Latest news with #Dossier137
Los Angeles Times
23-05-2025
- Entertainment
- Los Angeles Times
Goldie Hawn shines in ‘The Sugarland Express,' plus the best films in L.A.
Hello! I'm Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies. The Cannes Film Festival is winding down, with the awards ceremony happening on Saturday. Amy Nicholson and Joshua Rothkopf have been there, watching as many films as they can. In a notebook dispatch from the fest's first week, Amy covered many early titles, including Harris Dickinson's directing debut, 'Urchin,' Ari Aster's 'Eddington,' Dominik Moll's 'Dossier 137,' Sergei Loznitsa's 'Two Prosecuters' and Oliver Laxe's 'Sirât.' A second diary is live now, covering several films including Spike Lee's 'Highest 2 Lowest' and the directorial debut of Kristen Stewart, 'The Chronology of Water.' Josh spoke to filmmaker Lynne Ramsay about her long-awaited return with 'Die, My Love,' a tale of the struggles of motherhood, starring Jennifer Lawrence and Robert Pattinson. So far the film has become the festival's biggest acquisition, picked up by 'The Substance's' distributor Mubi for a reported $24 million. Ramsay spoke about working with Lawrence and Pattinson, who, besides being big stars, are committed performers as well. 'I think they were very willing participants,' said Ramsay. 'There was a lot of trust. I try and create an atmosphere of trust and I just threw them into the fire. I did the sex scene on the first day. I thought it's a risk. It's either going to work or it's going to be a disaster. But I could see there was chemistry. And when they arrived, I was getting them dancing. They were dancing together, synchronized. And it was fun. And then I think Robert was a little nervous, but then something just kind of broke the ice.' Josh also spoke to director Ari Aster about 'Eddington' and whether he set out to make his most overtly politically charged film to date with the story of a small town's sheriff (Joaquin Phoenix) and mayor (Pedro Pascal) sparring during the early days of the pandemic. 'I am just following my impulses, so I'm not thinking in that way,' said Aster. 'There's very little strategy going on. It's just: What am I interested in? And when I started writing, because I was in a real state of fear and anxiety about what was happening in the country and what was happening in the world, and I wanted to make a film about what it was feeling like.' We seem to be on the verge of a summer of Spielberg. After last week's screening of 2002's 'Minority Report,' this Thursday brings a showing of Spielberg's 1974 'The Sugarland Express' at the Academy Museum with a conversation with the film's star, Goldie Hawn. There are also multiple opportunities to see 'Jaws' this Memorial Day weekend in celebration of the film's 50th anniversary, including presentations at the Egyptian, the New Beverly and the Frida Cinema. The film will also play at the Hollywood Bowl on July 5, with a live performance of John Williams' score by the Los Angeles Philharmonic. 'The Sugarland Express,' screening in a 4K restoration from the original 35mm camera negative, was Spielberg's theatrical feature debut. As tempting as it is to view it for the seeds of what was still to come, the movie is a fully formed charmer all on its own. Lou Jean Poplin (Hawn) convinces her husband (William Atherton) to escape from prison just a few months from being released because their son is about to be placed for adoption. When the pair wind up taking a police officer hostage, their journey across Texas becomes an unlikely pursuit involving the authorities and the media. In an April 1974 review, Kevin Thomas called the film 'dazzling, funny, exciting and finally poignant. … An increasingly disenchanted portrait of contemporary America.' Thomas added, 'Spielberg and his associates are trying for entertainment rather than profundity, and 'The Sugarland Express' is anything but heavy. But it is incisive as it is rapid, like the more optimistic vintage Capra films it brings to mind. … When all things are considered, however, one realizes it is Goldie Hawn who gives the film its focus and dimension, making Lou Jean at once very funny and very sad, quite real, and for all her intransigence, most appealing.' In a March 1973 report from the set, Hawn spoke to reporter Jeff Millar. She said it took a year after the film 'Butterflies Are Free' to find another project that excited her as much. 'I flipped when I saw this one,' Hawn said. 'It's a different kind of role for me. She's aggressive. She's a leader, she's comical. But she's still a plain country girl. 'I guess the most exciting thing is the director,' Hawn continued. 'I'd never met him, but everybody knew about him, you know? 'Oh yeah, you're going to do a picture with Steve Spielberg. The bright young guy who's coming up…'' In comments that bring to mind his recent film 'The Fabelmans,' Spielberg, 25 at the time, told Millar, 'I've been making pictures in 8mm, 16mm and 35mm since I was 15. This is the fourth year I've had that Directors Guild of America card. I've been directing in television since I was 21.' Of the movie, he added, 'I wanted to shoot in Texas because it's so big. I'm very into Americana — and Texas is a lot more Americana to me than, well, Kansas or Andrew Wyeth.' Susan Sontag's 'Duet for Cannibals' In 1968, Susan Sontag, already a well-known and deeply influential writer and critic, was invited to Stockholm to make her first movie. The result was 'Duet for Cannibals,' a darkly comedic satire of bourgeois values focused on two couples. The film plays at Vidiots on Wednesday. In May 1973, Kevin Thomas wrote about the film when it had a few screenings at an art gallery and restaurant near LACMA, noting that it 'demonstrates Susan Sontag is as gifted a filmmaker as she is a critic and philosopher.' Thomas concluded, 'Sontag illuminates human potential, with emphasis on its bent for destruction yet capacity to endure to a breathtaking fullness. In this bravura example of a work of art that achieves maximum of means, Susan Sontag proves she is a critic who can practice what she preaches.' 'How to Get Ahead in Advertising' Writer-director Bruce Robinson followed up his cult hit 'Withnail & I' with 1989's 'How To Get Ahead in Advertising,' a bitter satire of commercialization and the media. Richard E. Grant plays rising advertising executive Denis Dimbleby Bagley, who, while suffering an ethical crisis over the impact of his work, develops a boil on his neck that begins talking to him. The film will play in a new restoration at the Los Feliz 3 on Sunday, Wednesday and Thursday. In a May 1989 review, Sheila Benson called the movie 'a strange piece, to be sure. It's cruel, funny, knowing, never less than biting and occasionally brilliant. Pure fury seems to have driven Robinson to it. … There are problems in creating something as simultaneously funny and unlovely as a talking boil. It's possible that some audiences will lose interest once they learn that the effects are good but minor; the boil, even when grown to full manhood (boilhood?) isn't a patch on 'The Fly.' But then, this isn't that sort of movie. This is a blistering broadside, a warning for the safety of our souls.' In a set visit by Bart Mills published around the film's release, Robinson, then 43, did an interview from his office at Shepperton Studios outside London. He said it was his own disillusionment at 'the constant stream of disinformation the media and the politicians give us' that inspired the story. 'This is the kind of anger I feel all the time. All the time. It's intolerable. The only thing that saves me, that keeps the electrodes off my head, is that, thank God, I'm allowed to make a movie about it.' Yet, Robinson added, 'I don't believe the cinema can change anything. It's not a teacher, it's an entertainer. I enjoy finding a comedic way to exploit my burning rage.' The short films of Charles and Ray Eames On Wednesday, the Philosophical Research Society and the Charles and Ray Eames Foundation will host an evening celebrating the famous creative duo. There will be a program of seven of the Eames' shorts, including 1955's 'House: After Five Years of Living,' 1964's 'Think' and likely their best-known film, 1977's 'Powers of Ten.' The event will also include a panel discussion moderated by programmer Alex McDonald including the Eames' grandson Eames Demetrios, art director Jeannine Oppewall and the creative pair of Adi Goodrich and Sean Pecknold, known as Sing-Sing. Writing about the enduring influence of the Eames in 2012, David L. Ulin said, 'In our age of constant contact, it's almost impossible to step away from the workplace even when we're off the clock. And yet, if the Eameses have anything to tell us, it's that we can — must — aspire to a higher integration, in which work should not only feed our stomach but also, and more importantly, our souls.' Rolf Saxon accepts another 'Mission' Fans of the 'Mission: Impossible' franchise are in for a real surprise when they see the new sequel 'The Final Reckoning,' which opens this weekend. Actor Rolf Saxon, who had a memorable turn in the first film in 1996, is back with a surprisingly large role in the new film. Saxon's character of CIA analyst William Donloe was sent to a radar station in Alaska after his computer station got hacked by Tom Cruise's Ethan Hunt in one of the series' signature set pieces. In the new film, it turns out Donloe has been in Alaska the entire time and now may have vital information for the Impossible Mission Force. The new film brought Saxon to caves in the English midlands and, most spectacularly, Svalbard, an archipelago off the northern coast of Norway. 'This was in many ways a dream job,' says Saxon. 'The people I'm working with, the thing I'm working on and the places I got to go to work — it's just like, what would you really like to do? Here it is.' My extended feature with Saxon goes live a little later this afternoon. Stay tuned.
Yahoo
20-05-2025
- Entertainment
- Yahoo
Breaking Baz @ Cannes: Floating With Women In Cinema At The Hotel du Cap & Breaking Into The Mubi/Match Factory Soiree
Catherine Deneuve and Imogen Poots, having feasted on tomato ravioli with basil and coulis of green zebra tomatoes — and get this, infused with lemon thyme! — were leaving the Women in Cinema dinner at Eden Roc at the fabled Hotel du Cap as I pulled up in an Uber. Wait! That was only the starter. The main course consisted of fillet of John Dory with black olive barigoule of artichokes. More from Deadline Breaking Baz: Paula Wagner On Why Tom Cruise Remains A Shining Star, Her Part In The 'Mission: Impossible' Franchise, A New Film About John Fogerty & Creedence, And The Art Of Teaching Disruption Cannes Film Festival 2025 in Photos: 'Dossier 137', 'Amrum' & 'Sirât' Premieres 'The President's Cake' Review: First Time Iraqi Director Hasan Hadi Delivers One Of The Fest's Genuine Gems - Cannes Film Festival Anyhow, Deneuve and Poots were outta the building. They were done. I cased the dining room and observed that the trio of deserts — strawberry and elderflower profiterole, bergamot cheesecake and chocolate pecan tart — remained untouched where they'd been seated. (By the way, nobody seems to hang around for pudding nowadays. Is that a weight-watching thing? Such a waste.) I popped a couple of the tiny profiteroles in my mouth. Yum. I had been invited by the Red Sea Film Foundation for the afterparty. No offense was taken. The dinner was for Women in Cinema, not blokes, though David Taghioff, CEO of Library Pictures International, was invited. He was ensconced at the far end of a long table with filmmaker Gurinder Chadha and Paul Mayeda Berges — yep, another dude. Across the room Jessica Alba and jury president Juliette Binoche were exiting. The rule at these gatherings is to move with a semblance of elan. In a packed room, one can't charge like a bull — although when needs must, I have done that. So Alba and Binoche were out of my reach. In any case, I was enjoying listening to Chadha and Taghioff discuss the delicate balance of trying to mix Western and South Asian cultures on screen. It's not bloody easy, that much was clear. Venturing out to the main section of the afterparty, overlooking the Eden Roc's pool, there were helpful signs to ensure guests knew where they were. Women in Cinema was spelled out in fuchsia pink floating in the pool. Way, way back in the day, one could well envision well-inebriated revelers jumping in to 'rescue' the Women in Cinema floating signage. Come to think of it, stuff like that did happen. We're all so well-behaved these days. Perhaps cell phones and social media are to blame. Earlier, I popped along to the Mubi and Match Factory soiree at Vega la Plage. Last year's queue was so frigging long that I gave up. This year I became that appalling person who skipped the line and went to the front and asked the bouncers to find someone in charge to let me — and Kyle Buchanan, who writes 'The Projectionist' column for The New York Times — into the event. As you can imagine, that kind of 'Do you know who I am?!' stuff doesn't go down well with folk who actually don't have a f*cking clue who you are and couldn't give a damn anyway. However, a very nice man let us in, much to the chagrin of a lady who did not want to let us in. Truth be told, I kinda miss the days when I had to break in uninvited. I once had cards printed up saying I was some African prince (funnily enough, I am one) of a fictitious realm to get me into a party that Madonna was throwing out at the Palm Beach. Not only did I get in, but I danced with Madonna, so there you go. I walked a couple of times around and through the Vega la Plage. Exchanged pleasantries with some people. Had a brief chat with Akinola Davies Jr, the extraordinarily gifted Nigerian director of My Father's Shadow, which screens in Un Certain Regard on Sunday. Such a powerful film. Catch it if you can. Davies tells me that My Father's Shadow will feature at the Sydney Film Festival in June. That news made me very happy. Then I left the party, all done in under half an hour. And the queue to get in had gotten even longer. Best of Deadline 2025 TV Cancellations: Photo Gallery Where To Watch All The 'Mission: Impossible' Movies: Streamers With Multiple Films In The Franchise Everything We Know About 'My Life With The Walter Boys' Season 2 So Far
Black America Web
19-05-2025
- Entertainment
- Black America Web
Mitchell Akat Maruko Raan Goes Wild (With Style) At Cannes
Mitchell Akat Maruko Raan went wild at the 2025 Cannes Film Festival. And yes, we mean literally. The South Sudanese model made a major impression at the premiere of Dossier 137 in a head-turning leopard print look by designer Harvey Cenit. The fit had cameras flashing, jaws dropping, and social media buzzing. Cannes Film Festival Style: Mitchell Akat Maruko Raan Goes Wild, And It's A Moment Source: Pascal Le Segretain / Getty How many ways can we say we're obsessed with Mitchell Akat's Cannes look? Because saying it once or twice is not enough. Her skintight ensemble featured long sleeves, a sculpted waist, matching built-in boots, and a full leopard head positioned dramatically across her chest and shoulder like just another accessory. Her body looked TF good in the bold print, and her melanin was on glow. The supermodel kept everything else simple to let the leopard speak (or roar) for itself. She rocked a sleek bald cut with gold accessories we loved, like her lip-shaped earrings. And her makeup was sun-kissed and natural. Source: Pascal Le Segretain / Getty Cannes Film Festival Style: Angela Bassett Slays In Pleated Fringe While Mitchell Akat brought the heat, Angela Bassett brought the grace and timeless glamour. The legend arrived in a flowing midnight blue-black gown with a ruched bodice, pleated, fringe-like chiffon details, and dramatic bell sleeves. Every detail of her gown oozed over-the-top style while being just enough. Angela styled her hair with a sleek low ponytail that showed off her signature cheekbones and diamond necklace. For beauty, she chose a soft smoky eye and a glossy nude lip. Her polished hair and makeup were everything, elevating her French fashion moment even more. Source: LAURENT HOU / Getty These Black women powerhouses ate up Cannes, giving the girls different styles to love. But the energy was the same. Poised, powerful, and stylish, Black women are the moment. The 2025 Cannes Film Festival is held this year from May 13 – 24. So, keep checking back, we're sure there will be other fashion moments that make us gag. Red Carpet Style: Mitchell Akat Maruko Raan Wore A Whole Leopard On Her Chest To Cannes—And It Looked So Good was originally published on
Yahoo
18-05-2025
- Entertainment
- Yahoo
‘Dossier 137' Review: A Sharp Police Procedural Investigates Law, Order and Social Justice in Contemporary France
In director Dominik Moll's superb 2022 police thriller, The Night of the 12th, the focus was on French detectives pursuing a vicious killer who was forever out of reach. The closer they came to nabbing him, the more he got away, leaving them to turn in circles year after year during a long, existential quest that left none of them unscathed. In that movie, the cops were flawed human beings and clearly chauvinistic (there was only one woman on the squad), but they were still the good guys. In Dossier 137, a piercing slow-burn examination of police brutality, the tables have turned and the cops have become the criminals, making us question the very notion of policing in a France racked by social unrest and class division. Made with the same laser-cut precision as his previous work, but with a greater emphasis on procedure than before, Moll's new thriller puts the viewer in an uneasy place — between law and order, good cop and bad cop, protester and rioter — raising questions for which there are no easy answers. More from The Hollywood Reporter Colombia Is Thriving, But Locals Worry About Tariffs Luke Evans Joins Noomi Rapace in Thriller 'Traction' 'Left-Handed Girl' Review: Striking, Sean Baker-Penned Drama Sketches Compelling Portrait of Mothers and Daughters in Taiwan If The Night of the 12th, which was adapted from the memorable book by Pauline Guéna, had hints of Zodiac and Memories of Murder in its catch-a-killer scenario, Dossier 137 feels closer to certain episodes of The Wire. Told from the point-of-view of Stéphanie (Léa Drucker), an officer serving in the IGPN — what the French call 'la police de police,' what we call internal affairs — the film is loaded with procedural jargon and doesn't skip a beat when depicting the many steps required to conduct a full-scale investigation within the department. At nearly two hours, the tension can dissipate at times, but Moll and regular co-writer Gilles Marchand turn what could have been dry material into a provocative account of law enforcement in contemporary France. The two were inspired by real events that happened back in 2018, when the Yellow Vest protests lead to violent skirmishes on the streets of Paris and other major cities. Several protesters were injured, some of them critically, by Flash-balls fired by riot police, or by cops sent out to quell demonstrations that were growing increasingly unwieldy. At one point, President Emmanuel Macron even ordered armored vehicles to roll down Paris' boulevards. Moll's fictional account is set at that time, and it's littered with interviews, cell phone footage and the occasional news broadcast. At the heart of its story is an incident in which a young protester, Guillaume Girard (Côme Peronnet), is severely wounded by Flash-ball fire near the Champs-Elysées. Stéphanie has been tasked with finding the culprit, leading her to conduct tons of interrogations, sometimes of the same people, and to gather all the visual evidence she can find. Along with IGPN partners Benoît (Jonathan Turnbull) and Mathilde (Carole Delarue), she begins to piece together what happened while hitting several layers of resistance: Guillaume's family, especially his outspoken mother Joëlle (Sandra Colombo), never trusted cops beforehand and certainly won't trust them now, giving Stéphanie little to work with. Even more complicated are her dealings with riot police and members of the BRI (the French equivalent of SWAT), who fend off her nosy questions until she finally compiles enough evidence to concentrate on two suspects (Théo Costa-Marini and Théo Navarro Mussy), both of whom fired their Flash-ball guns at a fleeing Guillaume. As a filmmaker, Moll seems to function like a detective himself, painstakingly following his heroine's every action, whether on the job or in selected scenes at home with her son (Solàn Machado Graner) and a stray cat (named Yoghurt!) she finds in a garage. The movie is not always suspenseful, though Moll does turn up the heat in the third act. But like any good investigation, Dossier 137 bombards us with tough questions: Is Stéphanie doing the right thing, or is she overstepping her boundaries at a time when France seems to be on the brink of class war? What purpose does it serve to police the police, especially members of the BRI — some of whom went into the Bataclan during the terrorist attacks? And didn't the rioters provoke all of this by setting Paris aflame? The film tackles these issues against a backdrop of deep division in which everyone seems to be either a cop or a cop hater. Caught in the middle, Stéphanie finds herself increasingly at odds with her fellow officers, culminating in a moving interrogation where the tables are turned and her own bias gets questioned by a superior. Earlier on her ex-husband (Stanislas Merhar), a cop himself, lambasts her for going after fellow officers, to which she replies that if she didn't do it, 'only assholes would be left.' The excellent Drucker (Last Summer, Custody) gives another engaging performance as a woman trying to render justice in a country torn apart by politics and social grievances. The rest of the cast does solid work, especially Turnbull, offering comic relief as Stéphanie's hardnosed partner. In one telling aside, the two pay a visit to the 5-star Prince de Galles hotel, some of whose windows overlook the scene of the crime. When Benoît learns that a room costs as much as his monthly salary, he steals a few bars of soap as revenge. Cops may hold some of the power in France, but they're still struggling to get by. The hotel sequence leads to one of the only pure moments of suspense in an otherwise chatty movie, during which Stéphanie follows a chambermaid (Guslagie Malanda from Saint Omer) home on the metro, hoping the woman may know more than she let on during her interrogation. Moll has always been a visual director, and he manages to keep us glued to our seats as the two play a subtle game of cat and mouse on public transportation, until Stéphanie finally corners her prey. The sad irony of that scene, and of Dossier 137 in general, is that both women really want to do the right thing — only they live in a world where it's no longer about right or wrong, but about whose side you're on. Best of The Hollywood Reporter 'The Goonies' Cast, Then and Now "A Nutless Monkey Could Do Your Job": From Abusive to Angst-Ridden, 16 Memorable Studio Exec Portrayals in Film and TV The 10 Best Baseball Movies of All Time, Ranked
Mint
16-05-2025
- Entertainment
- Mint
Cannes Film Festival: Dossier 137 actor Theo Navarro-Mussy, accused of sexual assault, banned from red carpet premiere
The Cannes Film Festival has made a bold statement on accountability in cinema, banning French actor Theo Navarro-Mussy from attending the red carpet premiere of Dossier 137 amid serious allegations of sexual violence. Navarro-Mussy was expected to appear Thursday (May 15) evening alongside the cast and crew of Dominik Moll's Dossier 137, a Palme d'Or contender that follows a police investigation into alleged brutality. However, Festival Delegate General Thierry Frémaux intervened after learning of official complaints lodged against the actor by three women, involving accusations of rape and both physical and psychological abuse between 2018 and 2020. Although the case was dismissed in April 2025, the plaintiffs have announced their intention to appeal as civil parties, meaning legal proceedings are still ongoing. Speaking to Télérama, the publication that first broke the story, Frémaux said, 'Because there is an appeal and therefore a continuation of the investigation, the case is not suspended.' The decision marks a rare move from Cannes, which has not previously formalised its stance on participants facing allegations of sexual misconduct. Frémaux appears to have drawn on the precedent set by France's César Academy, whose guidelines prohibit individuals under investigation for violent offences from attending or receiving honours until legal outcomes are finalised. A festival spokesperson confirmed the accuracy of the Télérama report, reinforcing Cannes' decision to distance itself from figures facing unresolved allegations. Dossier 137, starring Léa Drucker, premiered at Cannes on May 15 and is slated for French theatrical release on November 19, 2025. The film is written and directed by Dominik Moll.
