Latest news with #SorryAngel
Yahoo
15-05-2025
- Entertainment
- Yahoo
Chiara Mastroianni, Denis Podalydès, Guslagie Malanda & Jasmine Trinca Among Cast For International Co-Pro ‘Jealous White Men'; Magnify Launches Sales At Cannes Market
EXCLUSIVE: Chiara Mastroianni (Marcello Mio), Denis Podalydès (Sorry Angel), Guslagie Malanda (Dossier 137), Jasmine Trinca (La Storia), Cleo Diára (I Only Rest In The Storm), Isabél Zuaa (The Secret Agent), and Agustina Muñoz (Ariel) are set to lead feature Jealous White Men, which Magnify is launching for the Cannes market. Filming is set to begin later this year in Galápagos, Portugal, Brazil, and Italy on director Ivan Granovsky's adventure-tragicomedy. The film is co-written by Granovsky and Mariana Ricardo (Grand Tour). Cinematography is by Simone D'Arcangelo (The Settlers). Additional casting is in process. More from Deadline 'Sound Of Falling' Filmmaker Mascha Schilinski On Origins Of Her Generational-Trauma Epic - Cannes Two-Time Palme D'Or Winner Ken Loach Shares Open Letter Remembering Palestinian Journalist Fatima Hassouna & Calls For An End To The Violence In Gaza Viaplay Content Distribution Taking Financial Drama 'Golden Boys' From 'Quicksand' Maker FLX & Film i Väst To Market The synopsis reads: 'Jealous White Men is a wild, tragicomic adventure that satirizes history through dueling narratives by Jules Verne and his wife Honorine, each recounting young Charles Darwin's journey to the Galápagos — a voyage teeming with pirates, pink iguanas, and a riotous mix of chaos, discovery, and revolt.' Magnify is handling global and U.S. sales rights (excluding France, Germany, Italy, Portugal, and Brazil). The producing team includes Agustina Costa Varsi of Ambar Film Company (Italy), Tommaso Bertani of Ring Film (Italy), David Hurst of Dublin Films (France), Karen Castanho of Biônica Filmes (Brazil), Luis Urbano of O som e a fúria (Portugal), Iván Eibuszyc of Frutacine (Argentina), Christoph Friedel of Pandora (Germany), and Stefano Centini of Volos Films (Taiwan). With the participation of ZDF/Arte. Argentinian director, producer, and curator Granovsky has produced films by Matias Piñeiro and Mauro Andrizzi, among others. He founded and directed the Mar del Plata Co-Production Meetings (LoboLab) from 2015 to 2017 and ran the CATAPULTA lab at FICUNAM from 2019 to 2023 in Mexico City. His directorial debut, The Territories, premiered at Rotterdam in 2017 and went on to screen at more than 25 festivals, prior to being released by MUBI for Ibero America. 'I'm obsessed with white megalomaniacs from the past and present. Their mix of epic ambition and childish restlessness fascinates me,' said filmmaker Granovsky. 'Comedy comes alive through these ever-transforming, glory-hungry characters: too much monumental energy for one single body, too much story for one.' 'We are thrilled to be working with this exciting team on Jealous White Men — a wild, funny, and bold adventure that flips historical narratives on their head,' added Austin Kennedy, Director of Sales at Magnify. 'Led by an exceptional cast, the film is a fresh take on the period genre, filled with striking visuals, epic scenery, and a sharp sense of humor.' Denis Podalydès is represented by Jean-François Gabard at Zelig. Chiara Mastroianni is represented by Gregory Weill at Adéquat. Guslagie Malanda is represented by Frédérique Moidon at Artmedia. Jasmine Trinca is represented by Jean-Paul Bosco at IPC International. Best of Deadline 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 'Bridgerton' Season 4: Everything We Know So Far
New York Times
25-02-2025
- Entertainment
- New York Times
At France's Oldest Theater, Things Change, but They Also Stay the Same
Later this year, the actor and director Clément Hervieu-Léger will assume one of the most influential positions in French theater: general administrator of the Comédie-Française, the country's oldest active company. France's culture ministry announced the appointment last week. For now, however, Hervieu-Léger, 47, remains a player in the company's acting ensemble, and through June 1, he is starring in a production of Chekhov's 'The Cherry Orchard' that he also directed. Onstage on Sunday, Hervieu-Léger blended in discreetly as Trofimov, an aging student who hovers around the play's central landowning family. (It took me a minute even to recognize him.) The venerable Comédie-Française was founded in 1680, when a troupe begun decades earlier by the playwright Molière merged with a rival institution. With Hervieu-Léger's appointment, it has opted — as so often — for continuity. Since 2001, every general administrator has come from the company's ranks. Éric Ruf, who holds the position until this summer, had over two decades of experience as a Comédie-Française actor before his appointment in 2014. His successor has followed a remarkably similar path. A lithe, elegant performer, Hervieu-Léger was hired by the troupe in 2005 and has since been seen in a vast repertoire of plays, including Molière comedies and Tony Kushner's 'Angels in America.' In 2018, he joined the ranks of the 'sociétaires,' or 'shareholders,' a core group of company members who own stakes in the Comédie-Française, make up the board and oversee the theater's operations. All must abide by the company's motto: 'Simul et singulis,' which means, 'Together and individual.' In the past, this ensemble-led system has made it difficult for outsiders to come in and manage the Comédie-Française effectively. Even former sociétaires have faced internal mutiny: Muriel Mayette-Holtz, the first female general administrator, was replaced by Ruf in 2014 after company members protested her tenure in a letter to the French culture minister. Still, the prestige of the position is such — the administrator is personally appointed by the French president — that Hervieu-Léger faced serious competition. According to the French newspaper Le Monde, two high-profile candidates had thrown their hats in the ring: Arthur Nauzyciel, who is currently at the helm of the National Theater of Brittany; and the film and stage director Christophe Honoré, known for movies including 'Love Songs' and 'Sorry Angel.' While Hervieu-Léger is less of a household name, he will be able to draw on his wide-ranging experience. Alongside his acting career, he has directed over a dozen productions across theater and opera, with a pronounced taste for classic plays: in addition to Chekhov and his countryman Ivan Turgenev, Hervieu-Léger has tackled Molière and the 18th-century comic playwrights Pierre de Marivaux and Carlo Goldoni. He has also overseen plenty of projects beyond the Comédie-Française. In 2010, he co-founded La Compagnie des Petits Champs, a theater company based in rural northern France. His affinity for ballet has also translated into a number of side gigs, including a position as drama teacher at the Paris Opera Ballet School. In early April, his hybrid dance-theater adaptation of 'They Shoot Horses, Don't They?,' a co-creation with the choreographer Bruno Bouché and the actor Daniel San Pedro for the Ballet du Rhin, will have its Paris premiere at the Théâtre de la Ville. As a director, Hervieu-Léger's style leans toward understated, period-appropriate sophistication; a history buff, he was elected president of the French Society of Theater History in 2021. His production of 'The Cherry Orchard' is a case in point. In Hervieu-Léger's interpretation, Chekhov's 1903 play unfolds on a wood-paneled stage decorated with refined paintings, evoking the country lifestyle of the aristocratic family; the minutely cut costumes are demure enough to suit early 20th-century characters. The craft of the Comédie-Française's famed in-house set and costume departments are evident in every scene, to a degree that outside directors don't always exploit. 'The Cherry Orchard' is also a showcase for Hervieu-Léger's colleagues, with smart casting across several generations of actors. Florence Viala, a company member since 1994, brings a flighty self-assurance to the central role of Lyubov. Loïc Corbery, often seen in romantic leading roles, is an unexpected choice as the coarse Lopakhin, yet he owns the role with mercurial energy. As Firs, the elderly butler, Hervieu-Léger brought back the retired sociétaire Michel Favory, who acts as an earnest, serious anchor throughout. Hervieu-Léger's intimate knowledge of the troupe will serve him well as the general administrator, and Ruf leaves behind an institution in good shape. Over his three terms, Ruf struck a balance between the house's traditions and a newfound openness. In addition to bringing in star directors like Thomas Ostermeier and Ivo van Hove, he worked quietly behind the scenes to increase diversity, hiring several Black actors and achieving gender parity among the directors he programed. The Comédie-Française said last week that Hervieu-Léger would unveil his plans this summer, though the company seems set to continue on its steady course. If it ain't broke, don't fix it: It's a view that the Comédie-Française is entitled, by nearly 350 years of history, to hold.
