Latest news with #ImageNation
Yahoo
a day ago
- Entertainment
- Yahoo
David Dastmalchian, Georgina Campbell Teaming for Horror ‘The Shepherd,' Anton Launching Sales in Cannes (EXCLUSIVE)
The stars of horror hits 'Late Night With the Devil' and 'Barbarian' are uniting to take another potentially hair-raising step into the genre world. 'The Shepherd' is set to team David Dastmalchian ('Oppenheimer,' 'The Dark Knight,' 'Dune') and Georgina Campbell ('The Watchers,' 'Black Mirror'). The horror-thriller comes from Spooky Pictures — Image Nation (also behind 'Late Night With the Devil'), with Anton launching sales in Cannes. More from Variety Leslie Grace to Play Diver Swallowed by Giant Sperm Whale in Survival Thriller 'Propel,' Altitude Launching Sales in Cannes (EXCLUSIVE) Cynthia Erivo-Led 'Prima Facie' Film Adaptation Heading to Cannes Market, With Embankment Launching Sales Andrew Karpen Remembered: Bleecker Street Media Founder Was a Force in Indie Film, Beloved for Integrity and Kindness The film is being directed by John Hyams ('Sick,' 'Alone,' HBO's documentary 'The Smashing Machine') and written by Alexander Gustaveson. Anton is handling worldwide rights and co-repping North American rights with UTA Independent Film Group and Cinetic. Set in the desolate Nevada night, 'The Shepherd' follows a young woman in labor fleeing an abusive past who has her escape hijacked by a mysterious stranger hiding an ominous threat in the back of her car. Reuniting the producers behind the box-office hit 'Late Night with the Devil,' 'The Shepherd' is produced under the Spooky Pictures – Image Nation partnership with Steven Schneider ('Paranormal Activity,'' Insidious,' 'Split') and Roy Lee ('It' franchise, 'Barbarian,' 'A Minecraft Movie') for Spooky Pictures ('Strange Darling,' Chloe Okuno's 'Watcher'); Ben Cornwell, Jordan Foley and Nick Smith for Paperclip Ltd. ('Alone,' 'Snack Shack') along with Jonathan Rosenthal ('Alone,' 'The Abandon'); and Sébastien Raybaud ('Fuze,' 'Greenland: Migration,' 'Greenland,' 'The Night House') for Anton. The film is executive produced by Dastmalchian under his Good Fiend Films banner, Campbell, Ben Ross and Derek Dauchy for Image Nation, Rami Yasin for Spooky Pictures, and Yeardley Smith for Paperclip Ltd. Anton and Image Nation are financing the film, with production set to start on 'The Shepherd' in the fall, 2025. 'Once I turned the first few pages of 'The Shepherd' I was hooked,' said Dastmalchian. 'I immediately wanted to see this high-octane, horrifying world brought to life and John is the perfect person to make it happen. After collaborating with Roy and Steven on 'Late Night with the Devil,' I have been looking forward to getting back in the sandbox with them and I can't wait to bring the genre force of Good Fiend Films into the equation.' 'Following the success of 'Late Night with the Devil,' we're excited to be working with David Dastmalchian once again on 'The Shepherd,'' added Image Nation CEO Ben Ross. 'David brings a distinctive energy and depth to every project he's part of, and this film marks another strong collaboration in our ongoing partnership with Spooky Pictures.' 'The Shepherd' is part of a slate of upcoming projects from Spooky Pictures and Image Nation including Charlie Polinger's 'The Plague' starring Joel Edgerton, which will premiere in Cannes' prestigious Un Certain Regard competition, Randall Okita's 'Menace' starring Isabel May, and Damian McCarthy's 'Hokum' starring Adam Scott. Dastmalchian is repped by Atlas Artists. Campbell is repped by UTA, Entertainment 360, Independent Talent Group and Felker Toczek Suddleson McGinnis Ryan LLC. Best of Variety Emmy Predictions: Talk/Scripted Variety Series - The Variety Categories Are Still a Mess; Netflix, Dropout, and 'Hot Ones' Stir Up Buzz Oscars Predictions 2026: 'Sinners' Becomes Early Contender Ahead of Cannes Film Festival New Movies Out Now in Theaters: What to See This Week
Yahoo
20-05-2025
- Entertainment
- Yahoo
Scarlett Johansson's ‘Eleanor the Great' Draws Cheers, Tears at Cannes Premiere
The Oscar campaign for Eleanor the Great starts now. Raucous cheers and quite a few tears greeted the world premiere of Scarlett Johansson's directorial debut, which premiered in Cannes' Un Certain Regard section on Tuesday. More from The Hollywood Reporter 'Eleanor the Great' Review: June Squibb Steadies Scarlett Johansson's Wobbly Directorial Debut John C. Reilly Is Buffalo Bill in Cannes Film 'Heads or Tails?,' a Deconstruction of Cowboys and Legends The Horror Buffs at Image Nation Abu Dhabi, Spooky Pictures Love "Cool Shit" and Have Unleashed 'The Plague' at Cannes The Cannes crowd warmly embraced the dramedy, which stars June Squibb at the titular Eleanor Morgenstern (Squibb), a fiercely independent Florida retiree who, after the sudden death of her lifelong best friend, relocates to New York to live with her daughter. A series of events leads her to a young woman, played by Erin Kellyman, suffering from the loss of her mother. The two bond over their shared grief and a desire to reconnect with their Jewish identity. But Eleanor has a secret that threatens to destroy the friendship they have built. The Hollywood Reporter's Cannes review of the film was mixed, with critic Lovia Gyarkye saying the film had a 'bold premise that could have worked better.' Kellyman and Squibb joined Johansson at Cannes' Debussy Theatre on Tuesday for the world premiere. Calling it 'a dream come true' if a bit 'surreal' to premiere her directorial debut in Cannes, Johansson praised Squibb for her 'courage' in portraying the fiesty, charming and complicated Eleanor, and called Kellyman's performance 'a revelation. I'm so happy for the world to meet you,' she said to the up-and-coming British talent. It's been 10 years since Squibb has been to Cannes. She was last here with Alexander Payne's Nebraska, a role that earned her an Oscar nomination for best supporting actress. If the reception for Eleanor the Great is any indication, that second nom could be in the mail. The 95-year-old, already enjoying a remarkable late-career renaissance following her breakout turn in Thelma, was greeted with whoops and cheers as the credits rolled. Speaking to the crowd after the premiere, Johansson said she felt 'naked' but hoped the audience would embrace the film's hopeful message. 'This is [a movie] about Jewish identity, about friendship, but really about forgiveness. Something I think we all need a lot more of nowadays,' she said. 'I hope you carry [Eleanor's] story with you now as I carry it with me.' 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
The National
08-05-2025
- Entertainment
- The National
Meet the Emiratis making movies that take place entirely on computer screens
From horror to drama, comedy to action, Emirati filmmakers have tackled many genres to expand the scope of UAE storytelling on screen. The latest genre to captivate the nation's creatives is at the cutting edge of visual storytelling: screenlife. What is screenlife? It is a format that take place entirely on computer or smartphone screens. The viewer follows the story, seeing what the character sees, such a WhatsApp chat, a Zoom call, or a Google search. Films such as Unfriended, Searching and Missing have popularised the genre. They were all produced by Russian filmmaker Timur Bekmambetov, a pioneer of screenlife. Teaming up with Image Nation Abu Dhabi, Bekmambetov created the Screenlife Accelerator Programme, a competition in which budding UAE directors and screenwriters sent their scripts and treatments for a chance to be selected. Once picked, these scripts will be polished by Bekmambetov and his team to be produced into major motion pictures. The first winners of the programme were announced at the Abu Dhabi International Book Fair. Among those selected were Abdulbaset Qayed and Afra Al Marar, two Emirati filmmakers. The pair told The National of their plans for their films, and discussed Emirati cinema. Al Marar, a screenwriter from Abu Dhabi, says she was encouraged by friends to apply to the programme. Having completed multiple courses with Image Nation, she recalled a script she had written for a found-footage film and decided it could be transformed into a screenlife script. Al Marar's film, Hidden Melodies, follows Abdullah, a music composer who receives a song project file from a famous singer. Just 15 minutes later, the singer dies. The file holds clues that lead Abdullah to uncover a human trafficking ring. Qayed, a filmmaker from Dubai, says he had been writing scripts from a young age. After studying a different field in the US, he drifted away from writing. During the Covid-19 pandemic, his mother encouraged him to write again. He says: 'I started writing fiction again, especially horror. I'm a big fan of the found-footage subgenre. Within two weeks, I had a 70-page script. I began entering competitions, and some people really responded well to my work. That motivated me to keep going.' Qayed's screenlife script is titled The Disappearance. Inspired by a trip he took to Oman with a friend, the film follows Omar, a popular Emirati influencer who investigates crimes on his YouTube channel. 'One day, Omar gets a call from Nada – a woman whose husband went missing on a trip to Oman. The police gave up the search. Omar starts investigating using videos from the trip and sees something abnormal – something supernatural,' Qayed says. He and Al Marar say making screenlife films presents an opportunity to tell stories differently. Aside from requiring smaller budgets than more traditional film formats, Al Marar says screenlife films offer a very personal and immersive experience. She adds: 'We spend so much time on our devices [that] we're used to seeing screens and interpreting subtle cues from them. During the pandemic, we got even more comfortable peeking into people's lives via Zoom, so the format feels very natural now, especially to younger audiences.' Being part of the accelerator programme, she says, opened her eyes to using screenlife in projects she was already working on. 'As someone who directs commercials and corporate films for government projects, this experience shifted my mindset,' she says. 'Now, I even think about how to apply screenlife techniques to those projects. For example, instead of traditional filming, I might show a corporate announcement through a screen recording. It's opened up a new creative lens for me.' The pair believe there are many talented people in the UAE who need to find avenues to securing funding and screening for their films. Al Marar says she and Qayed are part of a generation that had the film festivals in Abu Dhabi and Dubai to look forward to, but newer generations do not have that space to screen their films any more. She adds: 'I post a black-and-white photo every October 1 from the old Abu Dhabi Film Festival. We miss it. That's where we watched new films, attended workshops and met international filmmakers like James Cameron, and Bollywood stars.' 'That's a key part of the ecosystem. We need champions to bring back strong festivals. Dubai International Film Festival was a powerful platform,' Qayed says. He also says filmmakers should not wait for festivals to happen again to put their films out. Films need to be written for new and different audiences around the world, he adds. 'We should aim to create content that resonates globally. When I write, I don't write only for Emiratis. I write with universal themes, so people from anywhere, even Brazil, can relate,' Qayed says. Al Marar says filmmakers should learn from the screenlife genre and be more nimble. Instead of waiting for grants to produce and market their films, they should find innovative ways to raise money so they can be active in an ever-shifting film landscape. 'We come from a culture where we've relied a lot on government grants, but we need to start shifting that mindset – towards private investors and self-sustaining projects,' says Al Marar.
