Latest news with #JacquesAudiard
Perth Now
25-04-2025
- Entertainment
- Perth Now
Selena Gomez had 'magical' time on Emilia Perez
Selena Gomez found making 'Emilia Perez' "magical" and "rewarding". The 32-year-old singer-and-actress faced criticism for her accent and apparent difficulty with the dialogue in the Spanish-language film but she relished the challenge and praised the musical's director Jacques Audiard. She told Billboard: 'I pushed myself into uncomfortable spaces which as an actress are the most rewarding. "It was a magical time and working with [director] Jacques Audiard was one of my best experiences.' The 'Only Murders in the Building' star won't rush into taking on another movie role because she wants to find the right "challenge". And when it comes to her next acting gig, the Only Murders in the Building star is willing to be challenged again. She said: 'I am taking my time to find the right role and director to work with next. Because I want it to be a challenge and unexpected.' Selena previously defended her performance after Eugenio Derbez branded her scenes "indefensible". Speaking on the 'Hablando de Cine' podcast, the 'Miracles from Heaven' star said: "Selena is indefensible. I was there [watching the movie] with people, and every time a scene came [with her in it], we looked at each other to say, 'Wow, what is this?'" Podcast host Gaby Meza subsequently observed that Selena is a "very talented actress" and a "very good singer" but suggested the former Disney star had struggled performing in Spanish, describing the actress' efforts as "unconvincing" and "uncomfortable". Gaby said: "Spanish is neither her primary nor secondary language nor fifth. And that's why I feel she doesn't know what she is saying, and if she doesn't know what she's saying, she can't give her acting any nuance … And that is why her performance is not only unconvincing but uncomfortable." Eugenio then added: "I'm glad you're saying that because I was saying, 'I can't believe no one is talking about it?'" Selena - who has Mexican and Italian ancestry - later took to TikTok to defend herself. She commented: "I understand where you are coming from ... I'm sorry I did the best I could with the time I was given. Doesn't take away from how much work and heart I put into this movie." Eugenio later apologised for his "careless" remarks. He wrote on TikTok: "I truly apologise for my careless comments - they are indefensible and go against everything I stand for. 'As Latinos, we should always support one another. There's no excuse. I was wrong, and I deeply admire your career and your kind heart. ''Emilia Pérez' deserves to be celebrated, not diminished by my thoughtless remarks. I'm walking away from this with an important lesson learned. While I understand if you cannot accept my apology, please know it comes from the heart. With all my love and admiration, Eugenio Derbez.'
Yahoo
18-04-2025
- Entertainment
- Yahoo
Jacques Audiard, Audrey Diwan Among French Filmmakers Calling Out U.S. Directors' Attack on European Regulations: ‘Our Policies Should Not Serve as Scapegoats' (EXCLUSIVE)
While the Trump administration has sparked uproar in the European Union over the president's aggressive new trade policy, it's also fueled tensions between the U.S. and European film industries. Jacques Audiard ('Emilia Perez'), Costa-Gavras ('Z'), Audrey Diwan ('Happening') and Claude Lelouch ('A Man and a Woman') are among the French filmmakers who have called out the the offensive led by the American film community against EU regulations, including the Audiovisual Media Services Directive (AVMS), which forces foreign streaming services to invest a portion of their revenues into local productions. More from Variety Alice Rohrwacher to Preside Over Cannes Caméra d'Or Jury Fatma Hassona, the Palestinian Protagonist of Cannes-Bound 'Put Your Soul on Your Hand and Walk,' Killed in Israeli Missile Strike Lucio Castro's Cannes ACID Title 'Drunken Noodles' Boarded by M-Appeal (EXCLUSIVE) In an open letter signed on behalf of France's two main film orgs, ARP (Authors, Directors, Producers) and SRF (Society of French Directors), French filmmakers said they were 'astonished' by the memorandum signed by the Directors Guild of America (DGA) and the International Alliance of Theatrical Stage Employees (IATSE). The message, which was sent in March to the United States Trade Representative (USTR), underlined the 'disproportionate investment obligations' in European countries including France, Germany and Italy. The MPA also blamed these local content quotas and investment obligations for creating barriers, reducing residuals for their guild members, leading to job losses and runaway productions. The filmmakers who signed the open letter — also including Cedric Klapisch and Stephane Demoustier, who have their latest movies playing at Cannes — argue that France's 'proactive cultural policy' and regulations are responsible for the country's healthy theatrical market, which has Europe's largest number of cinemas. They also pointed out that France's unique system of a levy on every movie ticket sold is 'highly beneficial to American films, which account for an average of 45% of our box-office, and for which France remains one of the leading markets.' In 2024, for instance, the French box office was largely bolstered by Disney tentpoles such as 'Inside Out 2' and 'Moana 2,' which sold 8.4 million and 6.7 million tickets, respectively, as well as 'Despicable Me 4' and 'Dune 2.' Even independent American cinema also benefits from French regulations, the letter claimed, because U.S. indie movies tend to draw strong box office revenues in France. That levy system was established in 1948 to support cultural diversity and has ultimately created a dynamic market where box office grosses are 'often higher than in countries with lower taxes.' The French filmmakers also countered the MPA's argument suggesting that the recent decline in U.S. film production was caused by 'foreign taxes or legislative policies.' 'Hollywood strikes, studio decisions to move productions abroad, majors opting to scale back investments, inflationary environment and a global post-COVID market contraction may also explain this decline,' the French guilds said. 'Our policies should not serve as scapegoats for these strategic and industrial decisions, nor for the decline of the United States' production.' While the French filmmakers vowed to see France 'remain a land of refuge and creation for stories in all their diversity,' they ended their letter suggesting their respective representatives meet at the Cannes Film Festival to 'pursue this discussion and build a united front.' Alongside the DGA and IATSE, the Motion Picture Association, which represents the interests of Disney, Netflix, Paramount, Amazon Prime/MGM, Sony Pictures, Universal and Warner Bros., also criticized European regulations in a memo to the United States Trade Representative, which in turn prompted an open letter signed by a group of European Parliament members, led by France's Emma Rafowicz and addressed to the president of the European Commission, Ursula von der Leyen, as well as commissioners Henna Virkkunen and Glenn Micallef. That letter urges them to protect the AVMS directive, saying it is 'currently under crossfire from American streaming platforms who would like unfettered access to the European market.' In the backdrop of these tensions, Netflix has lodged an appeal with France's Council of State about France's windowing rules, which force the streamer to wait 15 months to access newly released films in spite of the fact that they invest 20% of their local turnover in French content. Here's the letter from the ARP and SRF in full: Honorable Members of the DGA, Dear Colleagues, We read with great interest and some astonishment your letter to the United States TradeRepresentative. We felt it was important to address some of your concerns and to reengage in a constructive dialogue about our respective sectors. As a matter of facts, a film and audiovisual policy exists in France, within the EuropeanUnion, and in many countries around the world. Regarding France, it is thanks to ourmodel and its regulations that our market is so dynamic. Our proactive cultural policy hasenabled us to become the country with the highest number of movie theaters in Europe,and to attract a significant number of moviegoers. Yet this regulation is highly beneficialto American films, which account for an average of 45% of our box-office, and for whichFrance remains one of the leading markets. Our regulation also supports independentAmerican cinema, which very often finds its audience in France and which we will alwaysgladly welcome. Thus, the good health of national markets is a sine qua non condition for maintaining adynamic market, not only in terms of audience but also in terms of infrastructure, andultimately in terms of box office revenue, TV and SVOD viewership, and so on, whichbenefits non-national works, American ones included. We are convinced that our modelsafeguards not only French creation but creation from all over the give you a concrete example: thanks to France's cultural policy and to taxes collectedfrom all operators broadcasting films (both French and foreign), we have a youtheducation program about films, nurturing today's and tomorrow's large audience ofmoviegoers, and we can fund a wide range of actions promoting films creation anddistribution. Our Film Admission Tax is a contribution collected on every ticket sold in French movietheaters. Established in 1948, in the post Second World War context of cultural andeconomic reconstruction, its purpose is to support the national film industry through itsredistribution mechanism. This earmarked tax system is relatively rare and is consideredas a model in Europe for supporting cultural diversity. While it primarily benefits Frenchfilms, international productions (including American ones) can also receive support undercertain conditions like co-producing with a French company, hiring French technicians orartists, and meeting language, shooting, or local expenses quotas. Films like Midnight inParis by Woody Allen or Inglourious Basterds by Quentin Tarantino have thereforereceived support from the CNC. We create a more dynamic market, we achieve greater overall revenue thanks to our highnumber of spectators, which makes the tax highly profitable. As a result, France's totalgross is often higher than in countries with lower taxes, but fewer tickets are also quite surprised that such policies could be considered as 'unfair tradepractices,' especially since the United States are themselves very familiar withprotectionist policies: as early as 1918, the Webb-Pomerene Act created an exception toantitrust laws for exports, in other words allowed cartels to form provided that theyoperated outside the borders of the United States, thus enabling entertainment giants toreach a commercial agreement to jointly manage the broadcast of their films abroad, upuntil 2004. In 1946, the U.S. government agreed to cancel European debts in exchange forthe removal of quotas on French films in French movie theaters. And as recently as 2006,South Korea agreed to reduce its screen quota under a trade deal with the United States. You express concerns about the relocation of film shoots due, for example, to taxcredits or obligations to invest in creation. First, it is important to note that our regulations are non-discriminatory, sinceinvestment and broadcasting obligations have historically concerned local broadcastersand now apply to all players operating in France and Europe, whatever their strategies adopted by studios and platforms to relocate film shoots predate theintroduction of obligations. This can be explained by tax credits, a practice implementedin all filmmaking countries with no exception: many states in the United States are proofof this. Lower production costs abroad are another factor, as seen in Canada, where manyAmerican films have been shot for the past twenty years. It also results from the industrialstrategy of certain streamers to address local audiences with local content, in the locallanguage, to expand their market share in each country. More than half of MPA membercompanies' revenues is generated outside the United States, clear evidence that thesecompanies have a strong ability to expand their reach on international consumers. Of course, we regret the decrease in production in the United States since 2022. We believeit would be incorrect to attribute this solely to foreign taxes or legislative policies:Hollywood strikes, studio decisions to move productions abroad, majors opting to scaleback investments, inflationary environment, and a global post-Covid market contractionmay also explain this decline. Our policies should not serve as scapegoats for thesestrategic and industrial decisions, nor for the decline of the United States' a time when the gap between the United States and the rest of the world iswidening, we believe it is more important than ever that we, European and Americanfilmmakers, remain united and supportive, continuing to foster mutually beneficialexchanges in our respective sectors for economic, political, and cultural reasons. Since the early days of cinema, filmmakers on both sides of the Atlantic have admired,inspired, and collaborated continuously, driven by the same also share many common battles, for better recognition and appreciation of ourprofessions, to ensure that AI, which is playing a growing role in our industry, respectscopyright, and that the territoriality of rights in Europe continues to be a source of betterdistribution and circulation of works, and therefore of better revenue for your membersand ours. You mention in your letter a 'global exchange of free speech': we are deeply committed toprotecting independence of creation and freedom of expression, values our modelupholds, to ensure we remain a land of refuge and creation for stories in all their propose organizing a meeting between our organizations to pursue this discussionand build a united front. The Cannes Film Festival could be a great opportunity toexchange views on these matters together. Please accept, dear colleagues, our warmest regards, ARP and SRF FilmmakersAmong our members: Costa-Gavras, Claude Lelouch, Jacques Audiard, Ce dric Klapisch,Euzhan Palcy, Radu Mihaileanu, Audrey Diwan, Ste phane Demoustier, Zoe Wittock, andothers. Best of Variety New Movies Out Now in Theaters: What to See This Week What's Coming to Disney+ in April 2025 The Best Celebrity Memoirs to Read This Year: From Chelsea Handler to Anthony Hopkins
Bloomberg
03-03-2025
- Entertainment
- Bloomberg
Zoe Saldaña's Oscar Speech Was Missing Something Big
Zoe Saldaña's Best Supporting Actress win at the Academy Awards was not a surprise. It was the final stop in what was an awards-season sweep any actor dreams of accomplishing, and her tears throughout have shown how meaningful the awards are for her as a Latinx woman. But the shallowness of her Oscars acceptance speech followed by a prickly defensiveness over criticisms of her film, Emilia Perez, dampened her message. Written and directed by French filmmaker Jacques Audiard, Emilia Peréz is a high-concept musical that follows beleaguered Mexican lawyer Rita Mora Castro (played by Saldaña), who is coercively appointed to oversee the transition of brutal cartel kingpin Juan 'Manitas' Del Monte into the titular Emilia, played by trans Spanish actress Karla Sofia Gascón.
Shafaq News
03-03-2025
- Entertainment
- Shafaq News
Oscars 2025 to start, what are the top nominated films?
Shafaq News/ The 97th Academy Awards ceremony kicked off early Monday morning at the Dolby Theatre in Hollywood. This year's Oscars will be different from previous editions, as all live performances of the nominated songs have been canceled due to the ongoing wildfires in Los Angeles. According to Mansour Jahani, an independent and international cinema journalist, Jacques Audiard, Sean Baker, Carla Sophia Gascon, Coralie Fargate, and Iranian director Mohammad Rasoulof are nominated for an Oscar at the 97th Academy Awards, 2025. Here's an Overview of the Top Films Nominated for the Oscars. The film 'Emilia Perez', directed by Jacques Audiard The film 'Emilia Perez', directed by Jacques Audiard from France, was screened in its first World premiere in the Main Competition of the 77th Cannes International Film Festival, and the Jury Prize and the Best Actress Award of this edition of the festival were awarded to its cast, including Selena Gomez, Karla Sofía Gascón, Zoe Saldañ, and Adriana Paz. 'Emilia Perez' is a candidate for the prestigious Academy of Motion Picture Arts and Sciences award with 13 nominations, including Best Picture, Best Directing, Best Actress in a Leading Role for Karla Sofía Gascón, Best Actress in a Supporting Role for Zoe Saldañ, Best International Feature Film, Best Writing (Adapted Screenplay), Best Cinematography, Best Film Editing, Best Music (Original Score), Best Music (Original Song) for El Mal and Mi Camino, Best Sound and Best Makeup and Hairstyling. The film 'Anora' directed by Sean Baker The film 'Anora' directed by Sean Baker from the United States made its World premiere in the Main Competition of the 77th Cannes Film Festival and won the Palme d'Or for best film at this prestigious film event. "Anora" is also a candidate for an Oscar at the 97th Academy Awards, 2025 with 6 nominations, including Best Picture, Best Directing, Best Film Editing, Best Actress for Mikey Madison, Best Actor in a Supporting Role for Yuriy Borisov, and Best Writing (Original Screenplay). The film 'The Substance' directed by Coralie Fargeat The film 'The Substance' directed by Coralie Fargeat and a joint production of the United States, England, and France, was screened in its first World premiere in the Main Competition of the 77th Cannes Film Festival and won the Best Screenplay award. 'The Substance' is also a candidate for the 97th Academy Awards, with 5 nominations, including Best Picture, Best Directing, Best Actress in a Leading Role for Demi Moore, Best Writing (Original Screenplay), and Best Makeup and Hairstyling. The film 'The Seed of the Sacred Fig' directed by Mohammad Rasoulof 'The Seed of the Sacred Fig', directed by Mohammad Rasoulof and a joint production of Germany, France, and Iran, was screened in its first Main Competition of the 77th Cannes Film Festival, and the Special Jury Prize was awarded to Mohammad Rasoulof for its Directing. The film 'The Seed of the Sacred Fig' has been nominated for an Oscar in the Best International Feature Film category, representing Germany, at the 97th Academy Awards, 2025.
NBC News
03-03-2025
- Entertainment
- NBC News
2025 Oscars winners list: See who won at the 97th Academy Awards
The 97th Annual Academy Awards, hosted by Conan O'Brien, returned to Hollywood on Sunday. NBC News will be updating the below list of winners as they are announced. (Winners are in italics.) Best picture: —'Anora' —'The Brutalist' —'A Complete Unknown' —'Conclave ' —'Dune: Part Two' —'Emilia Pérez' —'I'm Still Here' —'Nickel Boys' —'The Substance' —'Wicked' Directing: —Jacques Audiard, 'Emilia Pérez' —Sean Baker, 'Anora' —Brady Corbet, 'The Brutalist' —Coralie Fargeat, 'The Substance' —James Mangold, 'A Complete Unknown' Actor in a leading role: —Adrien Brody, The Brutalist —Timothée Chalamet, 'A Complete Unknown' —Colman Domingo, 'Sing Sing' —Ralph Fiennes, 'Conclave' —Sebastian Stan, 'The Apprentice' Actress in a leading role: —Cynthia Erivo, 'Wicked' —Karla Sofía Gascón, 'Emilia Pérez' —Mikey Madison, 'Anora' —Demi Moore, 'The Substance' —Fernanda Torres, 'I'm Still Here' Actor in a supporting role: —Yura Borisov, 'Anora' —Kieran Culkin, 'A Real Pain' —Edward Norton, 'A Complete Unknown' —Guy Pearce, 'The Brutalist' —Jeremy Strong, 'The Apprentice' Actress in a supporting role —Monica Barbaro, 'A Complete Unknown' —Ariana Grande, 'Wicked' —Felicity Jones, 'The Brutalist' —Isabella Rossellini, 'Conclave' —Zoe Saldaña, 'Emilia Pérez' Writing (adapted screenplay) —'A Complete Unknown,' James Mangold and Jay Cocks —'Conclave,' Peter Straughan —'Emilia Pérez, Jacques Audiard; In collaboration with Thomas Bidegain, Léa Mysius and Nicolas Livecchi —'Nickel Boys,' RaMell Ross & Joslyn Barnes —'Sing Sing,' Clint Bentley, Greg Kwedar; Story by Clint Bentley, Greg Kwedar, Clarence Maclin, John 'Divine G' Whitfield Writing (original screenplay) —'Anora,' Sean Baker —'The Brutalist,' Brady Corbet, Mona Fastvold —'A Real Pain,' Jesse Eisenberg —'September 5,' Moritz Binder, Tim Fehlbaum; Co-Written by Alex David —'The Substance,' Coralie Fargeat) Animated feature film —'Flow' —'Inside Out 2' —'Memoir of a Snail' —'Wallace & Gromit: Vengeance Most Fowl' —'The Wild Robot' Animated short film —'Beautiful Men' —'In the Shadow of the Cypress' —'Magic Candies' —'Wander to Wonder' —'Yuck!' Cinematography —'The Brutalist,' Lol Crawley —'Dune: Part Two, Greig Fraser —'Emilia Pérez,' Paul Guilhaume —'Maria,' Ed Lachman —'Nosferatu,' Jarin Blaschke Costume design —'A Complete Unknown,' Arianne Phillips —'Conclave,' Lisy Christl —'Gladiator II,' Janty Yates and Dave Crossman —'Nosferatu,' Linda Muir —'Wicked,' Paul Tazewell Film editing —'Anora,' Sean Baker —'The Brutalist,' David Jancso —'Conclave,' Nick Emerson —'Emilia Pérez,' Juliette Welfling —'Wicked,' Myron Kerstein Makeup and hairstyling —'A Different Man,' Mike Marino, David Presto and Crystal Jurado —'Emilia Pérez,' Julia Floch Carbonel, Emmanuel Janvier and Jean-Christophe Spadaccini —'Nosferatu,' David White, Traci Loader and Suzanne Stokes-Munton —'The Substance,' Pierre-Olivier Persin, Stéphanie Guillon and Marilyne Scarselli —'Wicked,' Frances Hannon, Laura Blount and Sarah Nuth Live-action short film —'A Lien' —'Anuja' —'I'm Not a Robot' —'The Last Ranger' —'The Man Who Could Not Remain Silent' Music (original score) —'The Brutalist,' Daniel Blumberg —'Conclave,' Volker Bertelmann —'Emilia Pérez,' Clément Ducol and Camille —'Wicked,' John Powell and Stephen Schwartz —'The Wild Robot,' Kris Bowers Music (original song) —'El Mal,' from 'Emilia Pérez.' Music by Clément Ducol and Camille; Lyric by Clément Ducol, Camille and Jacques Audiard. —'The Journey,' from 'The Six Triple Eight.' Music and lyric by Diane Warren. —'Like a Bird,' from 'Sing Sing.' Music and lyric by Abraham Alexander and Adrian Quesada. —'Mi Camino,' from 'Emilia Pérez.' Music and lyric by Camille and Clément Ducol. —'Never Too Late,' from 'Elton John: Never Too Late.' Music and Lyric by Elton John, Brandi Carlile, Andrew Watt and Bernie Taupin. Documentary feature film —'Black Box Diaries' —'No Other Land' —'Porcelain War' —'Soundtrack to a Coup d'Etat' —'Sugarcane' Documentary short film —'Death by Numbers' —'I Am Ready, Warden' —'Incident' —'Instruments of a Beating Heart' —'The Only Girl in the Orchestra' International feature film —'I'm Still Here' (Brazil) —'The Girl With the Needle' (Denmark) —'Emilia Pérez' (France) —'The Seed of the Sacred Fig' (Germany) —'Flow' (Latvia) Production design —'The Brutalist' —'Conclave' —'Dune: Part Two' —'Nosferatu' —'Wicked' Sound —'A Complete Unknown' —'Dune: Part Two' —'Emilia Pérez' —'Wicked' —'The Wild Robot' Visual effects —'Alien: Romulus' —'Better Man' —'Dune: Part Two' —'Kingdom of the Planet of the Apes' —'Wicked'
