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Neon Takes North America on Jafar Panahi's ‘It Was Just an Accident'

Neon Takes North America on Jafar Panahi's ‘It Was Just an Accident'

Yahoo22-05-2025
Neon has taken North American rights on revered Iranian auteur Jafar Panahi's Cannes competition title 'It Was Just an Accident,' which marks Panahi's first film since being released from prison in Iran.
The film, starring Mariam Afshari, Ebrahim Azizi, and Vahid Mobasser, was greeted with a long standing ovation and is a Cannes standout title.
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'It Was Just an Accident' centers around an outpouring of strong feelings by a group of former prisoners toward a torturous guard.
'When you spend eight hours a day blindfolded, seated in front of a wall, being interrogated by someone standing behind your back every day, you can't stop wondering what kind of conversation you can have with this man,' Panahi told Variety in one of his first interviews following his 14-year ban on making movies, speaking to the press and traveling.
The film is produced by Jafar Panahi and Philippe Martin and co-produced by Sandrine Dumas and Christel Henon, with David Thion and Lilina Eche serving as associate producers. The film is a Les Films Pelléas and Jafar Panahi Production from Iran/France and Luxembourg. MK2 Films is representing international sales rights.
The deal was negotiated by Neon's Sarah Colvin and Jeff Deutchman with MK2 Films' Fionnuala Jamison on behalf of the filmmakers.
'It Was Just An Accident' marks the second collaboration between Neon and Jafar Panahi, following 'The Year of the Everlasting Storm' which played in Cannes Special Screenings in 2021.
Panahi is is considered one of his country's greatest living film masters.
In 2010, the auteur — known globally for prizewinning works such as 'The Circle,' 'Offside,' 'This is Not a Film,' 'Taxi' and most recently 'No Bears' — was banned from making movies, speaking to the press and traveling, though he surreptitiously kept making them anyway. The ban was lifted in April 2023, and now Iranian authorities allowed him to travel to Cannes to launch 'It Was Just an Accident.'
Last year in Cannes Neon picked up 'The Seed of the Sacred Fig' from Iranian filmmaker Mohammad Rasoulof, which went on to be nominated for a BAFTA and for Best International Feature at the 97th Academy AwardsThis year in Cannes, Neon debuted Joachim Trier's much lauded 'Sentimental Value' and Julia Ducournau's 'Alpha' in competition, and Raoul Peck's 'Orwell: 2+2=5' and Michael Angelo Covino's 'Splitsville' starring Dakota Johnson and Adria Arjona which Neon also produced.
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Jane Austen's wit is irreverently revamped for the stage at Mirvish and the Stratford Festival
Jane Austen's wit is irreverently revamped for the stage at Mirvish and the Stratford Festival

Hamilton Spectator

timean hour ago

  • Hamilton Spectator

Jane Austen's wit is irreverently revamped for the stage at Mirvish and the Stratford Festival

Isobel McArthur's 'Pride and Prejudice* (*sort of),' now receiving an encore run at Mirvish's CAA Theatre following its sold-out North American premiere in 2023, opens not, as you might expect, with a portrait of the Bennet family and its central protagonists, sisters Elizabeth and Jane, but rather with a quintet of servants, decked out in yellow cleaning gloves and each wearing a mischievous smile. As the show begins, one servant enters the stage from a loo, flaunting a toilet plunger that appears to be covered with some … scatological material. Over at the Stratford Festival , the American playwright Kate Hamill's stage adaptation of 'Sense and Sensibility' starts with a similarly humorous and jarring picture: a corpse is dropped from the rafters of the Festival Theatre and crashes onto the stage with a heavy thud. The body, we soon discover, belongs to the late father of sisters Elinor and Marianne Dashwood (Jessica B. Hill and Olivia Sinclair-Brisbane, respectively), who must quickly learn, with the help of each other, how to navigate a world filled with a host of suitable — and unsuitable — suitors. If Jane Austen were still alive today, I wonder if she'd be appalled or bemused by the irreverent tone of these two theatrical adaptations. On one hand, both McArthur and Hamill clearly understood their assignments: in order to successfully translate any Austen novel for the stage, you must maintain her sense of humour. Anything less would result in an adaptation that feels stuffy and spiritless — which the English author's writing is anything but. Austen's wit, however, doesn't necessarily lend itself to being translated across artistic mediums. Instead, her humour feels tailor-made for the page. It's dry and mockingly sarcastic, with irony woven into her prose. Her comedy is always grounded in realism, not farce. Another one of its key attributes: it eschews superfluous visual descriptions for wit borne out of social situations. In fact, Austen rarely paints much of a picture of what her characters look like. This all poses a challenge to playwrights hoping to adapt Austen for the stage. While books are a medium of the written word, the theatre is a medium of the spoken word. And often, stage comedy originates as much from the text as it does from the visual pictures created in the production. McArthur and Hamill take two vastly different approaches to translating Austen's sense of humour for the theatre. And both shows succeed, in their own unique ways. McArthur's retelling of 'Pride and Prejudice,' which premiered in Scotland in 2018 and has since played in London's West End, leans into the idea that Austen's works are inherently social class satires that can be presented as farces. Her adaptation is told from the perspective of five female servants (played by Emma Rose Creaner, Eleanor Kane, Rhianna McGreevy, Naomi Preston Low and Christine Steel) all living and working on the Bennet estate. In this play-within-a-play, these servants all take turns playing the various characters in Austen's story. The humour itself is very much in the vein of Monty Python. Just one example: when Jane travels on horseback to visit the wealthy young bachelor Charles Bingley, the cast trot out a pair of coconuts (a direct nod to 'Monty Python and the Holy Grail') to simulate the sound of the horse's hooves. And when Jane rides this (very fake) horse, her hair dramatically blowing in the wind, she belts out Etta James' 'At Last.' You get the gist. The brand of comedy here is one of relentless silliness. Hamill's adaptation, by contrast, is less of a screwball comedy than McArthur's play. If the humour in 'Pride and Prejudice* (*sort of)' is absurd and especially bawdy, the tone of the Stratford Festival's 'Sense and Sensibility' is lighter, slyer and also more physical. Jessica B. Hill as Elinor Dashwood, left, and Olivia Sinclair-Brisbane as Marianne Dashwood in 'Sense and Sensibility' at the Stratford Festival. Many of the laughs in Hamill's play come from her ensemble of so-called Gossips, five loquacious and prying characters who dip in and out of the action, and whose quips and spicy commentary are woven into the narrative. In this particular production, now running at Stratford's Festival Theatre, director Daryl Cloran also finds comedy in character doubling. Except for actors who play the Gossips and the eldest Dashwood sisters, every other performer plays at least two roles. Jade V. 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What these two shows fundamentally demonstrate, however, is the sheer range of comedy that can appear onstage and how the works of a single author, with a distinct style that's consistent across her oeuvre, can be transformed into a pair of theatrical works more different in their temperaments than Elinor and Marianne Dashwood.

Harrison Ford endorsed Kamala Harris. Now he says the country is ‘on a healthy swing to the right'
Harrison Ford endorsed Kamala Harris. Now he says the country is ‘on a healthy swing to the right'

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  • San Francisco Chronicle​

Harrison Ford endorsed Kamala Harris. Now he says the country is ‘on a healthy swing to the right'

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'Happy Gilmore 2' shoots up the charts, earns Netflix's biggest opening weekend numbers
'Happy Gilmore 2' shoots up the charts, earns Netflix's biggest opening weekend numbers

USA Today

time9 hours ago

  • USA Today

'Happy Gilmore 2' shoots up the charts, earns Netflix's biggest opening weekend numbers

Adam Sandler's big swing at Netflix has paid off. "Happy Gilmore 2" snagged 91.9 million minutes watched in its first weekend, per Netflix's internal data. This amounts to 46.7 million views between July 25 and 27, according to the streamer's calculations. This viewership gives Sandler's star-studded sequel bragging rights for having the biggest U.S. opening weekend of all time for a Netflix movie, a spokesperson for the streamer confirmed to USA TODAY on July 30. "Happy Gilmore 2" is currently in the No. 1 position for movies streamed worldwide. Variety was first to report the news. In the sequel, co-written by Sandler, Happy has left golf behind after a tragic accident years ago. When he needs to raise $300,000 to send his daughter, Vienna (Sunny Sandler), to a prestigious ballet school in Paris, Happy hits the links again and runs into old pal Shooter McGavin. Happy also teams up with the who's who of the PGA Tour – including Scottie Scheffler, Rory McIlroy and Collin Morikawa – to save traditional golf when an energy drink mogul (Benny Safdie) tries to popularize a more extreme version of the sport. The number of cameos from stars like Bad Bunny (who was billed as Benito Antonio Martínez Ocasio and had decent screen time to flex his acting chops), Eminem, Kid Cudi and Travis Kelce even shocked Julie Bowen, who plays Happy's wife, Virginia. "The call sheet was coded. It did not have anybody's names on it and there were 135 different cast members," she told USA TODAY. "I would see Polaroids in the hair and makeup trailer and I saw a person that no one's mentioned yet. And I'm like, 'When was he here?!' (They'd say) 'He's Newscaster No. 4.' And I'm like, 'Are you kidding me?'" Christopher McDonald, who plays Happy's one-time nemesis Shooter, also found himself starstruck. "I have known a few of these golf legends and legends-in-training. But seeing them one-on-one, it's like: 'Oh, my God, that's Rory McIlroy. That's Bryson DeChambeau. That's Scottie Scheffler.' It was mind-blowing for me," he told USA TODAY. "And I came in on my days off just to hang out with them." Contributing: Brian Truitt, USA TODAY

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