of screens up slightly to 3,653.
The unexpected success of Godzilla Minus One in the American market was a hot topic at the announcement event, sparking multiple questions from the local media.
Hiroyasu Matsuoka, CEO of Toho, the studio behind Japan’s most famous monster, said the film had helped group theatrical earnings top 100 billion yen ($680 million) for the first time. Toho also distributes Studio Ghibli films and the Conan series.
“Godzilla Minus One has taken more than $55 million in the United States. It recently became third highest-grossing non-English language film in the US market, overtaking Oscar-winner Parasite and setting multiple records such as the biggest opening weekend for a foreign film,” said Matsuoka. “This has given us great confidence in the potential for our films and IP.”
Asked about the reasons for its success, he added, “We really didn’t think it would be such a big hit, to be honest. As well the high levels of recognition for the Godzilla name, it benefited from less competition on release due to the strike in Hollywood.”
“And the rise of streaming platforms has helped make global audiences more receptive to reading subtitles and watching non-English content,” suggested Matsuoka.
Fumio Yoshimura, CEO of TOEI, also spoke about the strength of anime and his company’s plans to target further expansion in the global market leveraging IP such as its Power Rangers and samurai films.
Justine Triet’s Oscar-nominated Anatomy of a Falland Thomas Cailley’s fantasy drama The Animal Kingdom are the front runners for this year’s Cesar Awards, France’s equivalent to the Academy Awards. In nominations announced Wednesday, Anatomy picked up 11 Cesar noms and The Animal Kingdom 12. Both were nominated in the best film and best director categories.
Also nominated for best film are Jean-Baptiste Durand’s Junkyard Dog, All Your Faces from director Jeanne Herry and Cédric Kahn’s The Goldman Case.
France’s official Academy Award contender, Anh Hung Tran’s foodie period dramaThe Taste of Things, which missed out on an Oscar nom on Tuesday, picked up three Ceasar nominations, but none in the main categories.
German actress Sandra Hüller, a best actress nominee at this year’s Oscars for her starring turn in Anatomy of a Fall, is also up for the Cesar for best actress, going up against Oscar winner Marion Cotillard, nominated for Little Girl Blue, Lea Drucker, up for Last Summer, Hafsia Herzi, nominated for The Rapture, and Belgian actress Virginie Efira, nominated for her work in Just the Two of Us.
The 2024 Cesar Awards will be handed out at a ceremony in Paris on Friday, Feb. 23.
Oscar frontrunner Oppenheimer picked up a single Cesar nomination, in the best foreign film category, but Oppenheimer director Christopher Nolan is guaranteed a trophy. The British director will receive an honorary Cesar for lifetime achievement at this year’s ceremony.
2024 Cesar Nominations
Best Film
Anatomy of a Fall produced by Marie-Ange Luciani, David Thion, directed by Justine Triet
Junkyard Dog produced by Anais Bertrand, directed by Jean-Baptiste Durand
All Your Faces produced by Hugo Selignac, Alain Attal, directed by Jeanne Herry
The Goldman Case produced by Benjamin Elalouf, directed by Cédric Kahn
Animal Kingdom produced by Pierre Guyard, directed by Thomas Cailley
Best Director
Justine Triet for Anatomy of a Fall
Catherine Breillat for Last Summer
Jeanne Herry for All Your Faces
Cédric Khan for The Goldman Case
Thomas Cailley for Animal Kingdom
Best Actress
Marion Cotillard for Little Girl Blue
Léa Drucker for Last Summer
Virginie Efira for Just the Two of Us
Hafsia Herzi for The Rapture
Sandra Hüller for Anatomy of a Fall
Best Actor
Romain Duris for Animal Kingdom
Benjamin Lavernhe for Abbé Pierre: A Century of Devotion
Melvil Poupaud for Just the Two of Us
Raphaël Quenard for Yannick
Arieh Worthalter for The Goldman Case
Best Supporting Actress
Leïla Bekhti for All Your Faces
Galatea Bellugi for Junkyard Dog
Élodie Bouchez for All Your Faces
Adèle Exarchopoulos for All Your Faces
Miou Miou for All Your Faces
Best Supporting Actor
Swann Arlaud for Anatomy of a Fall
Anthony Bajon for Junkyard Dog
Arthur Harari for The Goldman Case
Pio Marmaï for Yannick
Antoine Reinartz for Anatomy of a Fall
Best Newcomer Actress
Céleste Brunnquell for No Love Lost
Kim Higelin for Consent
Suzanne Jouannet for La Voie Royale
Rebecca Marder for Grand Expectations
Ella Rumpf for Marguerite’s Theorem
Best Newcomer Actor
Julien Frison in Marguerite’s Theorem
Paul Kircher for Animal Kingdom
Samuel Kircher for Last Summer
Ivilo Machado-Graner for Anatomy of a Fall
Raphaël Quenard for Junkyard Dog
Best Original Screenplay
Justine Triet, Arthur Harari for Anatomy of a Fall
Jean-Baptiste Durand for Junkyard Dog
Jeanne Herry for All Your Faces
Nathalie Hertzberg, Cédric Kahn for The Goldman Case
Thomas Cailley, Pauline Munier for Animal Kingdom
Best Adapted Screenplay
Valerie Donzelli, Audrey Diwan for Just the Two of Us
Vanessa Filho for Consent
Catherine Breillat for Last Summer
Best Original Score
Gabriel Yared for Just the Two of Us
Delphine Malaussena for Junkyard Dog
Vitalic for Disco Boy
Andrea Laszlo de Simone for Animal Kingdom
Guillaume Roussel for The Three Musketeers (Part 1: D’Artagnan / Part 2: Milady
Best Sound
Julien Sicart, Fanny Martin, Jeanne Delplancq, Olivier Goinard for Anatomy of a Fall
Remi Daru, Guadalupe Cassius, Loic Prian, Marc Doisne for All Your Faces
Erwan Kerzanet, Sylvian Malbrant, Olivier Guillaume for The Goldman Case
Richard Romanus, the tough-guy character actor best known for his turn as Michael Longo, the Little Italy loan shark who gets into it with Robert De Niro’s Johnny Civello in Martin Scorsese’s Mean Streets, has died. He was 80.
Romanus died Dec. 23 in a private hospital in Volos, Greece, his son, Robert Romanus, told The Hollywood Reporter.
Romanus handled prominent voice roles for Ralph Bakshi in 1977’s Wizards (as the elf warrior Weehawk) and 1982’s Hey Good Lookin’ (as the leader of a 1950s greaser gang), and in between, he played the cab driver Harry Canyon in another animated film, Heavy Metal (1981).
He also appeared on four episodes of The Sopranos as Richard LaPenna, the on-again, off-again husband of Lorraine Bracco’s Jennifer Melfi, from 1999-2002.
In Mean Streets (1973), Romanus’ character is famously disrespected by Johnny when he leans on him for his money.
“You know, Michael, you make me laugh,” Civello says. “You see, I borrow money all over this neighborhood, left and right from everybody, and I never pay them back. So, I can’t borrow no money from nobody no more, right? So who would that leave me to borrow money from but you?
“I borrow money from you, because you’re the only jerk-off around here who I can borrow money from without payin’ back, right? You know, ’cause that’s what you are, that’s what I think of you, a jerk-off. You’re smiling ’cause you’re a jerk-off. You’re a fucking jerk-off! I’ll tell you something else, I fuck you right where you breathe, because I don’t give two shits about you or nobody else.”
Michael, of course, will get his revenge on the road to Brooklyn.
The son of a dentist, Richard Joseph Romanus was born on Feb. 8, 1943, in Barre, Vermont, and raised in West Hartford, Connecticut. He graduated from Xavier University in Cincinnati in 1964 with a degree in philosophy and spent a year in law school before studying acting with Lee Strasberg at Carnegie Hall.
In 1970, he appeared on episodes of Mission: Impossible and The Mod Squad and in the David Janssen-starring telefilm Night Chase before he was hired on Mean Streets.
His iconic scene with De Niro came on the next-to-last day of shooting, Scorsese recalled in Andy Dougan’s 2011 book, Untouchable: Robert De Niro.
“Something had happened between Bobby and Richard because the animosity between them in that scene is real, and I played on it,” the director said. “They had gotten on each other’s nerves to the point where I think they really wanted to kill each other. I kept shooting take after take of Bobby yelling all these insults while the crew was getting very upset.”
Romanus said De Niro actually got angry when he saw him laugh during the tirade. “By laughing I was saving face. He thought I should be fuming, but he had no control over my reactions,” he said. “Sometimes the reaction you get from your acting partner is not the one you want. Then you simply have to react off that. But in this scene I laughed organically. I thought Bobby was very funny when he was doing that stuff. And he looked ridiculous.”
Romanus spent the rest of the decade showing up on such shows as Rhoda, Kojak, Starsky & Hutch, The Rockford Files and Hawaii Five-O and in the film Russian Roulette (1975).
In 1981-82, he landed a regular role as Det. Lt. Charlie Gunzer on the ultra-violent ABC crime show Strike Force, starring Robert Stack and produced by Aaron Spelling, but the series was canceled after 20 episodes.
From left: Michael Goodwin, Robert Stack, Dorian Harewood, Trisha Noble and Richard Romanus from the 1981-82 series Strike Force.
Robert Phillips / Everett Collection
He played another cop on another short-lived ABC series, Foul Play, in 1981.
Romanus’ résumé included the films Sitting Ducks (1980), Protocol (1984), The Couch Trip (1988), Oscar (1991), Point of No Return (1993), Cops and Robbersons (1994), Nailed (2001) and The Young Black Stallion (2003) and TV work on Hill Street Blues, The A-Team, MacGyver, Cagney & Lacey and NYPD Blue.
In addition to his son, survivors include his second wife, Oscar-nominated costume designer Anthea Sylbert (Rosemary’s Baby, Chinatown, Julia), whom he married in August 1985, and younger brother Robert Romanus, who played Mike Damone in Fast Times at Ridgemont High.
Twenty-three years ago, Romanus and Sylbert moved to the Greek town of Skiathos, and he wrote about the experience in Act III: A Small Island in the Aegean, published in 2011. Plus, he authored two novels set in the country, 2011’s Chrysalis and 2014’s Matoula’s Echo.
The couple, who were declared honorary citizens of Skiathos in 2021, also wrote and produced two Lifetime telefilms, 1998’s Giving Up the Ghost and 1999’s If You Believe (the latter got them a WGA nomination).
Romanus’ first wife was actress-singer Tina Bohlmann. They were married from 1967 until their 1975 divorce.
The interview takes place over three continents. There’s one virtual zoom window overlooking four living rooms: Two in New York, one in New Zealand, and one at THR Roma‘s office in Italy.
Maestro, Bradley Cooper‘s take on the life, personal and professional, of legendary conductor Leonard Bernstein and his wife Felicia Montealegre, played by Carey Mulligan, has just dropped worldwide on Netflix. Bernstein’s three children, Jamie, Alexander and Nina, have gathered to talk about the movie and their memories.
The siblings took center stage at the Venice Film Festival this year, leaping up after the film’s screening to jokingly conduct the bombastic standing ovation that greeted the film’s world premiere, imitating their father’s atypical and vibrant conducting style.
“It was cathartic in a moment when joy and tears, memories and pain were overwhelming,” says Alexander. “We became children again. And of course, we had to fill those seven minutes of applause with something!” Adds Nina: “We just did what used to happen when the Overture of Candide was on TV, we watched our father and imitated him in the living room.”
The trio speak in unison, finishing each other’s sentences, and picking up a word or comment to spin off in another direction. Always, incredibly, in tune. A tiny orchestra. Thousands of miles and two oceans divide them, but they sound like the kids shown in Maestro, chattering on the lawns of the Bernstein family estate in Connecticut.
“Do you know, that they actually filmed there?” says Alexander. “It was strange for us, surreal. Nina said it’s like those dreams you have when you’re in your house, but it somehow isn’t your house. My parents were there, but they sort of weren’t my parents. It was like a dream.”
“We would see Bradley and Carey there, and they would come already in makeup and stage clothes, to get into character. They would walk around the garden, around the rooms, and to us, it seemed both strange and natural,” says Nina.
Leonard Bernstein and family in Fairfield, CT in June 1996.
Courtesy of Leonard Bernstein collection
“At a screening the other day, when we were photographed with Bradley and Carey, Jamie and I looked at each other and said, ‘This is a very strange family picture, our parents are younger than us!’” notes Alexander.
It’s hard to get a word in edgewise. The three go back and forth, mixing personal nostalgia with their enthusiasm for a film that evokes memories both sweet and painful. They reflect on the long journey to get their family’s story to the screen.
“They’ve been trying to make this film for 15 years,” says Alexander. “Originally it was with Martin Scorsese. He kept renewing the option, but no decision was made. Fred Berner and Amy Durning were already attached as producers. We agreed with them, we just asked to be able to read the script, to talk to the writer or the director who would do it.”
“At a certain point it had become a joke between us, all this talk of life rights, of options. We had resigned ourselves to the fact that this film would never be made,” says Jamie.
Alexander picks up: “When everything had stopped moving, when it seemed impossible to bring it to the screen, came the twist: Steven Spielberg. Well before he remade West Side Story, he entered the production team, and it looked like he might go behind the camera as well. The idea of Bradley playing the lead came from him. But the more Bradley got involved in the project, the more he talked to us, the more he felt the story was his.”
Jamie was the first among the siblings to see Bradley Cooper’s directorial debut, A Star is Born.
“She just told us: ‘Go see it.’ We did, and we fell out of our chairs,” says Alexander. “We were really impressed with his work. And when we found him in front of us, he was like we imagined him to be after seeing the film: Focused, attentive, committed, and full of generosity.”
“And respectful,” adds Nina. “His approach won us over. When Jamie also met him, and they connected, it was a crescendo. He included us in his work, made sure that we got, without saying anything, all the drafts of the script, and then he screened the work in progress for us at various stages of the project. He asked us a lot of questions, and we tried to not ask for too many corrections. Ultimately, it’s his movie and if he wants to take a certain artistic license, that’s up to him. Only if there was a glaring error would we say: Actually, it happened this way.”
“There was an atmosphere of mutual trust,” Jamie stresses.
The trio quickly brushes over the controversy involving the prosthetic nose Cooper wears to play Bernstein, calling the “scandal” absurd and undeserving of further comment. Much more painful, they say, was watching some of the darkest moments of their parent’s lives revealed on screen.
“The most difficult part, of course, was when our mother gets sick and then dies,” says Jamie. “We had read the script, we knew it would be in the film, but seeing it was a real punch in the gut, even though Bradley handled everything with wonderful delicacy. In shooting it, in narrating it, even and especially in pitching it to us: If we had seen it all at once, in a preview, it would have destroyed us, we would have fallen apart.”
Bradley Cooper as Leonard Bernstein in ‘Maestro’
Jason McDonald/Netflix
“I don’t know if by seeing the film I learned more about our family or about Lenny Bernstein,” adds Alexander. “But I do know that I learned a lot about Bradley Cooper. Now we are far enough removed from everything, I think I am able to say that he and our dad are so much alike. A lot more than we could have imagined. There’s the same intensity, focus, and perfectionism. The ability to devote oneself to art around the clock if necessary. Being able to handle tension better than anyone else, not sleeping for days when inspiration comes. The same charisma. And love.”
They pause. They smile at each other as if they were in the same room. And, almost in chorus, they say: “And the hugging. They hug in the same way. They are both full of love, of warmth, of wanting to connect.”
Maestro explores the incredible challenge Felicia Montealegre faced being the wife of the genius Lenny Bernstein. But what is it like to be his children, to bear the responsibility of his legacy?
“It is tremendously difficult,” Nina admits.
“You have expectations of yourself that you can never meet,” says Jamie.
“We had a book when we were little, tiny kids,” Alexander remembers. “On the cover, it was called ‘Just like mommy.’ Then you would turn it upside down and the back cover said, ‘Just like daddy.’ It was all about a businessman getting up in the morning and having breakfast with his children. And his wife is making breakfast. And he goes to work with his briefcase. Takes the train and all that. Just what you would expect. I used to read this book and say, ‘Wow. That sounds like an amazing life.’ But also I just knew there was something else going on in my life, that was pretty extraordinary. And that there was never going to be a book about me being like daddy.”
CROSSVILLE, Tenn. — From the time she was in elementary school, Isabella Cross has dreamed of going to an Ivy League college to become an engineer.
But in her “little no-name town,” as she describes it, selective universities and colleges rarely came to recruit.
As a 17-year-old in rural Tennessee, and the daughter of a single parent, “I always kind of felt, like, I wouldn’t say necessarily trapped, but a lot of kids feel trapped,” Cross said. “And a lot of them never get out. They never get to explore and never get to see other things.”
Now Cross thinks she might get to a top-flight college after all.
Carlos Vega, an admissions recruiter from MIT, sets up a table for a college fair at Stone Memorial High School in Crossville, Tennessee. The visit was among the first by a new consortium of top universities to reach out to rural students. Credit: Austin Anthony/The Hechinger Report
Recruiters from some of the nation’s most selective universities — MIT, the University of Chicago, Yale — have, for the first time, come to her “little no-name town,” part of an effort to pay more attention to rural America, where students are less likely than their urban and suburban counterparts to go to college and, if they do, more likely to drop out.
“It kind of just felt like they heard us and they see us and that they know that there’s a need as well for small-town kids like me to have really big dreams,” Cross said.
Rural students graduate from high school at a higher rate (90 percent) than their counterparts in cities (82 percent) and suburbs (89 percent). But only 55 percent go directly to college.
The visit to Crossville was among the first by a new consortium called STARS, or Small Town and Rural Students College Network, prompted by a $20 million grant from a University of Chicago trustee who left a small town in Missouri to create a financial services company and who wants to see more people from backgrounds like his go to and through college.
It follows a long history of neglect of rural areas by many colleges and universities. Not even public research universities recruit in rural places, a study by scholars at UCLA and the University of Arizona found, disproportionately favoring higher-income public and private high schools in major metropolitan areas.
Even when they do find their way to these small towns, recruiters are up against increasing reluctance by students and their families to go to four-year institutions, and especially to campuses far away from home.
Students in the hallway of Stone Memorial High School in Crossville, Tennessee. The graduation rate at Stone Memorial is 91 percent, higher than the national average. Credit: Austin Anthony/The Hechinger Report
Sixteen colleges and universities in all — also including Brown, the California Institute of Technology, Columbia, Northwestern and the University of Southern California — have signed on to STARS and agreed to visit rural high schools in exchange for financial help with travel costs and staffing.
“They’ve never come and taken an interest in us. But the big thing right now is rural, and they’re finally seeing it, I guess,” said Karen Hicks, lead counselor at Crossville’s Stone Memorial High School, who has been an educator in the city for 36 years. “I love it in the sense that it gives our kids opportunities. I hate that they didn’t see it before.”
Rural communities can be hard to reach and often have only small numbers of prospective high school seniors, said Marjorie Betley, senior associate director of admissions at the University of Chicago, who helped organize STARS and serves as its executive director.
“Driving hours and hours on the road to meet with five students, that’s really hard,” said Betley.
But when that trustee, Byron Trott, asked in 2018 how many students at her university came from rural places, as he had, “we couldn’t even answer the question,” Betley said. After further inquiry, she said, “the numbers were not good.” Rural students comprised about 3 percent of enrollment at the time, which she said has since increased to 9 percent. Rural Americans comprise nearly 20 percent of the population, the Census Bureau reports.
Crossville, Tennessee. Rural students nationwide graduate from high school at a higher rate than their counterparts in cities and suburbs but are the least likely to go directly to college. Credit: Austin Anthony/The Hechinger Report
That’s a smaller proportion than suburban students. It’s also getting worse, down from 61 percent in 2016, the National Student Clearinghouse Research Center says. In Tennessee, the share of all high school graduates who went directly to college last year, though up slightly, was still 10 percentage points lower than five years before.
So rarely do top colleges recruit in rural towns, said Bryan Sexton, a father who came with his son to the college fair in Crossville, that, “you know, when I saw some of the names, I was, like, what are these schools doing here?”
A city of 12,470 named for the spot where an old stagecoach road crossed a onetime cattle drivers’ route between Nashville and Knoxville, Crossville is in the middle of the rocky, heavily forested Cumberland Plateau in the Appalachian Mountains. And it’s a case study in how rural families aspire to, fret about and often decide to forgo college.
Outside the auditorium of the city’s Stone Memorial High School, Nae Evans Sims stopped and thought for a moment about the smallest community she’d ever visited as an admissions recruiter for Case Western Reserve University. “Oh, my gosh,” she said. “Probably this one.”
Alongside representatives from Yale, MIT, the University of Chicago and other institutions, Sims was arranging brochures on a table in anticipation of the kind of college recruiting fair that draws throngs of anxious students and their parents almost every night of the fall in more densely populated towns and cities.
Vice Principal April Moore sets up a projector for the presentations of the Tristar College Tour on Wednesday, Oct. 4, 2023, at Stone Memorial High School in Crossville, Tenn. (Austin Anthony for the Hechinger Report) Credit: Austin Anthony/The Hechinger Report
In Crossville, 81 students showed up for the recruiting night, to which students from adjoining towns across the county were also invited.
“My friends in the cities, their kids start talking about college when they’re freshmen,” said Rob Harrison, a city councilmember who stopped by. But in Crossville, he said, “a lot of kids don’t even think about the opportunities out there. It’s just not part of the culture.”
Then again, no one from those elite universities had ever come to Crossville, school officials said, even though the graduation rate from Stone Memorial is 91 percent, school statistics show.
Of the students here who choose to continue their education, many simply stick around and go to the community college just across the street, where tuition is free. More than one in 10 enroll in a local trade school, the Tennessee College of Applied Technology, and 4 percent enlist in the military.
That makes Crossville fairly typical of rural places, where residents are less likely to get bachelor’s degrees. Only about 20 percent of people over 25 in rural America (and 15 percent in Crossville) have bachelor’s degrees or higher, compared to 40 percent nationally, according to the U.S. Department of Agriculture — a gap the Federal Reserve reports has been widening steadily over the last 50 years.
Main Street in Crossville, Tennessee. The city of 12,470 on the Cumberland Plateau was named for the spot where an old stagecoach road crossed a onetime cattle drivers’ route. Credit: Austin Anthony/The Hechinger Report
That not only contributes to the worsening divide between urban and rural America; it limits economic opportunity in rural places.
“Whenever a student graduates from high school on a path to create career success, communities benefit from strong workforces and from economic development,” said Noa Meyer, president of rootED Alliance, another STARS partner, which puts college and career advisors in rural high schools. “It’s essential for rural communities to have a skilled and invested workforce. Local businesses need skilled workers.”
But the path to that goal is narrowing. At least a dozen private, nonprofit colleges in rural areas or that serve rural students have closed or announced their closings in the last three years. Public universities in rural parts of Kansas, Arkansas and West Virginia are cutting dozens of majors. Others are merging, including in Pennsylvania and Vermont. Spending on higher education fell in 16 of the 20 most rural states between 2008 and 2018, when adjusted for inflation, according to the Center on Budget and Policy Priorities.
Laura Kidwell, a counselor at Stone Memorial High School. Even high-achieving students “don’t necessarily want to leave” for college, she says. Credit: Austin Anthony/The Hechinger Report
About 13 million people now live in higher education “deserts,” mostly in the Midwest and Great Plains, where the nearest university is beyond a reasonable commute away, the American Council on Education estimates.
“There is a significant untapped talent pool in our rural communities, yet rural students often lack access to the resources needed to help set them up for their education, careers and economic stability,” said Trott, founder, chairman and co-CEO of BDT & MSD Partners.
Also as in Crossville, rural students who do go to college generally prefer to stay close to home, research shows.
“Even the ones that have the higher scores, that can survive at some of the more prestigious colleges, they like it here, and they don’t necessarily want to leave,” said Laura Kidwell, another Stone Memorial school counselor. “They want to be within driving distance from home and their family and friends and relatives.”
Aaron Conley, a senior at Stone Memorial High School in Crossville, Tennessee, is deciding between learning heating, ventilation and air conditioning or going to college. If he does go, he says, he’d stick close to home so “I can come back and see my family whenever I want.” Credit: Austin Anthony/The Hechinger Report
Aaron Conley is a senior at the high school. He’s deciding between learning heating, ventilation and air conditioning to start his own HVAC business or going to college to study physical therapy or nursing — though both of those fields require “a lot of college. It’s something that I just don’t know if I want to do for a long period of time like that.”
If he does go to college, Conley said, he’d opt for Tennessee Technological University in Cookeville, 30 minutes away, so “I can come back and see my family whenever I want.”
Karen Hicks, lead counselor at Stone Memorial High School. Top colleges have “never come and taken an interest in us,” she says. “But the big thing right now is rural, and they’re finally seeing it, I guess.” Credit: Austin Anthony/The Hechinger Report
Many parents here don’t want their kids to move away, either. Some are concerned that university campuses and faculty in far-flung places are too liberal and not religious enough, Hicks, the school counselor, said. In the surrounding Cumberland County, nearly four out of five voters in the 2020 presidential election cast their ballots for Donald Trump and 71 percent of Tennessee residents consider religion very important to their lives, according to the Pew Research Center, compared to the national average of 53 percent.
“Some of the things that you hear in the news and stuff that happens at different colleges is scary for a conservative family,” Hicks said. Parents think, “ ‘I have control of you now, and I know your environment, and to send you out to that big world is scary.’ ”
Amy Beth Strong would prefer that her daughter, Ellie Beth, stick around for at least a little while, and maybe start at the local community college after she graduates from Stone Memorial next spring.
“I’m not trying to hold on to them, and I want them to do what they want to do, but I would rather they have a little bit more life experience under their belt,” Strong said, instead of “throwing them out in the middle of the world and saying, ‘Okay, there you go, you’re 18, you’re done. So have at it.’ ”
Amy Beth Strong and her daughter Ellie Beth, who she would like to stay close to home after high school — at least for a while. “I want them to do what they want to do, but I would rather they have a little bit more life experience under their belt,” Amy Beth Strong says. Credit: Austin Anthony/The Hechinger Report
Some rural parents also worry that their children, if they go far away for college, won’t come back, Hicks said.
Even Harrison conceded that they may be right. “We raise a lot of good kids, and they go off and there’s not a lot to come back to” in a city ringed by soybean, corn and cotton farms and whose main industries include the manufacturing of tile, porcelain, automotive parts and truck trailers.
Some Crossville parents are encouraging their reluctant children to go on to further education, however.
Tina Carr started college, stopping now and then to earn the money she needed to pay for it. But she never graduated.
Only 20 percent of people over 25 in rural places nationwide has a bachelor’s degree or higher, compared to 40 percent nationally.
“I’ve always regretted not being able to finish,” Carr said, still in her scrubs after commuting home from her job in Knoxville as the front-desk coordinator at a surgeon’s office. “I just see where people get stuck in, it’s a bad word to say, but ‘dead-end’ jobs without a college degree.” And while she likes what she does, she said, “I’ve seen a lot of jobs posted throughout the years that I think I could do, but I can’t because I don’t have that degree.”
That’s why Carr is pushing her daughter, Kira, to continue her education after high school. “I don’t want her down the line to eventually regret that she didn’t go to college” too, she said.
Another major reason fewer rural high school students go to college is the cost. Median earnings in rural areas are nearly one-sixth lower than incomes elsewhere, according to the USDA. In Crossville, the median household income is $40,708, compared to the national median of $74,580. More than 20 percent of the population lives in poverty; 40 percent of the 1,000 students at the high school are considered economically disadvantaged.
Despite their higher graduation rates, rural students also often feel that they don’t belong at top colleges. That, along with homesickness and the cost, is among the reasons those who do go are more likely to drop out than their urban and suburban classmates.
“We do have rural students come in who have that imposter syndrome, with classmates who took 20 [Advanced Placement courses] and their high school didn’t have any,” said Betley, at the University of Chicago.
At the Stone Memorial recruiting fair, the longest lines were to talk to representatives from the nearby University of Tennessee at Knoxville, Middle Tennessee State University and Tennessee Tech. The shortest was for MIT.
“That’s typically not the MIT experience,” said Carlos Vega, the recruiter from that university. “I go somewhere and I have auditoriums full of students.” In Tennessee, however, two other high schools had told him not to bother coming for scheduled visits, he said, because they didn’t have any students who were interested — a first in his career.
Max Bartley, a University of Chicago recruiter who is himself from rural Maine, speaks to students and parents at a college fair at Stone Memorial High School in Crossville, Tennessee. Sixteen top colleges and universities have agreed to visit rural high schools. Credit: Austin Anthony/The Hechinger Report
Ellie Beth Strong — she goes by E.B., a nickname given to her by her soccer coach — wonders how comfortable she’d feel at a big or far-off university. Also a senior at Stone Memorial, she has applied to two Christian colleges and the University of Tennessee.
After growing up in a small town, “I don’t want to go to a giant university where I’m just another person that you pass by when you’re going to class,” she said. “I don’t want to have 300 people in my class and have the professor just lecture the whole time. I want to actually get to sit down and talk to the people and get to know everybody.”
Rural students often face cultural differences at universities that mostly enroll people from other backgrounds, said Corinne Smith, an associate director of admissions at Yale who reads the applications of many students from rural places.
“So many students when they get to these campuses, especially when they’re more urban campuses, they have shared challenges,” Smith said.
Smith is also the advisor to the Rural Student Alliance at Yale, formed five years ago to help rural students feel more of a sense of belonging. When the group was started, she suggested social activities such as apple-picking. But the students instead wanted help getting used to the unaccustomed urban traffic noise outside their dorms or off-campus apartments. “Then they said, ‘Can someone take us on a tour of New Haven so I can see where things are — my town has one stoplight.’ ”
Rural perspectives like these are essential to the diversity of campuses, said Smith, who is working on a dissertation about rural college-going.
“They’ve never come and taken an interest in us. But the big thing right now is rural, and they’re finally seeing it, I guess. I love it in the sense that it gives our kids opportunities. I hate that they didn’t see it before.”
Karen Hicks, lead counselor, Stone Memorial High School
“If you say you want to have a university with a wonderful political science department and then 100 percent of the students in that political science seminar are from urban and suburban towns with the same religious and political affiliation, then are you really having the discussions that we say our institutions are meant to be having?” she asked.
Isabella Cross, the aspiring engineer, has no doubt about what she could contribute to a campus: a small-town sense of community.
“We see you in Walmart? We’re going to stop and talk to you for 45 minutes. We’re going to ask how the kids are. We’re going to ask how your mom is doing. We’re going to ask about all of the things that, you know, sometimes you just don’t get in, like, New York City or whatever larger-scale city that you want to put in there,” she said. “I just think that that’s something that you can bring to a school where it’s definitely a cutthroat competition to get into.”
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Newark, NJ – Offshore wind company Bluepoint Wind is announcing today the winners of grants to further STEM education for 10 teachers from schools across New Jersey. Each educator chosen by the Company will receive $1,000 worth of interactive STEM kits from KidWind, an international leader in renewable energy education.
“The next generation of renewable energy workers who will power New Jersey are sitting in middle school classrooms right now,” said John Dempsey, CEO of Bluepoint Wind, a partnership between Ocean Winds (OW), an international offshore wind energy company and joint-venture between EDPR and ENGIE, and New York-based Global Infrastructure Partners. “Bluepoint Wind is helping educators prepare students for a net-zero New Jersey and decarbonized world, all while supporting the state’s innovative climate change curriculum. We are proud to support New Jersey teachers who are instrumental in fostering students’ passions for STEM and its critical role in building our energy future.”
Each of the 10 teachers will receive a $1,000 mini-grant funded by Bluepoint Wind and applied toward the purchase of interactive wind energy STEM kits from KidWind. KidWind will also provide the winners with training on how to incorporate the STEM kits into in-school and/or out-of-school learning environments.
In addition to partnering with KidWind on this educator mini-grant initiative, Bluepoint Wind sits on their Career Pathways Ad Hoc Committee on Offshore Wind Energy Education to provide industry support around youth workforce development.
“Offshore wind energy will be an important part of New Jersey’s decarbonization strategy,” said Michael Arquin, founder of KidWind. “While this technology is just starting to be installed in the U.S. it is important to help future scientists and engineers understand and get excited about this timely subject. We congratulate all of the educators who are receiving Bluepoint Wind mini-grants which bring wind energy education and resources to schools in New Jersey, and we look forward to supporting them as they implement KidWind curriculum and materials in their classrooms.”
The winning educators are:
Vicki Cornell, Boonton High School
Emily Williams, East Side High School (Newark)
Allison Wiesel, Shrewsbury Boro School
Maura Simister, Manchester Township Schools
Oscar Acebo Macias, Union City High School
Jeannine Lanphear, Mid-Jersey Green STREAM Learning Ecosystem (serving the North Brunswick Schools)
Joseph Costello, Atlantic City High School
Kathleen Kalena, Dover Public Schools
Gerald Bruman, Millville High School
Michelle Albritton, Paterson Public Schools
Teachers were selected from northern, central, and southern New Jersey, with consideration given to those working in schools in overburdened communities. The application was launched at the New Jersey Education Association’s Convention in November and applications were due on December 1st. All New Jersey educators who entered the competition but did not win the mini-grants will still receive a comprehensive guide on teaching wind energy to students in grades 6-12, filled with lessons and activities.
“We were thrilled to have KidWind and Bluepoint Wind at the NJEA Convention this year,” said Sean M. Spiller, NJEA President. “There are few issues more important to our students’ future than our climate, so we applaud KidWind and Bluepoint Wind for both leading on that issue and providing our members with resources that help them prepare the next generation of energy and climate innovators.”
“As a proud partner of Bluepoint Wind and KidWind on the advancement of wind energy education in the state, we congratulate the recipients of these grants,” said Dan Barnett, Chief Development Officer for Students 2 Science, Inc. “This initiative is a great step in ensuring that all students have access to the necessary tools to prepare them for future industries and careers in the state.”
“As the first U.S. state to introduce K-12 standards addressing climate change, it is important to encourage and support school districts to use these standards to develop interdisciplinary climate change learning experiences that integrate an understanding of climate threats and implement community derived solutions for a sustainable future,” said Janice McDonnell, STEM Agent, Department of 4-H Youth Development at Rutgers University.
About Bluepoint Wind:Bluepoint Wind is a partnership between Ocean Winds (OW), an international offshore wind energy company, and New York-based Global Infrastructure Partners. Together, these companies have a successful track record of over 50 years of experience in development, financing, construction and operation of renewables projects, including more than 15 years on offshore wind projects. Bluepoint Wind plans to build an offshore wind farm within its ocean lease area located 38 nautical miles (nm) off the coast of New York and 53 nm off the coast of New Jersey. At full capacity, this wind farm will be able to generate 1.7 gigawatts (GW) of clean wind energy – powering up to 900,000 homes and helping NY and NJ meet their ambitious carbon emissions reduction goals.
About the KidWind Project: The KidWind Project, an international leader in renewable energy education, has been working with educators and students to integrate renewable energy into classrooms for over 15 years. Since 2004, KidWind has held more than 800 training events for more than 50,000 teachers all over the world. For more information about our trainings, challenges and curricular materials, visitwww.kidwind.org.
eSchool Media staff cover education technology in all its aspects–from legislation and litigation, to best practices, to lessons learned and new products. First published in March of 1998 as a monthly print and digital newspaper, eSchool Media provides the news and information necessary to help K-20 decision-makers successfully use technology and innovation to transform schools and colleges and achieve their educational goals.
There’s Still Tomorrow, the new film that has just passed Greta Gerwig’s Barbie to become the most-watched movie in Italy this year, opens on a domestic scene. Delia, played by actress-turned-director Paola Cortellesi, wakes up next to her husband, Ivano (Valerio Mastandrea). “Buongiorno!” she says, brightly. Without a word, he slaps her. Hard. Then, as the soundtrack swells with a 40s romantic tune, Delia gets up to start her day. Violent abuse, it appears, is as much a part of her routine as brushing her hair and getting dressed for work.
It’s a shocking scene. At first, it looks like There’s Still Tomorrow, shot in stark black-and-white, will be a tribute to Italian neo-realist classics like Bicycle Thieves and Rome Open City. But this is no kitchen sink social drama. First come the one-liners: “All the problems started when people stopped marrying their cousins!” Ivano’s father-in-law complains to Delia. “My wife lived like a queen!” Delia reminds him she killed herself by jumping from the fifth floor. “And rightly so,” she adds, wryly.
There’s Still Tomorrow
Courtesy of CLAUDIO IANNONE
“As a child, I remember the stories my grandma and great grandma would tell me about other women who lived in the same courtyard in their neighborhood, women like Delia who would be subjected to violence, maybe be beaten up by their husbands or relatives,” says Cortellesi. “What shocked me was how this tragic thing was considered to be normal. For these women, it was daily life. But they always tell these stories with a touch of irony, of humor. It’s a Roman thing, we people from Rome, even when we talk about the most tragic events, we tend to tell them with a smile and a joke.”
As Delia leaves her home, the screen, till then tightly cramped in the 4:3 aspect ratio typical for neo-realist movies, expands to a widescreen 16:9. The 40s soundtrack gives way to the rocking beat of 1998’s “Calvin” by the Jon Spencer Blues Explosion.
“This is a contemporary movie. It’s set in the past, but it’s about the female condition,” says Cortellesi, “and the roots of this patriarchal culture go deep. They are rooted in the past, but they are still very present today.”
The film has certainly struck a chord. There’s Still Tomorrow is a runaway box office hit, grossing more than €30.5 million ($33.4 million) to date, making it the second most successful film of the year in Italy, just behind Gretta Gerwig’s pink-themed blockbuster Barbie at €32 million. Ranked by admissions, There’s Still Tomorrow is actually number one, with 4.49 million tickets sold to Barbie‘s 4.39 million. Cortellesi’s film is already the 6th most successful Italian movie of all time and, by the end of its run, will leapfrog Roberto Benighi’s Life Is Beautiful (1997)—another period film that mixed comedy with serious drama —to take the overall number 5 spot.
Paola Cortellesi on the set of ‘There’s Still Tomorrow’
Courtesy of Luisa Carcavale
There’s Still Tomorrow has also rekindled discussions about domestic violence, femicide and women’s rights in Italy, debates that dominated public discourse since the shocking kidnapping and murder last month of the 22-year-old student, Giulia Cecchettin, and the arrest of her boyfriend for the crime.
“I’ve been attending screenings, introducing the film and talking about it with the audiences afterward, and people come to me and they share their stories of violence of abuse, or just discrimination, unfair treatment,” says Cortellesi. “There’s this wish and desire to discuss a subject that was just there waiting to be talked about. This movie kind of triggered the debate.”
On November 25, the film was shown in the Italian Senate to mark the United Nations’ International Day for the Elimination of Violence Against Women. There have been screenings for schoolchildren across the country.
“To date around 300,000 high school students have gone to see the film,” says Andrea Scrosati, Group COO and CEO, Continental Europe at Fremantle, the media group which owns Wildside, the Italian producer of There’s Still Tomorrow. “Schools are using it as a way to discuss domestic violence and female empowerment,”
‘There’s Still Tomorrow’
Courtesy of CLAUDIO IANNONE
They are subjects, says Cortellesi, she has been “revolving around” her entire career. One of Italy’s most famous, and beloved, film and TV stars, she cut her teeth as a comedian on radio and TV, doing impressions of politicians, celebrities and musicians, before shifting to the big screen, writing and acting in some of the country’s most successful rom-coms and family dramedies. Her films, many directed by her real-life partner Riccardo Milani, are mainstream entertainment that, below the surface, tackle difficult issues, including social disparity, domestic abuse and Italy’s staunchly patriarchal culture.
There’s Still Tomorrow is packed with situational comedy and sight gags — a romantic interlude involving chocolate-smeared teeth is particularly sweet — and even a show-stopping musical number. But the laughs are always in service of a deeper social message. An early scene in the film shows Ivano laying into Delia after a perceived slight. The beating is staged as a dance, with both partners going through the motions, reenacting a pattern passed down from generation to generation.
“Paola is one of the most sophisticated and intelligent but also empathic artists around,” says Scrosati. “She’s addressed relevant issues, political issues her entire career, but she’s never lecturing.”
Delia is not some idealized feminist. At the start of the film, all she wishes for is a good marriage for her daughter and is saving up money for her wedding dress. Ivano, despite his violence, is shown as pitiful, and comicly stupid. Less a monster than a buffon.
“We wanted to make him an idiot so that there would be no risk of anyone idealizing or imitating him,” says Cortellesi. “It’s a way of exorcising the fear of the monster. When you laugh at someone’s stupidity, your fear of them disappears.”
There’s Still Tomorrow is set against a particular political history. It is set in 1946, ahead of a referendum where Italians were asked to vote to remain a monarchy or to become a republic. For the first time in the country’s history, women were given the vote. The politics bubbles along in the background — there are posters and graffiti, characters toss off lines about democracy and socialism — but even local audiences, says Scorsati, overlook the history and get caught up in the story of Delia’s emancipation.
Paola Cortellesi on set There’s Still Tomorrow
Courtesy of Luisa Carcavale
“Actually, the movie is a bit of trick, a fraud,” says Cortellesi. “We plant clues throughout the movie but because we use these different genres, the romantic comedy, a bit of thriller, a bit of musical, people focus on Delia and start thinking, like all those other movies, that she’ll be freed by another man, a good man.”
It’s only by the end, she says, that audiences realize There’s Still Tomorrow is a love story, “but it isn’t about romantic love, it’s about the love of a mother towards her daughter…I wanted to tell this story for my daughter, who is 11 now, and for the kids of her generation,” says Cortellesi.
The film’s success has transcended local politics, with both Italy’s far-right government and the left-wing opposition joining in the debate around domestic violence the movie has sparked.
“It has nothing to do with politics, but with people being fed up with the current situation, where a woman in Italy is killed every 72 hours just because she is a woman, killed by her boyfriend or partner,” says Cortellesi. “This isn’t a new statistic, but one that’s been constant through different governments, left and right. People are fed up of hearing this same story over and over again. They want to do something to help change the culture. To break this circle of violence.”
Nader Saeivar’s Iranian drama No End has been dropped from the official selection of the Hainan Island International Film Festival in what filmmakers say was an act of censorship by Chinese authorities.
ArtHood Entertainment, which are handling world sales for No End, told The Hollywood Reporter they received a confirmation from the Hainan Island festival on November 19, that the Iranian drama had been picked for the event, to run in the main competition. The 2023 Hainan festival runs from Dec. 16-22 in the tropical resort city of Sanya in China’s southernmost province.
But this week, the festival has pulled the film, citing “political pressure and censorship laws of the Chinese government,” said ArtHood.
The Hainan festival is backed by the state-run China Media Group and the People’s Government of Hainan Province, under the guidance of the China Film Administration. The event’s competition jury this year includes international figures like Cannes regular Nuri Bilge Ceylan (About Dry Grasses), Iranian filmmaker Shahram Mokri (Fish & Cat) and French cinematographer Caroline Champetier (Holy Motors), along with major figures from the Chinese industry, such as actor-director Dong Chengpeng (Jian Bing Man) and actor Huang Xiaoming (The Message), among others. Past star attendees to the event, which appeared to be on the rise before the pandemic, have included Ethan Hawke, Johnny Depp, Jackie Chan, Aamir Khan, Nicolas Cage and Isabelle Huppert.
“[We] acknowledge the pressures that festivals under oppressive regimes face and applaud those that are able to maintain high artistic standards despite state censorship,” ArtHood said. “Nevertheless, [we are] disappointed and shocked by the decision of the authorities.”
The Hollywood Reporter reached out the Hainan Island festival via email for comment but has not received a response.
Seivar co-wrote No End with acclaimed dissident director Jafar Panahi. The award-winning filmmaker of Taxi, The White Ballon, The Circle, and No Bears, Panahi has continued to make movies despite receiving a 20-year ban in 2010 for alleged “propaganda” against the Islamic regime.
“I’m sorry that I can’t attend your festival,” Nader Saeivar wrote in an email to Hainan Island organizers, seen by The Hollywood Reporter. “I was eager to visit your beautiful city and have the opportunity to know the great culture of China better. However, I prefer not to attend a festival that practices censorship protocols. Such censorship measures have also banned the creation and distribution of many great movies in my home country. Also, the same view of art in my country has imprisoned many filmmakers and freedom seekers, including several female artists. Unfortunately, your festival has the same view of art and practices censorship principles. I deeply wish we can watch films created to improve justice and freedom in the world in a free festival in China.”
No End is the story of Ayaz, an honest, hardworking man who dreams of having a house of his own and invests every penny he makes into the construction of his future home, while comfortably living off the money sent to his mother-in-law by her son, who has been living abroad for many years in exile. When the son is suddenly given permission to return, Ayaz tries to stop it by staging a search of his house to scare him off. His plans work too well: Iran‘s actual secret service catches wind of the search and turns its attention to Ayaz, with disastrous consequences.
ArtHood Films and Saeivar are currently in post-production on their next film, also co-written by Saeivar and Panahi, which, ArtHood said, is “as much, if not more, political [than No End],” criticizing the authoritarian regime of Iran and “carrying the banner for human rights.”
“A heroine of our modern times, Greta Gerwig shakes up the status quo between a highly codified cinema industry and an era that is demanding greater scrutiny,” Cannes said in its announcement.
“Yesterday, ambassador of independent American cinema, today at the summit of worldwide box office success, Greta Gerwig manages to combine what was previously judged to be incompatible: Delivering arthouse blockbusters, narrowing the gap between art and industry, exploring contemporary feminist issues with deft as well as depth, and declaring her demanding artistic ambition from within an economic model that she embraces in order to put to better use.
“Whether acting, writing, or directing, her artistic endeavors have recurrent leitmotifs, such as family upheaval, adolescent rites of passage, fear of loss of social status or the emergence of artistic vocation via characters that are free, sometimes fragile and marginal, but also fierce.”
Gerwig will be the first American female director to be Cannes Jury President. She’s only the second female director to take over the post, following Jane Campion in 2014, and the second American woman to do so, following actress Olivia de Haviland, who was Cannes’ first female Jury President in 1965.
“This is an obvious choice since Greta Gerwig so audaciously embodies the renewal of world cinema, for which Cannes is each year both the forerunner and the sounding board,” said Cannes Festival President Iris Knobloch and Artistic Director Thierry Frémaux. Alongside her talent as a filmmaker, they said, Gerwig “is also the representative of an era that is breaking down barriers and mixing genres, and thereby elevating the values of intelligence and humanism.”
Despite the praise, this will be the first time Gerwig will walk the Cannes red carpet in an official capacity. None of her films as a director have premiered at the French festival.
“I love films – I love making them, I love going to them, I love talking about them,” said Gerwig in a statement. “As a cinephile, Cannes has always been the pinnacle of what the universal language of movies can be. Being in the place of vulnerability, in a dark theater filled with strangers, watching a brand-new film is my favorite place to be. I am stunned and thrilled and humbled to be serving as the president of the Cannes Film Festival Jury. I cannot wait to see what journeys are in store for all of us!”
Gerwig’s career has taken her in front of and behind the camera, from her start as an actor and screenwriter — alongside starring in, she co-wrote Hannah Takes the Stairs (2007) with Joe Swanberg, and Frances Ha (2012) and Mistress America (2015) with partner Noah Baumbach — before making her first sole directing effort in breakout hit Lady Bird in 2017.
Nominated for 5 Oscars, including a best directing nom, Lady Bird grossed close to $80 million worldwide. Gerwig had arrived.
Her 2019 follow-up, a fresh take on period classic Little Women for Sony, was a bonafide crossover hit, earning $218 million worldwide and establishing Gerwig in the top tier of studio directors.
But no one was prepared for the gargantuan success of Barbie. The pink-tinged tentpole starring Margot Robbie and Ryan Gosling was the biggest hit of 2023, earning more than $1.4 billion and, to date, owning awards season. She is, said Cannes in its announcement, “an international cultural phenomenon…the most bankable female film director in history.”
The 77th Cannes Film Festival runs May 14-25, 2024.
The Swedish Film Institute on Wednesday announced the nominations for the Guldbagge (Golden Bug) awards, Sweden’s top film prize, with politics taking center stage among the feature contenders.
Axel Petersén’s Shame on Dry Land, a neo-noir set in the world of online gamblers who fled Sweden for refuge in Malta, lead the pack with 9 Guldbagge nominations. But it was snubbed in the best film category. Per Fly’s cold war thriller Hammarskjöld, starring Mikael Persbrandt as the titular Swedish diplomat, and former UN Secretary-General, who died in a mysterious plane crash, received seven nominations, including best film, tying with Opponent, Milad Alami’s drama about a family who flee Iran for Northern Sweden.
Alongside Hammarskjöld and Opponent, best film nominees include Mika Gustafson’s social drama Paris Is Burning, the relationship drama 100 Seasons from director Giovanni Bucchieri, and The Gullspång Miracle, a documentary from director Maria Fredriksson about two pious sisters who buy an apartment after witnessing what they take as a divine sign, only to realize that the seller is the spitting image of their dead sister, who committed suicide some thirty years before.
Fredriksson, Alami, and Petersén are all up for the best directing Guldbagge, alongside Ami-Ro Sköld, nominated for the animated drama The Store.
Going up against Persbrandt in the best actor category are Payman Maadi for Opponent, Joel Spira for Shame on Dry Land and Gustaf Hammarsten for his starring role in Lukas Moodysson’s Together 99. Best actress nominees include Maral Nasiri for Opponent, Karin Franz Körlof for Andreas Öhman’s One Day All This Will Be Yours, Sanna Sundqvist for Thank You, I’m Sorry from director Lisa Aschan, and Lena Olin for Mårten Klingberg’s Second Act.
The Guldbagge Awards will be handed out at a gala ceremony in Stockholm on Jan. 15, 2024.
There are no capes and there is no spandex in Dampyr, the fantasy horror film by Italian director Riccardo Chemello. But the English-language feature, which has been a surprise hit on Netflix, is the first entry in what you could call the Bonelli Cinematic Universe.
The vampire-hunter tale, starring Wade Briggs, Stuart Martin, Frida Gustavsson, Sebastian Croft, David Morrissey and Luke Roberts, is the first of a new wave of comic-book adaptations from Bonelli Entertainment, the Italian publisher billed as Italy’s answer to Marvel.
The film, which cracked the top 3 on Netflix’s US service, is the origin story of Harlan Draka, a Serbian dampyr, or half-breed offspring of a vampire dad and human mother, whose blood has the power to kill the undead. Draka was first introduced to Italian comic fans 20 years ago — the collapse of the former Yugoslavia and the 1990s Balkan war is the comic’s real-life subtext — and his adventures fighting the armies of the night have been detailed in some 300 issues of the long-running series, published by Sergio Bonelli Editore.
Wade Briggs stars in Bonelli Entertainment’s comic book adaptation ‘Dampyr.’
The film, directed by Riccardo Chemello, is the first of Bonelli’s attempts to turn its vast library of original characters and comic-book storylines into a new fictional universe. Instead of Iron Man or the Hulk, Bonelli’s back catalog features tales peopled with human characters. There’s the frontier cowboy Tex Willer. Paranormal investigator Dylan Dog. Hard-boiled detective Nick Raider. Sci-fi crime fighter Nathan Never. Beloved for decades in Italy, and across much of the world where Bonelli comics are published, from Eastern Europe to South America, some of these characters have appeared in cameos in U.S. series. Dylan Dog once teamed up with Batman in a story arc in the DC comics. Zagor, a sort of Tarzan character with a Native American spin, turned up in a few issues of Flash Gordon.
But Dampyr, adapted by Alberto Ostini, Giovanni Masi, Mauro Uzzeo from the original characters created by Mauro Boselli and Maurizio Colombomarks Bonelli’s first entry into the international film space. The film is a co-production with Eagle Pictures and Brandon Box and distributed in North America by Sony Pictures.
The film’s success on Netflix was a surprise, even for Bonelli. Dampyr received a frosty reception from devotee fans when it was unveiled at the Italian Comics & Games festival in Lucca last year and was a box office flop in Italy, grossing just $377,000 (€350,000). But Dampyr was always intended for the English-language market. And, as its performance on Netflix showed, Bonelli’s bet paid off.
“We knew it [would work],” says Michele Masiero, editor-in-chief of Sergio Bonelli Editore. “Certainly what is happening now exceeds all our wildest expectations.”
In its first weekend, Dampyr was the number 3 film on Netflix USA, ahead of Minions, David Fincher’s The Killer starring Michael Fassbender. Above Sony’s Spider-Man: Into the Spider-Verse.
“Of the other nine titles in the top 10, the cheapest cost $100 million,” says Bonelli Entertainment director Vincenzo Sarno. “Our film cost €15 million [$16 million].”
The success of Dampyr should help several in-development projects from the burgeoning Bonelli Cinema Universe. Next up is a TV series on Dylan Dog that Saw creator James Wan is set to helm. The series will follow the adventures of the titular “investigator of nightmares,” who unravels occult mysteries from the terrifying (zombie invasions) to the ridiculous (haunted refrigerators), passing parallel worlds to do so. While there are plenty of fantastic and supernatural elements, the series, like everything in the BCU, is grounded in human characters. No capes allowed.
“Superheroes with problems have been done, we wanted to portray ordinary men with super-problems, which we found it more interesting,” says Dampyr director Chemello.
“The desire,” notes Sarno, “was to reach a wider audience without losing the Bonelli style, building an editorial line that would unite the legacy of our publishing house with the tradition of Italian genre films, blend them and take them out to the world. And Sony, a major studio that understands this mission and embraces it, was the first step toward a success that still stuns us.”
‘Dragonero,’ an animated series based on a Bonelli comic, runs on the Italian network RAI.
Back in Italy, public broadcaster RAI has renewed Dragonero, a series adaptation of a Bonelli fantasy comic, for a second season.
“This isn’t just about one film or just about Bonelli, it’s about this entire genre [of Italian comics],” says Sarno. “It’s a bet on a European vision that has been validated by the market.”
Bonelli’s bets haven’t always worked out. The 2010 Dylan Dog adaptation from Canadian director Kevin Munroe — Bonelli licensed the rights to the comic — bombed. A planned Nathan Never film got lost in development hell.
“We’d like to forget that period,” says Sarno, “it was not a successful experiment.”
The change came when Bonelli began to develop its adaptations in-house, producing through Bonelli Entertainment and keeping projects closer to the spirit of the original Italian comics.
For Dampyr, they bet big on Chemello, a 29-year-old former parkour champion whose previous filmmaking experience was doing commercials for Red Bull.
“This genre is designed for a young audience in mind,” says Sarno, “so you have to have courage to bet on [a young director’s] vision.”
The original idea was for a Dampyr trilogy, which, given the first film’s success, is looking more and more likely.
But Sarno has grander plans. The final scene of Dampyr, showing Draka’s gothic library, is packed with easter eggs teasing future BCU projects. In one corner you see Zagor’s axe in a shrine. There’s a map of Erondar, the Dragonero empire, on the wall. Nathan Never’s ray gun with a robotic hand in a display case.
Wan’s Dylan Dog series is deep into pre-production. Bonelli announced a Martin Mystère animated series, about an adventurous archaeologist, at Lucca this year. (The French-language Martin Mystery series, which ran from 2003-2006 was based on the same comic.)
On his plans for Nathan Never, Sarno is cryptic. He’s been dreaming for years of a film adaptation of the sci-fi character, who in the long-running comic “has met most of the other heroes of the BCU,” making him an ideal figure to unite “the various planets of our universe.” But Sarno refused to be drawn on whether he’ll turn up in a series, a feature film or as a character in an adaptation of another comic. “I’ve already talked too much,” he says.
Over the next five years, Sarno and Bonelli hope to have built the scaffolding of the BCU, an “Italian structure that collaborates permanently with US and British talent.”
Numbers don’t lie, right? But they also don’t always tell the whole story. That’s the case with the most recent results from a key global education test, the Program for International Student Assessment or PISA.
In the past, PISA results have often spurred anguished discussion about why U.S. students are so far behind other countries like Finland, Korea and Poland. But the most recent rankings, released in December 2023, indicated that U.S. 15-year olds moved up in the international rankings for all three subjects – math, reading and science. Education Secretary Miguel Cardona credited the largest federal investment in education in history – roughly $200 billion – for keeping the United States “in the game” during the pandemic. (The tests were administered in 2022.)
But that rosy spin hides a much grimmer picture. Rankings may have risen, but test scores did not. The only reason the U.S. rose is because academic performance in once higher ranking countries, such as Iceland and the Slovak Republic, fell by even more since the previous testing round in 2018. Neither India nor China, which topped the rankings in 2018, participated in the 2022 PISA. In math, the U.S. rose from 29th place to 28th place, still in the bottom half of economically advanced nations of the Organization for Economic Cooperation and Development (OECD), an international organization of 38 member countries that oversees the PISA exam.
Click here to see a larger version of the 2022 PISA math results by country. Source: OECD PISA 2022.
Click here for a larger version of the 2022 PISA reading results. Source: OECD PISA 2022.
The deterioration in math was particularly devastating. American students scored 13 points lower than in 2018, equivalent to losing two-thirds of a year of education in the subject. These were the lowest U.S. math scores recorded in the history of the PISA math test, which began in 2003. More than a third of U.S. 15-year-olds (mostly 10th graders) are considered to be low performers, unable to compare distances between two routes or convert prices into a different currency. Over the past decade, the share of U.S. students in this lowest level has swelled; back in 2012, a little over a quarter of U.S. students were considered to be low performers.
Only seven percent of American students can do math at advanced levels. The United States has more students in the bottom group and fewer students in the top group than most other industrialized countries that are part of the OECD. (Click here to see an international ranking of low and top performers in each country.)
The results also confirmed the widespread inequalities in U.S. education. Black and Hispanic students, on average, scored far below Asian and white students. Those from low-income backgrounds scored lower than their more affluent peers.
Andreas Schleicher, director for education and skills at the OECD, emphasized that the inequities in the U.S. are often misunderstood to be primarily problem of weak schools in poor neighborhoods. His analysis indicates that low math performance is common throughout U.S. schools. Some students are performing much worse than others within the same school, and that range between low and advanced students within U.S. schools is much greater than the range in scores between schools.
This new PISA test is the first major international education indicator since the Covid pandemic closed schools and disrupted education. Test scores declined all around the world, but the OECD found there was only a small relationship between how long schools were closed and their students’ performance on the PISA test. School closures explained only 11 percent of the variation in countries’ test scores; nearly 90 percent is attributable to other, unclear reasons. However, the OECD looked at the absolute level of test scores and not how much test scores fell or rose. More analysis is needed to see if there’s a stronger link between school closures and test score changes.
Math performance has been deteriorating worldwide for two decades, but the US lags behind other advanced nations. Source: OECD PISA 2022.
Even if school closures eventually prove to be a more important factor, the pandemic isn’t the only reason students are struggling. Global scores have generally been declining for the past two decades. One hypothesis is that technology is distracting teenagers. Students were asked about technology distraction for the first time on the 2022 PISA. Forty-five percent of students said they feel anxious if their phones are not near them. Sixty-five percent report being distracted by digital devices during math lessons. Up to an hour a day of computer time for leisure was associated with higher performance. But heavy users, those who spent five to seven hours on computers for fun, had lower academic performance, even after adjusting for family and school socioeconomic profiles.
Another factor could be the rise in migration across the world. Perhaps declining test scores reflect the challenge of educating new immigrants. However, the OECD didn’t find a statistically significant correlation between immigration and academic performance on average. In the United States, immigrants outscored students with native-born parents in math after adjusting for socio-economic status. There was no difference between immigrants and non-immigrants in reading.
Japan was one of the few countries to defy the trends. Both its math and reading scores rose considerably between 2018 and 2022. Akihiko Takahashi, professor emeritus of mathematics and mathematics education at Chicago’s DePaul University, said schools were closed for a shorter period of time in Japan and that helped, but he also credits the collective spirit among Japanese teachers. In his conversations with Japanese teachers, Takahashi learned how teachers covered for each other during school closures to make sure no students in their schools fell behind. Some went house to house, correcting student homework.
It’s tempting to look at the terrible PISA math scores and say they are evidence that the U.S. needs to change how it teaches math. But the PISA results don’t offer clear recommendations on which math approaches are most effective. Even Japan, one of the top performing nations, has a mixed approach. Takahashi says that students are taught with a more progressive approach in elementary school, often asking students to solve problems on their own without step-by-step instructions and to develop their own mathematical reasoning. But by high school, when this PISA exam is taken, direct, explicit instruction is more the norm.
The new results also highlighted the continued decline of a former star. For years, Finland was a role model for excellent academic performance. Education officials visited from around the world to learn about its progressive approaches. But the country has dropped 60 points over the past few testing cycles – equivalent to losing three full school years of education. I suspect we won’t be hearing calls to teach the Finnish way anymore. “You have to be careful because the leaders of today can be the laggards of tomorrow,” said Tom Loveless, an independent researcher who studies international assessments.
There was one bright spot for American students. Fifteen-year-olds scored comparatively well on the PISA reading test, with their scores dropping by just one point while other countries experienced much steeper declines. But that good news is also tempered by the most recent scores on the National Assessment for Educational Progress (NAEP) test, often called the Nation’s Report Card. Reading scores of fourth and eighth graders deteriorated over the last two testing cycles in 2019 and 2022.
Overall, the PISA results provide additional confirmation that U.S. students are in trouble, especially in math, and we can’t put all the blame on the pandemic.
This story about the 2022 PISA results was written by Jill Barshay and produced by The Hechinger Report, a nonprofit, independent news organization focused on inequality and innovation in education. Sign up for the Hechinger newsletter.
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Acclaimed filmmaker Hayao Miyazaki‘s Japanese film The Boy and the Heron flew to a record-breaking $12.8 million opening, making it the first original anime title in history to top the North American box office chart.
The whimsical movie wisely chose to open on a weekend when there were no new wide releases from the major Hollywood studios. The first and second weekends of December are generally quiet as the studios prepare to unwrap their big Christmas films. (This year, the year-end holiday action gets underway next weekend when Warner Bros. opens Wonka, although it is debuting in select markets overseas this weekend.)
The Boy and the Heron film shattered other records as well, including already becoming Miyazaki’s top-grossing film domestically after earning $5.6 million on Friday from 2,205 theaters, not adjusted for inflation. His previous best, 2013’s The Wind Rises earned $5.2 million in its entire North American run.
The film was fueled by younger adults, with 80 percent of the audience between the ages of 18 and 34, including 44 percent between ages 25 and 34. It earned an A- CinemaScore.
The Boy and the Heron also claims the biggest domestic opening for a Studio Ghibli film and will mark the biggest bow ever for GKIDS, the film’s U.S. distributor. It’s the first foreign production to top the North American chart this year.
Miyazaki’s movie — which has earned north of $85 million in Japan — had a high-profile presence on the fall film festival circuit, including becoming the first animated title to open the Toronto Film Festival.
Coming in at No. 2 was Lionsgate’sThe Hunger Games: The Ballad of the Songbirds and Snakeswith a projected $9 million to $10 million from 3,665 locations in its fourth outing. The film has now earned a pleasing $126.3 million domestically.
Japanese monster pic Godzilla Minus One placed third place in its second weekend with $8 million to $9 million from 2,450 cinemas. (No one can remember another time when two Japanese titles landed in the top five at the North American box office.)
Universal and DreamWorks Animation’s Trolls Band Together held at No. 4 with an estimated weekend haul of $6.2 million from 3,451 theaters for a domestic total of $83.1 million.
Disney’s Wish and AMC Theatres’ Renaissance: A Film by Beyoncé found themselves in a close race for No. 5, with both currently pacing to earn $5 million to $5.5 million. The final order will be determined Monday morning.
Beyoncé‘s concert fell off steeply after opening to No. 1 last weekend and could suffer a drop of as much as 74 percent. The pic is playing in 2,542 locations, while Wish is booked in 3,450 cinemas.
Elsewhere, Bleecker Street’s Waitress: The Musical opened in 1,214 locations. The film, based on a live stage recording of the 2015 play of the same name, placed No. 9 with and estimated $3.2 million.
At the specialty box office,Yorgos Lanthimos‘ dark comedy Poor Things did rich business as it opened in nine cinemas. The Victorian era-set pic, starring Emma Stone scored a per-theater average of $72,000, the average of the fall season and the third best of the year as Searchlight Pictures ramps up the film’s awards campaign.
Poor Things, which won the Golden Lion at the Venice Film Festival, went on to be named one of the 10 best films of the year by both the American Film Institute and the National Board of Review.
More to come.
This story was originally published Dec. 9 at 8:50 a.m.
The 36th European Film Awards have kicked off in Berlin with several of this year’s hottest award season contenders vying for the top honors from the European Film Academy.
Justine Triet’s acclaimed French courtroom drama Anatomy of a Fall, Jonathan Glazer’s harrowing Holocaust drama The Zone of Interest and Aki Kaurismäki dark, droll Finnish love story Fallen Leaves, all of which have received major awards buzz, are multiple nominees and all up for the top prize of best European film. Other best film nominees include Matteo Garrone’sIo Capitano from Italy, and Agnieszka Holland’s Polish drama Green Border, both of which look at the refugee crisis on Europe’s borders.
Sandra Hüller is a double nominee in the best actress category, for her starring turns in The Zone of Interestand Anatomy of a Fall, and is going up against Fallen Leaves star Alma Pöysti; Leonie Benesch, nominated for İlker Çatak’s The Teachers’ Lounge; Mia McKenna-Bruce, star of Molly Manning Walker’s How To Have Sex; and Eka Chavleishvili for her starring role in Elene Naveriani’s Georgian drama Blackbird Blackbird Blackberry.
Hüller’s Zone co-star Christian Friedel is in the running for the best European actor honor, competing with Mads Mikkelsen for Nikolaj Arcel’s The Promised Land, Josh O’Connor for Alice Rohrwacher’s La Chimera, Fallen Leaves co-star Jussi Vatanen and Thomas Schubert for Christian Petzold’s Afire.
EFA’s Excellence Awards, the craft section of the European Film Awards, were announced ahead of Saturday’s gala. Arcel’s 18th-century Danish WesternThe Promised Land picked up best cinematography honors for. J.A. Bayona‘s real-life dramaSociety of the Snow won best visual effects for Félix Bergés and Laura Pedrobest and best hair and make-up for Ana López-Puigcerver, Belén López-Puigcerver, David Martí and Montse Ribé. The Zone of Interest won best sound design for Johnnie Burn and Tarn Willers, and Laurent Sénéchal took the best editing prize for his work on Anatomy of a Fall. Emita Frigato won the EFA for best production design for Rohwacher’s Italian drama La Chimera, and Markus Binder took best score for his soundtrack to Jessica Hausner’s health cult satire Club Zerostarring Mia Wasikowska.
The European Film Academy also presented several filmmakers with honorary accolades. Spanish director Isabel Coixet (My Life Without Me, The Bookshop) got the European Achievement in World Cinema Award. Oscar-winning British actress Vanessa Redgrave (Julia, Howards End) received the European Lifetime Achievement honor. Legendary Hungarian filmmaker Béla Tarr (The Turin Horse, Werckmeister Harmonies) was presented with the Honorary Award of the Academy President and Board, a rare achievement. Tarr is only the sixth filmmaker to be so honored, following directors Manoel de Oliveira, Andrzej Wajda and Costa-Gavras, and actors Michel Piccoli and Michael Caine.
The Euroimages European Co-Production Award, honoring excellence in cross-border film production, went to Lithuanian-based producer Uljana Kim. Through her company, Studio Uljana Kim, she has produced some 34 features and documentaries, almost all co-productions, including The Gambler (2013), Teesklejad (2016) and The Year Before the War (2021).
From outside the film business, Turkish executive Güler Sabancı, chairperson of Sabancı Holding, received the European Sustainability Award, for her philanthropic work to promote sustainability practices across multiple sectors.
Full list of winners for the 2023 European Film Awards
European Film
Anatomy of a Fall, dir. Justine Triet
Fallen Leaves, dir. Aki Kaurismäki
Green Border, dir. Agnieszka Holland
Io Capitano, dir. Matteo Garrone
The Zone of Interest, dir. Jonathan Glazer
European Documentary
Apolonia, Apolonia, dir. Lea Glob
Four Daughters, dir. Kaouther Ben Hania
Motherland, dir. Hanna Badziaka, Alexander Mihalkovich
On the Adamant, dir. Nicolas Philibert
Smoke Sauna Sisterhood, dir. Anna Hints
European Director
Justine Triet for Anatomy of a Fall
Aki Kaurismäki for Fallen Leaves
Agnieszka Holland for Green Border
Matteo Garrone for Io Capitano
Jonathan Glazer for The Zone of Interest
European Actress
Sandra Hüller in Anatomy of a Fall
Eka Chavleishvili in Blackbird Blackbird Blackberry
Alma Pöysti in Fallen Leaves
Mia McKenna-Bruce in How To Have Sex
Leonie Benesch in The Teachers’ Lounge
Sandra Hüller in The Zone of Interest
European Actor
Thomas Schubert in Afire
Jussi Vatanen in Fallen Leaves
Josh O’Connor in La Chimera
Mads Mikkelsen in The Promised Land
Christian Friedel in The Zone of Interest
European Screenwriter
Justine Triet and Arthur Harari for Anatomy of a Fall
Aki Kaurismäki for Fallen Leaves
Maciej Pisuk, Gabriela Łazarkiewicz-Sieczko and Agnieszka Holland for Green Border
İlker Çatak and Johannes Duncker for The Teachers’ Lounge
Jonathan Glazer for The Zone of Interest
European Discovery – Prix FIPRESCI
20,000 Species of Bees, dir, Estibaliz Urresola Solaguren
How To Have Sex, dir. Molly Manning Walker
La Palisiada, dir. Philip Sotnychenko
Safe Place, dir. Juraj Lerotić
The Quiet Migration, dir. Malene Choi
Vincent Must Die, dir. Stéphan Castang
European Animated Feature Film
A Greyhound of a Girl, dir. Enzo d’Alò
Chicken For Linda!, dir. Chiara Malta, Sébastien Laudenbach
Robot Dreams, dir. Pablo Berger
The Amazing Maurice, dir. Toby Genkel
White Plastic Sky, dir. Tibor Bánóczki, Sarolta Szabó
European Short Film
27, dir. Flóra Anna Buda Aqueronte, dir. Manuel Muñoz Rivas
Daydreaming So Vividly About Our Spanish Holidays, dir. Christian Avilés
Flores Del Otro Patio, dir. Jorge Cadena
Hardly Working, dir. Susanna Flock, Robin Klengel, Leonhard Müllner, Michael Stumpf
European Cinematography
Rasmus Videbaek for The Promised Land
European Editing
Laurent Sénéchal for Anatomy of a Fall
European Score
Markus Binder for Club Zero
European Production Design
Emita Frigato for La Chimera
European Costume Design
Kicki Ilander for The Promised Land
European Visual Effects
Félix Bergés and Laura Pedrobest for Society of the Snow
European Hair and Make-Up
Ana López-Puigcerver, Belén López-Puigcerver, David Martí and Montse Ribé for Society of the Snow
European Sound Design
Johnnie Burn and Tarn Willers for The Zone of Interest
The nominees for the 2023 European Film Awards (EFAs) are among the very best movies of the year, in Europe or anywhere. The five best picture nominees include Justine Triet’s legal thriller Anatomy of a Fall; Jonathan Glazer’s harrowing Holocaust film The Zone of Interest; the refugee dramas Io Capitano, from Italian director Matteo Garrone, and Green Border from Polish filmmaker Agnieszka Holland; and dour romantic comedy Fallen Leaves, by Finland’s Aki Kaurismäki. Award winners all — Anatomy, Zone and Fallen Leaves picked up top honors in Cannes, while Green Border and Io Capitano won plaudits at this year’s Venice Film Festival — this lineup of critical hits could hold its own at any awards ceremony.
The quality at the EFAs goes deep, including first-time filmmakers like Britain’s Mia McKenna-Bruce (How to Have Sex), France’s Stéphan Castang (Vincent Must Die) and Spanish filmmaker Estibaliz Urresola Solaguren (20,000 Species of Bees), whose debuts were among the buzziest movies on this year’s festival circuit and are all up for the EFA Discovery prize for best first feature.
“They are very, very strong movies,” says Holland. “And I have to say that most years the international selection is stronger than the main American selection of films.”
But as a who’s who of the Euro film scene descends on Berlin on Dec. 9 for the 36th EFAs, European cinema is struggling to find its audience, and its gala awards show is fighting to stay relevant.
Box office across Europe has bounced back significantly from its COVID-era dip. Theater revenue last year was up 70 percent year-over-year to $5.6 billion (5.1 billion euros), according to figures from the European Audiovisual Observatory, a media think tank, though still around a third below the pre-pandemic peak. More worrying for local industry: The top 20 films of the year, by theatrical admissions, were all Hollywood-backed productions.
“Clearly, there is a segment of the art house audience for European films that hasn’t come back to the cinema on a regular basis,” says European Film Academy chairman Mike Downey, who notes that audiences for European movies tend to skew older, a demographic that has been more wary about returning to theaters. “This is what the industry needs to focus on for the next few years, [getting] audiences for [European films] back into the cinemas.”
Pan-European distribution, or the lack of it, is one the biggest problems. Many of this year’s EFA nominees are local hits, but without a strong U.S. partner to release and promote them, they have struggled to translate that success across EU borders.
“The way these films are being made, sold and distributed makes it hard for people to watch them across Europe,” says European Film Academy CEO Matthijs Wouter Knol.
Knol points to last year’s EFA best film winner Triangle of Sadness, which earned some $20 million at the EU box office in part thanks to a more coordinated rollout. The movie’s financing structure, which included co-producers and distributors from Europe’s three largest markets (the U.K., France and Germany), meant that Ruben Östlund’s satire on capitalism was able to translate the hype from its festival run into pan-European success.
To boost their own profile, the EFAs will be changing their dates. After next year’s event, the EFAs will take a 13-month break, to hold their 2026 gala in mid-January, strategically scheduled between the Golden Globes and the closing of voting for the Academy Awards.
“The Oscars play an incredibly important role in the visibility for European films,” says Knol. “By positioning ourselves in the middle [of awards season], we think we can benefit by giving the winners of the European Film Awards a greater visibility and better promotion leading into the Oscars.”
This story first appeared in the Dec. 7 issue of The Hollywood Reporter magazine. Click here to subscribe.
Japanese distributor Bitters End has confirmed it will bow Christopher Nolan’s biopic in local cinemas next year, though it did not set a specific release date.
In a statement, Bitters End said it had made the decision after screening the film and “following months of thoughtful dialogue associated with the subject matter and acknowledging the particular sensitivity for us Japanese.”
With his biopic about the brilliant physicist who led the Manhattan Project that built the atomic bomb, Nolan had “created a singular cinematic experience that transcends traditional storytelling and must be seen on the big screen,” the company said. “We invite the audience to watch the film with their own eyes when it comes to Japan.”
Oppenheimer, a Universal release, starring Cillian Murphy, Emily Blunt, Matt Damon, Robert Downey Jr. and Florence Pugh, has been a phenomenal critical and commercial success, grossing more than $950 million worldwide and is a frontrunner for next year’s Oscars. But the subject matter has meant the film was always highly controversial in Japan.
This summer, Warner Bros. Japan was forced to apologize after Warners’ U.S. Twitter account posted memes featuring mashups of Warners’ Barbie with Nolan’s Oppenheimer film, something many Japanese took to be making light of the more than 200,000 killed in the atomic bombings of Hiroshima and Nagasaki. The phrase #NoBarbenheimer trended in Japan and it was not clear whether Oppenheimer would get a local release.
Nolan has defended his choice to not explicitly depict the bombings and the Japanese victims, arguing his film is on told subjectively from Oppenheimer’s point of view and that the physicist never witnessed the devastation he helped bring about. “He learned about the bombings of Hiroshima and Nagasaki on the radio — the same as the rest of the world,” Nolan told NBC.
This isn’t the first Universal title Bitters End has released in Japan, having previously handled the local bow of Joe Wright’s Churchill biopic Darkest Hour and Paul Thomas Anderson’s 70s dramedy Licorice Pizza.
Marisa Pavan, the Italian actress and twin sister of Pier Angeli who received an Oscar nomination for her performance as the daughter of Anna Magnani’s seamstress in the 1955 drama The Rose Tattoo, has died. She was 91.
Pavan died Wednesday in her sleep at her home in Gassin, France, near Saint-Tropez, Margaux Soumoy, who wrote Pavan’s 2021 biography, Drop the Baby; Put a Veil on the Broad!, told The Hollywood Reporter.
Pavan also portrayed the French queen Catherine de’ Medici in Diane (1956), starring Lana Turner; an Italian girl who had an affair years ago with a corporate exec (Gregory Peck) in The Man in the Gray Flannel Suit (1956); and the love interest of a former cop (Tony Curtis) investigating the murder of a priest in the film noir The Midnight Story (1957).
In Paramount’s The Rose Tattoo (1955), an adaptation of the Tennessee Williams play that won four Tony Awards, including best play, Pavan was memorable as the headstrong Rosa Delle Rose alongside Magnani, Burt Lancaster, Jo Van Fleet and Ben Cooper. Williams adapted the screenplay with Hal Kanter.
The film, directed by Daniel Mann and shot in Florida by James Wong Howe, was nominated for eight Oscars, including best picture, and won three. Pavan lost out on Oscar night to Van Fleet — who won not for The Rose Tattoo but for East of Eden — but she did get to the podium at the Pantages, accepting countrywoman Magnani’s trophy for best actress.
Marisa Pavan with Ben Cooper in 1955’s ‘The Rose Tattoo’
Courtesy Everett Collection
Maria Luisa Pierangeli and her sister (birth name Anna Maria Pierangeli, who was older by a few minutes) were born on June 19, 1932, in Cagliari, Sardinia, Italy. Their father, Luigi, was an architect and construction engineer, and their mother, Enrica, was a homemaker who once dreamed of being an actress.
“My mother adored Shirley Temple and took us to see all her movies,” Pavan said in Jane Allen’s 2002 book, Pier Angeli: A Fragile Life. “She even dressed us like Shirley Temple, hence the big bows in our hair.”
The family moved to Rome in the mid-1930s and was threatened when the Nazis occupied the city.
When she was 16, Anna was strolling along the Via Veneto on the way home from art school when she was discovered by Vittorio De Sica, and she portrayed a teenager on the verge of a sexual awakening opposite him in Tomorrow Is Too Late (1950). That brought her to the attention of MGM, which cast her in Teresa (1951), signed her to a seven-year contract and gave her the stage name Pier Angeli.
Angeli and her sister then moved to Los Angeles, and Maria, with no acting experience, was signed by Fox. Newly christened Marisa Pavan, she made her big-screen debut as a French girl in John Ford’s World War I-set What Price Glory (1952), starring James Cagney and Dan Dailey.
Pavan then appeared in 1954 in the film noir Down Three Dark Streets and in the Western Drum Beat, starring Broderick Crawford and Alan Ladd, respectively, before she broke out in The Rose Tattoo.
Pavan also co-starred in a pair of epic adventures released in 1959, playing Robert Stack’s love interest in John Farrow’s John Paul Jones (1959) and the servant Abishag in King Vidor’s Solomon and Sheba (1959). In the latter, she worked alongside Yul Brynner, who joined the film in Spain after the sudden death of Tyrone Power.
Pavan worked mainly in television after that, with stints on such shows as The United States Steel Hour, Naked City, 77 Sunset Strip, Combat!, The F.B.I., Wonder Woman, Hawaii Five-O and The Rockford Files.
Marisa Pavan and Tony Curtis on the set of 1957’s ‘The Midnight Story’
Courtesy Everett Collection
In 1976, she appeared as Kirk Douglas‘ mentally ill wife in the Arthur Hailey NBC miniseries The Moneychangers, and she played Chantal Dubujak, mother of crime lord Max DuBujak (Daniel Pilon), in 1985 on the ABC soap opera Ryan’s Hope.
Angeli, who dated James Dean before she married singer Vic Damone and portrayed the wife of champion boxer Rocky Marciano (played by Paul Newman) in 1956’s Somebody Up There Likes Me, died in 1971 at age 39 of a barbiturate overdose at a Beverly Hills apartment. It was never firmly established whether she died by suicide or suffered a reaction to prescribed medication.
Pavan was married to French actor Jean-Pierre Aumont (her castmate in John Paul Jones) from 1956 until his 2001 death. Survivors include her sons, Jean-Claude (a cinematographer) and Patrick, and her younger sister, Patrizia Pierangeli, also an actress.