News

The director of films including I Killed My Mother, Tom at the Farm, and Matthias & Maxime, Xavier Dolan has revealed that he’s currently hard at work writing a period horror movie.

Deadline reports this morning that the untitled project is set in 1880s France, and Dolan plans to shoot the movie in late 2025. The scoop came courtesy of the Sans Filtre Podcast.

Xavier Dolan told the podcast in a recent chat, “It’s something I wrote before the pandemic, and I’m looking at again… It’s a genre film, a horror film, set in 1880s in France.”

“It feels removed from my life and what I know but on re-reading it, I understood that it is a film about the fear of failure, the fear of being rejected, of being misunderstood, the difficulty of creating,” Dolan continues, offering a tease of what we can expect from the film.

Update: Canadian filmmaker Xavier Dolan, whose film “Mommy” received the Cannes Jury Prize in 2014, will head the jury of Un Certain Regard at the Cannes Film Festival.

Joining him on the jury will be “Cuties” director Maïmouna Doucouré, “The Mother of All Lies” helmer Asmae El Moudir, “Phantom Thread” actor Vicky Krieps and film critic Todd McCarthy.

“I am humbled and delighted to return to Cannes as President of the Un Certain Regard Jury,” he said in a statement. “Even more than making films myself, discovering the work of talented filmmakers has always been at the very heart of both my personal and professional journeys. I see, in this responsibility I’m assigned, the opportunity to focus with the members of the Un Certain Regard Jury on an essential aspect of the art of film : stories told truthfully.”

Dolan wrote, directed, produced and starred in his first feature “I Killed My Mother...

Monia Chokri’s “The Nature of Love” has been acquired for U.K. and Ireland distribution by Vertigo Releasing.

The film stars Magalie Lépine Blondeau and Pierre-Yves Cardinal. In the film, the cosy married life of lecturer and intellectual Sophia (Blondeau) takes a bold new turn when she meets Sylvain (Cardinal), the ruggedly charming handyman at her new chalet and she embarks on a steamy and all-consuming affair.

“The Nature of Love” premiered at Cannes’ Un Certain Regard strand earlier this year and since then has played Toronto and Zurich among other festivals. It has its U.K. premiere at the BFI London Film Festival on Oct. 13 and will play Chicago post that.

“Female mid-life crises are not explored in this mode of storytelling as often their male counterpart: While the tragedy of the woman who f—s around and finds out is a mainstay of plenty of great literature and cinema,...

Maple Syrup Massacre is an editorial series where Joe Lipsett dissects the themes, conventions and contributions of new and classic Canadian horror films. Spoilers follow…

There’s a moment, very late in Tom at the Farm, when the film’s antagonist Francis Longchamp (Pierre-Yves Cardinal) wears a denim jacket with USA emblazoned on the back. The film’s protagonist – Tom – has been held hostage by Francis for several weeks by this point while the pair role play domestic roles in a psychosexual power game. Francis, it should be noted, is also the older brother of Tom’s recently deceased lover and Tom submits to the ruse, in part, because Francis smells and resembles his ex.

At the end of the film, however, Tom finally flees into the Québec woods, steals Francis’ car, and escapes back to the safety of Montreal, the largest city in the province and the third biggest in Canada.

In the article series Sound and Vision we take a look at music videos from notable directors. This week we look at several videos from Xavier Dolan, including the two he made for Adele. Xavier Dolan is quitting filmmaking, because according to him 'art is a waste of time'. The once-wunderkind turned enfant terrible of Canadian cinema made some excellent films in his active years, some slightly thorny and fickle ones and some clunkers. But I think his most impactful pieces of art are in fact his three music videos, all of which are to be found below. One...

[Read the whole post on screenanarchy.com...]...

Monia Chokri’s “The Nature of Love” opens by introducing us to 40-year-old philosophy professor Sophia (Magalie Lépine Blondeau) and her husband Xavier (Francis-William Rhéaume), as they enjoy a dinner party with friends. Said friends (one of whom is played by the director) are similarly middle-class progressive types with nice homes and comfortable lives; Sophia’s job in particular allows a strand of metatextual self-commentary in an otherwise predominantly broad and sexy comedy. It is, of course, a cast-iron rule of cinema that if a film opens with a middle-class dinner party, you’re about to see somebody’s bourgeois certainties undermined, and Chokri doesn’t disappoint.

On the drive home, Sophia and Xavier gossip about their friends’ love lives. Supposedly one of the other couples has sex three or four times a week, but also fights constantly. Xavier is of the opinion that a peaceful but sexless life is preferable,...

In Monia Chokri’s “The Nature of Love” (“Simple comme Sylvain”), a posh French-Canadian woman in a sexless marriage turns her life upside down for an affair with her contractor.

The film, which is being shopped to buyers in Cannes by Mk2 Films, will world premiere in Un Certain Regard on May 18.

Magalie Lépine-Blondeau delivers a powerhouse performance as Sofia, a 40-year-old philosophy professor in a stable yet stifling relationship with long-term partner Xavier.

When they buy a chalet to refurbish, she meets the strapping, jovial Sylvain (Pierre-Yves Cardinal), who arrives one day to provide a quote for the renovations. The pair jump headlong into a steamy relationship, but as their romance wears on, Sofia realizes that their backgrounds and interests make them far more different than she first thought.

Chokri previously directed “My Brother’s Wife,” which won the Jury Prize in Un Certain Regard in 2019. Chokri, who directs and wrote the screenplay,...

More than a year since the film competed for the Palme d’Or at the 2019 Cannes Film Festival, Canadian filmmaker Xavier Dolan’s latest feature “Matthias & Maxime” has finally landed a distributor. Arthouse streaming and distribution service Mubi has landed VOD and TV rights to the coming-of-age drama in the United States, the UK, Ireland, Australia, New Zealand, Latin America (excluding Mexico), and India, and will premiere the film for audiences this summer. A release date is forthcoming.

“Matthias & Maxime” stars Harris Dickinson (breakout from Eliza Hittman’s “Beach Rats”), Gabriel D’Almeida Freitas, Dolan regular Anne Dorval, Pier-Luc Funk, and Dolan himself, who hasn’t starred in one of his own films since 2013’s “Tom at the Farm.” “Matthias & Maxime” (played by D’Almeida Freitas and Dolan) focuses on two men in their late 20s whose friendship changes after they’re asked to kiss for a student short.

Refresh for updates… The movie world is mourning legendary Indian actor Irrfan Khan today. The Slumdog Millionaire, Life of Pi and Bollywood star died this morning of a colon infection at a Mumbai Hospital. He was 51.

Tributes came pouring in from around the world from fans, fellow actors, filmmakers, the Movie Academ and even Indian politicians including the president and prime minister.

Here is a sampling of how people are remembering Khan. We will update as more tributes come in:

Ang Lee, filmmaker

“Irrfan was a great artist, a true gentleman and a brave fighter. His passing away is cinema’s loss. We will miss him dearly. May you Rest In Peace my dear friend.”

Marc Webb, filmmaker

“Irrfan made it clear that power and gentleness could co-exist in a perfect balance. When he sings that song to his new wife at the bathroom door in The Namesake, it speaks...

Solstice Studios has acquired Ground Control to Major Tom which Horrible Bosses director Seth Gordon will helm. Solstice will distribute the movie stateside and sell foreign on the pic. Casting offers are underway.

Ground Control to Major Tom is the story of an astronaut and a Nasa ground control expert who have never met but fall in love over the course of the astronaut’s classified mission to an abandoned space station. When things go wrong and the astronaut’s ship is destroyed, ground control and the rest of the world presume he’s dead — until 18 months pass and they receive word he’s alive. Now, the only thing standing between them is a huge expanse of space and a dangerous attempt to get him home.

The screenplay is written by Jason Micallef (who created the Heathers TV series and wrote Butter). The producers are Michael De Luca Trevor Engleson and Josh Turner McGuire. Gordon is represented by Phil Raskind at Wme, David McIlvaine at Brillstein and attorney Warren Dern; Micallef is represented by Underground and attorney Chad Christopher.

Solstice’s first theatrical release is Unhinged, starring Oscar winner Russell Crowe. Next up for Solstice is Robert Rodriquez’s action thriller, Hypnotic, starring Oscar winner Ben Affleck; that goes into production in April.

Canadian filmmaker Xavier Dolan’s epic drama “The Death and Life of John F. Donovan” has been sitting on the shelf, at least stateside, since its world premiere at the 2018 Toronto Film Festival. Boasting Dolan’s most ambitious cast to date — including Kit Harrington, Jacob Tremblay, Natalie Portman, Kathy Bates, Thandie Newton, and Susan Sarandon — “Donovan” was met with jeers at the festival, including by IndieWire’s critic Eric Kohn. In a new interview with the Globe and Mail, Dolan now says that the film originally ran a lengthy four hours long. As it stands, the film currently runs a cool two hours.

“I shot the film that I wrote, but the film that I wrote was a 160-page script that made no choices,” Dolan said. “You now want to focus on something [the editing] that I’ve been focusing on for two years and I don’t know how inspired I...

Of the many labels Xavier Dolan’s Matthias & Maxime came attached with ahead of its Cannes premiere, few felt as apt as those that billed the Canadian’s eighth feature as “a return.” Three years after railing at Cannes’ “culture of hatred” for the mauling his Grand Prix winner It’s Only The End of the World received from critics–and less than one since the even bigger misfire The Death and Life of John F. Donovan bowed in Toronto–Matthias & Maxime shipped Xavier Dolan back to the festival that first welcomed him in 2009, when his I Killed My Mother left the Directors’ Fortnight with a Camera d’Or for best first feature. Homing in on two best friends grappling with a sprawling bromance, Matthias & Maxime also promised to dwell into the non-heteronormative dynamics Dolan had explored at length since his debut. And after two features set abroad, (the France-quartered...

The Notebook is covering Cannes with an on-going correspondence between critic Leonardo Goi and editor Daniel Kasman.Matthias & MaximeDear Danny, How nice it was to read your glowing words on Bong Joon-ho’s Palme d’Or contender. His Parasite belongs, together with a handful of other main competition entries, to a list of Cannes titles I shall be catching up on Saturday, when the festival will run a few repeat screenings ahead of the awards ceremony. With a program as rich and tantalizing as this year’s, it’s virtually impossible not to let a few titles slip past you. And while I may have postponed my rendezvous with the likes of Céline Sciamma, Pedro Almodóvar, and Bong Joon-ho, I did make sure to catch the homecoming of one of Cannes’ youngest regulars, Xavier Dolan. Ever since his 2009 debut feature I Killed My Mother, which found a spot at the 2009 Directors’ Fortnight,...

If there’s one term that Xavier Dolan probably never wants or needs to hear again, it’s “enfant terrible.” Irresistible to use when the Québécois auteur was 19, rattling out of the gate with his antsy, angry lash-out of a debut, “I Killed My Mother,” it’s followed him doggedly through a series of variously spiky, variably strong follow-up features. But Dolan has just turned 30, and with his eighth film, “Matthias & Maxime,” capping a filmography longer and more entrenched in its creative identity than many directors comfortably his senior, it seems time to put the label to rest. For “Matthias & Maxime” is not in any sense the work of an enfant terrible: A wistful, low-key love-and-friendship study, and something of a back-to-basics reset after his elaborate English-language misfire “The Death and Life of John P. Donovan,” it feels at once younger and older, sweeter and more seasoned, than Dolan’s last few films.

Despite all her evident idiosyncrasies, there’s something familiar about Sophia (Anne Élisabeth Bossé), the focus of Quebecois debutante Monia Chokri’s comedy “A Brother’s Love,” which gets the Un Certain Regard sidebar of Cannes off to a springy if overlong and somewhat stumbling start. Sophia may have a PhD in political philosophy but she lives a remarkably unexamined life. And in that she is enabled by a co-dependent relationship with her attractive psychologist brother Karim (Patrick Hivon) which traps them both in an eternally arrested state of emotional adolescence. The familiarity springs from a realisation that the male version of Sophia’s character is such a common staple of the modern comedy as to be nearly a cliché: the lovable manchild whose emotional immaturity is actually part of his charm.

However these traits distilled into a woman by Chokri’s promising if overindulgent screenplay and Bossé’s admirably uncompromised performance,...

Matthias & Maxime

And we begin our count up with Quebecois director Xavier Dolan, who after working on his largest budget to date in 2017/18 quickly returned to his low budget roots for his eighth feature Matthias & Maxime, produced by Dolan and his regular collaborator Nancy Grant for the Sons of Manual label. Cinematographer Andre Turpin (who has been working with Dolan since 2013’s Tom at the Farm) is on hand, as is actress Anne Dorval, who has been involved in most of the director’s productions since her excellent turn in his 2009 debut I Killed My Mother.…...

Xavier Dolan is joining the cast of “It: Chapter Two,” Deadline confirms. The actor-director joins Jessica Chastain, James McAvoy, and Bill Hader in the highly anticipated sequel to the 2017 horror blockbuster. “Chapter Two,” once again directed by Andy Muschietti, is based on Stephen King’s novel of the same name. The story centers around the Losers’ Club as adults lured back to their hometown of Derry, Maine to face off against Pennywise.

Dolan is set to play Adrian Mellon in “Chapter Two.” The character is a gay man living in Derry who is attacked by bullies and killed by Pennywise. The casting is the latest supporting gig for Dolan, who will appear opposite Lucas Hedges in Joel Edgerton’s “Boy Erased,” in theaters September 28. Dolan has stared in many of his directorial efforts, including “I Killed My Mother” and “Tom At the Farm.”

The “It: Chapter Two” cast also includes Jay Ryan,...

Read More: 'Mommy' Director Xavier Dolan Doesn't Want You to Label His Films Internationally acclaimed, Xavier Dolan is a director to keep your eye on. With a handful of promising features at such a young age, he follows up the Cannes-winning "Mommy" with a new psychological thriller, "Tom at the Farm." The movie premiered at the 2013 Venice Film Festival and finally found U.S distribution earlier this year. Amplify will release the French-language film in theaters and on demand in August. The official synopsis reads: "After the sudden death of his lover, Guillaume (Caleb Landry Jones), Tom (Xavier Dolan) travels from his home in the city to a remote country farm for the funeral. Upon arriving, he's shocked to find that Guillaume's family knows nothing about him and was expecting a woman in his place. Torn between his own grief and that of the family, Tom keeps his...

Xavier Dolan tied contemporaries Philippe Falardeau and Denis Villeneuve by winning his second Best Feature award at the 17th annual Jutra Awards. Quebec’s answer to the Oscars was a rather suspense-less affair as Mommy claimed nine (plus the top box office award honor) awards winning in all major categories with the exclusion of Best Supporting Actor category win, which would only end up going to Dolan’s other nominated film, Tom at the Farm. Pierre-Yves Cardinal was sublime in his predatory type role and as was the case for several nominees, was hard at work on another project and therefore not on hand for trophyware. Ricardo Trogi’s throwback to awkward teen years tale 1987 did win a trio of awards, but if there were any surprises in the Dolan camp it was the acceptance speeches: Dolan delivered a keynote speech type quality for the last win of the night...

Early predictions have emerged for most Academy Award categories. As the studios reveal their hopeful offers to be released in the final months of the year, the speculation increases. But despite all the information available on the centerpiece awards, other more obscure races remain a complete mystery at this point. Among these, the Best Foreign Language Film Oscar is almost certainly the most complex to prognosticate. The lengthy process that precedes the announcement of the final nominees makes for a competition that begins months in advance in nations around the globe.

Having the opportunity to submit only one film, each country must carry out its own selection process. Once these decisions have been made, their chosen works will compete to make it to the nine-film shortlist, and eventually into the final five slots. Although this procedure allows for a certain degree of democracy, it also excludes all those other films that were left behind in their homelands. This, in turn, gives us a narrow view of what is being produced abroad.

Therefore, after lots of research and arduous educated guessing to put it together, the list below offers a more insightful look at this race before the actual individual selections are announced. For the sake of time, the amount of films is limited to five per country, but in some cases the choices are scarcer and less films are listed. While trying to speculate is always an uncertain endeavor, the factors taken into account to determine which are some of this year’s most important films in each country and their prospects of being chosen as their representative at the Academy Awards, were varied. Festival exposure, release date, the country’s previous submissions, and even the thematic elements of a few of them were considered to create this piece.

Clearly nothing is definitive at this point, but at the very least, this compilation will provide a sense of what the film industries in these territories are putting out and sharing with the world.

It is important to note that several of the films mentioned below are being handled by Mundial, a joint venture between Im Gobal and Canana, including "Gueros," "A Wolf at the Door," and "The Liberator."

Here is the first list dedicated to the Americas

Argentina

With four films presented at Cannes and several others receiving praise in festivals around the world, Argentina has several interesting options this year. Unfortunately, Lisandro Alonso’s period piece “Jauja” will almost certainly be ineligible due to its November release date, unless a qualifying one-week run is scheduled. That scenario seems unlikely. Screening in the Directors’ Forthnight, Diego Lerman’s “Refugee” (Refugiado) will open on October 3rd, also a few days after the deadline. That leaves the Almodovar-produced “Wild Tales” as the undisputed favorite. Acclaimed films such as “Natural Sciences," “The Third Side of the River”, “El Ardor“ (staring Gael Garcia Bernal), and “La Paz” are longer shots but still viable choices.

1. "Wild Tales" (Relatos Salvajes)

2. "Natural Sciences" (Ciencias Naturales)

3."The Ardor" (El Ardor)

4."The Third Side of the River" (La Tercera Orilla)

5."La Paz"

Bolivia

The last time the landlocked country submitted a film was back in 2009. However, this year offers several possibilities for the Bolivian film industry. Given its production value and historical theme, it is likely that - if they choose to send a film - it will be Mexican director Carlos Bolado’s “Forgotten” (Olvidados), which deals with the 70s Operation Condor. Another likely choice is “Yvy Maraey,” which highlights the mysticism of the country’s indigenous people and is the latest work by Juan Carlos Valdivia, whose films have represented Bolivia in 3 out of the 6 occasions they’ve participated. A long delayed road trip flick (“Once Upon a Time in Bolivia”) and a unique documentary (“Apricot”) round up the list of contenders.

1. "Forgotten" (Olvidados)

2. "Yvy Maraey: Land Without Evil" (Yvy Maraey: Tierra Sin Mal)

3. "Once Upon a Time in Bolivia" (Erase una vez en Bolivia)

4. "Apricot" (Durazno)

Brazil

Producing an impressive amount of films per year, the Brazilian film industry is seeing incredible progress recently. Particularly this year, the quality of works was exceptional across the board. Having such an overflow of great material could make it difficult to select just one. However, there are a few films that standout amongst the crowd. Fernando Coimbra’s debut feature “A Wolf at the Door” is undoubtedly the one to beat after receiving rave reviews and touring some of the most important international festivals. Its biggest competitors are the quiet character study “The Man of the Crowd” and the adorable coming-of-age tale “The Way He Looks.” Rounding up the top five are locally acclaimed “Runriver” and powerful Lgbt drama “Futuro Beach.”

1. "A Wolf at the Door" (O Lobo atrás da Porta)

2. "The Man of the Crowd" (O Homem das Multidões)

3. "The Way He Looks" (Hoje Eu Quero Voltar Sozinho)

4. "Riverrun" (Riocorrente)

5. "Futuro Beach" (Praia do Futuro)

Canada

This definitely seems like Xavier Dolan’s year. After sharing an award with New Wave patriarch Jean-Luc Godard in Cannes, the 25-year-old prodigy is almost a safe bet having two films that could represent his country. While “Mommy” is the clear favorite, it will have to go against “An Eye for Beauty, ” the latest film from Oscar-winner Denys Arcand. Both films will screen at Tiff in the upcoming weeks, just as time runs out for Canada to nominate a film by the end of September. Less probable but still great options are Dolan’s own “Tom at the Farm,” quirky black-and-white dramedy “Tu Dors Nicole,” and the well-received rural family drama “The Auction. ”

1. "Mommy"

2. "An Eye for Beauty" (Le Règne de la Beauté)

3. "Tom at the Farm" (Tom à la ferme)

4. "You's Sleeping Nicole" (Tu Dors Nicole)

5. "The Auction" (Le démantèlement)

Chile

Here is one of the few countries in the region with a very clear choice, but which sadly might decide to miss that opportunity. Alejandro Fernández Almendras ‘“To Kill a Man” won at Sundance, Rotterdam, Berlin, Cartagena amongst several other festivals and has received extremely positive reactions from critics and audiences. Yet, its opening date in its homeland (October 16th) might prevent it from being selected, which would be a regrettable mistake. A one-week run or an earlier release date would be a worthwhile investment. If they decide to leave it behind for next year, this great film would definitely miss its chance. If that is the case, the South American nation, which in recent years has garnered incredible success with films like “No” and “Gloria,” might decide to go with “The Dance of Reality,” the first film in over 20 years by veteran auteur Alejandro Jodorowsky. Other plausible candidates include “Illiterate” (starring Paulina Garcia), Marcela Said’s remarkable “The Summer of Flying Fish,” and historical biopic “Neruda.”

1. "To Kill a Man" (Matar a un Hombre)

2. "The Dance of Reality" (La Danza de la Realidad)

3. "Illiterate" (Las Analfabetas)

4. "The Summer of Flying Fish" (El Verano de los Peces Voladores)

5. "Neruda"

Colombia

Being forced to resort to mainstream cartel-themed fare in past occasions, this year has fortunately seen a fantastic reemergence of auteur-driven works in the country. Cartagena winner “Dust on the Tongue” is by far the most promising Colombian offer of the year with a thought-provoking premise. Next in line is “Mateo” about a young man struggling to pursue his passion for theater while living in a crime-ridden community. Other films include the touching “Catching Fireflies,” apocalyptic comedy “Chronicle of the End of the World,” and music-infused romance “Ciudad Delirio.” Franco Lolli’s award-winning “Gente de Bien” doesn’t have a release date yet, but will probably be in the running next year.

1. "Dust on the Tongue" (Tierra en la Lengua)

2. "Mateo"

3. "Chasing Fireflies" (Cazando Luciernagas)

4. "Chronicle of the End of the World" (Crónica del Fin del Mundo)

5. "Ciudad Delirio"

Costa Rica

Having three great films eligible for consideration, Costa Rica will likely enter the Oscar race for what would be only the third time in its history. Without a doubt, the country is spearheading Central America in terms of increased film production. Lauded throughout multiple festivals, “Red Princesses,” about a girl growing up in the Sandinista-era, is the most notable work. “Port Father,” a coming-of-age drama set in a coastal town and the comedy “All About the Feathers” are the other two that could be picked. Regardless of which one is selected, they all serve as an encouraging sign of growth for the Costa Rican industry.

1. "Red Princesses" (Princesas Rojas)

2. "Port Father" (Puerto Padre)

3. "All About the Feathers" (Por las Plumas)

Cuba

Hosting the Havana International Film Festival and its consistent investment in local talent make Cuba a unique place for film in the Caribbean. In spite of this, only a few national productions have reached cinemas this year. The three notable titles revolve around personal stories of survival and the struggles associated with living on the island. Winner of several international awards, “Behavior” is the clear favorite. “Melaza,” another local drama dealing with the economic challenges Cubans face and the gay love story “The Last Match,” complete the trio.

1. "Behavior" (Conducta)

2."Melaza"

3. "The Last Match" (La Partida)

Dominican Republic

For its size, this island nation has an impressive working industry that steadily produces films in diverse genres. The Dominican Republic will almost certainly participate again with one of the works by its homegrown talent. Screening in Toronto last year, crime romance “Cristo Rey” has the highest probability of being chosen. In second place is the documentary “The Mountain,” which centers on a unique expedition to Mount Everest by a Dominican team. Passionate road trip story “To the South of Innocence” and psychological thriller “Despertar ” conform the list of options.

1. "Cristo Rey"

2. "The Mountain"(La Montaña)

3. "To the South of Innocence" (Al Sur de la Inocencia)

4. "Despertar"

Ecuador

Seemingly dormant for many decades, the Ecuadorian film industry has recently exploded. Even though they have only submitted three times in the past, it appears they plan to make their presence more consistent moving forward. What is even more surprising, are the numerous alternatives they have to make their selection. At the top of the list is “Holiday,” which premiered in Berlin and has received considerable praise. Two other art house offers, “Silence in Dreamland” and “Saudade,” could be serious contenders. “Girl Without Fear,” a gritty crime film and “The Facilitator,” a politically charged work, have less chances but are still interesting offers.

1. "Holiday" (Feriado)

2. "Silence in Dreamland" (El Silencio en la Tierra de los Sueños)

3. "Saudade"

4. "Girl With No Fear" (Ciudad Sin Sombra)

5. "The Facilitator" (El Facilitador)

El Salvador

Sporadically producing feature length works due to the lack of initiatives that facilitate their funding, El Salvador has never entered the race. Nevertheless, there are three films that could potentially be submitted: Supernatural horror film "The Supreme Book," romantic comedy "The Re-Search," and the more viable choice, " The Four Cardinal Points," a documentary about the diverse lifestyles throughout the tiny country. The latter was exhibited commercially as part of Ambulante El Salvador for about a week, which could possibly make it eligible. But in all honesty, it is hard to think they’ll feel so inclined as to participate.

1. "El Salvador: The Four Cardinal Points" (El Salvador: Cuatro Puntos Cardinales)

2. "The Re-Search" (La ReBusqueda)

3. "The Supreme Book" (El Libro Supremo)

Guatemala

With only one submission under their belt back in 1994 and several missed opportunities in recent years, Guatemala might opt to remain out of the spotlight once again. If, however, they change their mind, there are three films that qualify to be entered. Focusing on the indigenous Maya‘s beliefs and legends, “Where the Sun is Born” is surely the most authentic and visually powerful of these films. Then there is “Pol,” a story about two teenage friends and their mishaps. Lastly, there is “12 Seconds,” a sort of slasher flick set in the countryside. It’s been 20 years since their last try, it wouldn’t hurt to see them make the effort once again.

1. "Where the Sun is Born" (Donde Nace el Sol)

2. "Pol"

3. "12 Seconds" (12 Segundos)

Honduras

Although they have never submitted an entry, the Central American country is showing signs of progress in terms of its film industry. With only two local, low budget films released this year, it is highly unlikely they will enter. Nevertheless, they do have an eligible film “11 Cipotes,” a sports comedy about a soccer team in a small town. The other film, “The Zwickys,” is surprisingly ineligible because it is mostly in English.

1. "11 Kids" (11 Cipotes)

Mexico

Now that the Mexican Academy has announced their shortlist - which strangely and inexplicably includes titles that have no scheduled release dates or that will be released after AMPAS' deadline (September 30th, 2014) - the landscape has dramatically changed. Three of the original selections mentioned here (“The Empty Hours,” “Potosi,” and “ Club Sandwich”) are not included among the finalists. It is important to note that films need to be submitted by the filmmakers in order to be considered by the Mexican Academy. One can assume that these films, though they qualify, decided not to participate. The 21 films listed include several documentaries such as “Purgatorio: A Journey Into the Heart of the Border,” “Disrupted” (Quebranto), “Eufrosina’s Revolution” (La Revolución de los Alcatraces), and “H2Omx" among others. But even if many of these are outstanding films, it is highly unlikely that the Academy will decide to go with a documentary over a narrative given their track record and the other options available. Comedic offers like the charming “Paraíso” by Mariana Chenillo, "Flying Low" (Volando Bajo), and "The Last Call" (Tercera Llamada) also made it in. Just like last year with “Instructions Not Included,” most people could assume that the film with the most commercial prospects would make for a good candidate for Oscar consideration, in this case that would be the biopic “Cantinflas," which was also listed. Fortunately, however, the selection committee often prefers to bet on films honored internationally regardless of their controversial content (“Heli,” “After Lucia,” “Silent Light,” “The Crime of Father Amaro”).

With the new additions, the possibilities have shifted. On the top spot is Alonso Ruiz Palacios’ black and white debut “Güeros,” which won in Berlin and Tribeca, and screened at Karlovy Vary. The festival pedigree will definitely help this unique road trip film set in Mexico City during the late 90s. The runner up is Luis Urquiza’s “Perfect Obedience,” though it did not have any festival exposure or a highly profitable theatrical run, the local critics praised the compelling portrayal of a depraved Catholic priest with satirical undertones. It would definitely make for a great contender if the Academy were willing to run the risk given its controversial subject matter. At number three we have Christian Diaz Pardo’s “Gonzalez,” an intriguing drama about a man looking to change his destiny by joining a for profit evangelical church. Dark comedy “ Workers,” by Salvadoran filmmaker Jose Luis Valle, comes in at number four. Lastly, there is Luis Estrada’s long awaited new film “The Perfect Dictatorship,” which made the cut despite having an October 16th release date. The film could definitely come into play; however, voters should consider the fact that its premise and humor might be too specific to the Mexican political idiosyncrasies to connect with foreign voters. Two other films that might be in the race next year are “Perpetual Sadness” (La Tirisia) and “ The Well” (Manto Acuifero)

1."Güeros"

2. "Perfect Obedience" (Obediencia Perfecta)

3. "Gonzalez"

4. "Workers"

5. "The Perfect Dictatorship" (La Dictadura Perfecta)

Nicaragua

With three submissions in over 30 years (1982, 1988, 2010), Nicaragua is the Central American nation with the most attempts at Oscar glory. More astonishing perhaps, is the fact that their first ever entry, “Alsino and the Condor,” earned them a nomination. These days production is almost non-existent. Still, the country’s most prolific filmmaker Florence Jaugey, responsible for their last submission “La Yuma,” made a small documentary titled “Class Days." It is just over 50 minutes long but actually had a theatrical run. Though eligible, it’s probable they’ll decide to skip this year. On the other hand, Jaugey has just finished a new narrative new feature, “The Naked Screen” (La Pantalla Desnuda), which will surely be part of the conversation next year.

1. "Class Days" (Dias de Clase)

Panama

An unprecedented amount of national productions were scheduled to premier in Panama during 2014. All of those four films - which by the country’s standards is an exceptional number - are documentaries. However, only two of them will be eligible given their set release dates. Out of those two, the top choice would certainly be Abner Benaim’s “Invasion” which uses reenactments in lieu of archive footage to revisit the American military intervention in the Central American country in 1989. The runner-up, “Majesty,” deals with the more lighthearted subject of carnival queens. In any case, should Panama decide to submit a film, this would be their first ever appearance.

1. "Invasion"

2. "Majesty" (Reinas)

Paraguay

Disappointed after missing the chance to submit last year's surprise hit “7 Boxes”due to the lack of a selection committee, Paraguayan authorities have stressed their wish to send a film to compete this time around. Unfortunately, it appears that their two best options might be scheduled to open theatrically past the Academy’s deadline. The documentary “Cloudy Times,” a Swiss co-production, has garnered positive reactions internationally and would be their best shot. A second choice could be the crime flick “Filthy Luck,” which sports a decent production value. But if neither of them manages to qualify, then the country’s only other option is yet another crime film “End of the Line.” In any case, hopefully they follow through with their intentions and participate for the first time.

1. "Cloudy Times" (El Tiempo Nublado)

2. "Filthy Luck" (Luna de Cigarras)

3. "End of the Line" (Fin de Linea)

Peru

The eclectic collection of Peruvian films released this year speaks of the great development the medium is experiencing in that country. The five films mentioned here represent the array of genres and stories coming out of Peru today. Given its incredible reception abroad, dark comedy “The Mute” by Daniel Vega Vidal & Diego Vega Vidal is undoubtedly the frontrunner. Behind it comes the intriguing thriller “Guard Dog” starring Peruvian star Carlos Alcántara, multi-narrative drama “The Gospel of the Flesh,” romantic tearjerker “Trip to Timbuktu,” and “Old Friends” about a group of elderly men on a mission. Definitely a though decision needs to be made.

1. "The Mute" (El Mudo)

2. "Guard Dog" (Perro Guardian)

3. "The Gospel of the Flesh" (El Evangelio de la Carne)

4. "Trip to Timbuktu" (Viaje a Tombuctu)

5. "Old Friends" (Viejos Amigos)

Uruguay

Last year the country decided to take a chance and submit the adorable animated film “Anina,” which despite not getting a nomination has become a great success. This time they have “The Militant,” a serious contender about a man retuning to his late father’s hometown. Empowered by a positive festival run, this seems to be their most ideal option. “23 Seconds,” a drama about an unlikely connection between two people and “Mr. Kaplan,” a buddy comedy by Álvaro Brechner - whose previous film “A Bad Day to Go Fishing” was selected a few years back - are the next best choices. The remaining film “At 60 km/h” is a documentary about a unique journey around the world.

1. "The Militant" (El Lugar del Hijo)

2. "23 Seconds" (23 Segundos)

3. "Mr. Kaplan"

4. "At 60 Km/h" (A 60 Km/h)

Venezuela

Dubbed as “the most expensive film ever made in Latin America” and focusing on the accomplishments of the country’s most important historical figure, selecting “The Liberator” is simply a no-brainer. Added to those qualities, the film is actually an elegantly achieved period piece that really showcases the sizable budget and director Alberto Arvelo’s talent. Two of his previous films have also represented his country in the past. On the other hand, this has been a monumental year for Venezuelan films. Festival darling “Bad Hair” would be the perfect choice if it weren’t going against the imposing major production. Other important films that could figure in the mix but have much less prospects are the emotional road-trip film “The Longest Distance,” the women-centered drama “Liz in September,” and the acclaimed thriller “Solo.”

1. "The Liberator" (El Libertador)

2. "Bad Hair" (Pelo Malo)

3. "The Longest Distance" (La Distnacia Mas Larga)

4. "Liz in September" (Liz en Septiembre)

5. "Solo"...

Tiff may be a showcase for cinema from around the world, but it’s also an exhibition place to show off our homegrown talent to the rest of the world.

At the Toronto International Film Festival’s Canadian press conference, the festival programmers unveiled the impressive line-up of Canadian films as well as the Canucks who are the ones to watch in their Rising Star programme.

In its fourth year, the Tiff Rising Stars programme recognizing emerging Canadian talent who are charting their own trajectory within Canadian cinema and beyond. Past Rising Stars have included Sarah Gadon, Megan Park, andTatiana Maslany.

This year’s crop of new talent includes Sophie Desmarais who you may have seen as a young track star in last year’s festival pick Sarah Prefers to Run (Sarah préfère la course) and Shannon Kook who appeared in a supporting role inThe Conjuring and next appears in...

For the first time in his short but impressive career, Canadian director Xavier Dolan has won the Jury Prize at the Cannes Film Festival. Technically, he shared the honour with French filmmaker Jean-Luc Godard, who also won the Jury Prize for "Goodbye to Language." Quebec native Dolan won the prize for his film "Mommy," which has been receiving rave reviews across the board since it premiered at Cannes.

There has been a ton of Dolan buzz emanating out of Cannes, where he presented his fifth directed movie in as many years. The Jury Prize is considered the third-most prestigious prize at the festival; Dolan was the youngest person in contention for the Jury Prize and the Palme d'Or, which was awarded to "Winter Sleep." Critics heaped praise on "Mommy," and it was one of the early favourites to win.

"Mommy" follows a single mother as she tries to raise a spastic,...

Canadian filmmaker Xavier Dolan is garnering rave reviews for "Mommy," a work that he has in competition for the Palme d'Or at the Cannes Film Festival.

But how did the 25-year-old Montreal director come to be the toast of the world's most prestigious film festival?

Dolan, a former child actor, presented a screenplay to prominent Quebec actress Anne Dorval when he was 16 years old, The Globe and Mail reports.

She called him back with suggestions, but he soon told her to forget that screenplay altogether. He had a new idea for a movie about a difficult relationship between a homosexual teen and his mother.

Dolan would play the boy and Dorval his mother.

That film, "J'ai tué ma mere (I Killed My Mother)" would become the toast of Cannes in 2009, taking three prizes in the Directors' Fortnight section, including the Art Cinema Award and a writers' award for top French film.

In Canadian director Xavier Dolan's short career (so far, the guy's only 25), he has received a record number of accolades for someone so young.

There is a ton of Dolan buzz emanating out of this year's Cannes Film Festival, where his fifth directed movie in as many years, "Mommy," is getting rave reviews. Dolan's also up for the prestigious Palme d'Or, which is bestowed upon the best director/movie of the festival; he's the youngest person in contention. Critics are heaping praise on the film, and early odds are that Dolan is going to win.

"Mommy" follows a single mother as she tries to raise a spastic, difficult-to-contain teenage son. Their lives metamorphosize when they make friends with a shy neighbour, who makes unexpected changes to their very existence.

If Dolan were to win the Palme d'Or, it would be the first time in Cannes Film Festival history that...

If Canadian director Xavier Dolan’s debut, “I Killed My Mother,” served as the petulant revenge of a misunderstood son upon the single mom who raised him, then his unexpectedly self-effacing fifth feature, “Mommy,” acknowledges that perhaps the lack of understanding went both ways. This time, the offscreen director puts himself in his mom’s shoes, casting Anne Dorval once again as a strong, independent woman overwhelmed with the task of caring for a teenage tyrant. It’s uncanny how much Dolan’s style and overall solipsism have evolved in five years’ time, resulting in a funny, heartbreaking and, above all, original work — right down to its unusual 1:1 aspect ratio — that feels derivative of no one, not even himself.

Though scarcely known in the States, where his sophomore feature “Heartbeats” earned just shy of $600,000, and “I Killed My Mother” and the gender-resistant romance “Laurence Anyways” received only minor arthouse releases,...

One of the more prominent names in Canadian cinema over the past few years has been that of filmmaker Xavier Dolan. Despite having only three feature length films in his writing and directing filmography, Dolan has garnered critical acclaim for his work from fans all over the world, with news of his involvement bringing a great deal of interest to a project. His newest feature, titled Tom à la ferme, or Tom at the Farm, is no different. Dolan once again takes on directing and writing duties, adapting the story from the play by Michel Marc Bouchard, as well as taking on the lead role. Joining Dolan onscreen is Evelyne Brochu, Lise Roy, and Caleb Landry Jones. A new trailer for the film has now been released, and can be seen below. Sound on Sight also saw the film at Tiff 2013, and our review can be read here.

(Source: /bent...

The Academy Of Canadian Cinema & Television has announced the Canadian Screen Awards nominees.

“We are exceedingly proud today to reveal the nominees for the 2014 Canadian Screen Awards,” said Academy chair Martin Katz.

“This was a year marked by a record-breaking number of submissions, reflecting a robust level of activity in the screen-based industries in Canada which we will celebrate during Canadian Screen Week, March 3-9. Congratulations to all.”

David Cronenberg will receive the lifetime achievement award. For the full list of winners invcluding television, digital and special awards click here.

The feature nominees in full:

Best Motion Picture

The Dismantlement (Le Démantèlement) – Bernadette Payeur, Marc Daigle

Empire Of Dirt – Jennifer Podemski

Enemy – Kim McCraw, Luc Déry, Miguel A Faura, Niv Fichman, Sari Friedland

The F-Word – Andre Rouleau, David Gross, Macdara Kelleher

Gabrielle – Kim McCraw, Luc Déry

The Grand Seduction – Barbara Doran, Roger Frappier

Maïna – Karine Martin, Michel Poulette, Yves Fortin

Tom At The Farm (Tom À La Ferme) – [link...

The Academy Of Canadian Cinema & Television has announced its nominees.

“We are exceedingly proud today to reveal the nominees for the 2014 Canadian Screen Awards,” said Academy chair Martin Katz. “This was a year marked by a record-breaking number of submissions, reflecting a robust level of activity in the screen-based industries in Canada which we will celebrate during Canadian Screen Week, March 3-9. Congratulations to all.”

David Cronenberg will receive the lifetime achievement award. For the full list of winners invcluding television, digital and special awards click here.

The fearure nominees in full:

Best Motion Picture

The Dismantlement (Le Démantèlement) – Bernadette Payeur, Marc Daigle

Empire Of Dirt (pictured) – Jennifer Podemski

Enemy – Kim McCraw, Luc Déry, Miguel A Faura, Niv Fichman, Sari Friedland

The F-Word – Andre Rouleau, David Gross, Macdara Kelleher

Gabrielle – Kim McCraw, Luc Déry

The Grand Seduction – Barbara Doran, Roger Frappier

Maïna – Karine Martin, Michel Poulette, Yves Fortin

Tom At The Farm (Tom À La Ferme) – [link...

Last night in a packed theatre at the Tiff Bell Lightbox an eclectic group of film critics, the who’s who of top local film producers and filmmakers, and Tiff executives gathered to hear the unveiling of the 13th annual Canada’s Top Ten films of the year. The room buzzed with excitement with many discussing the Nyfcc winners, predicting the Board of Review winners and, of course, noting which filmmakers were in attendance (assuming that was a clear cut sign of who made the list).

A hushed silence came over the crowd when Cameron Bailey, Artistic Director of Tiff, took to the podium on stage to introduce the evening’s host, beloved local comedian Steve Patterson. “As a 15 year veteran of comedy, I know what it’s like not to be recognized”, Patterson cracked, making light of Canadian gems often going overlooked on the world stage. This year, however,...

Enemy, The F-Word, Sarah Prefers To Run make it on to annual list.

Enemy, The F-Word, Sarah Prefers To Run have made it on to Tiff’s annual list.

The Tiff hierarchy announced on December 3 its feature and short film selections for the 13th annual Canada’s Top Ten Film Festival.

The 10-day festival is scheduled to run from January 3-12 2014 at Tiff Bell Lightbox and features public screenings of selected films accompanied by introductions and Q&A sessions with film-makers.

Director Denis Villeneuve and Jake Gyllenhaal will appear at Tiff Bell Lightbox on January 5 to discuss their recent collaborations on Prisoners and Enemy (pictured).

The festival will conclude on January 12 with an on-stage conversation between Canadian film-maker John Greyson and Toronto International Film Festival artistic director Cameron Bailey.

“Canadian movies are global movies now, and Tiff’s Canada’s Top Ten Film Festival is the best opportunity to see our country’s creativity on the big...

The 15th Mumbai Film Festival (Mff) presented by Reliance Entertainment and organized by the Mumbai Academy of Moving Image (Mami) scheduled between 17th-24th October is all set to showcase the best of contemporary French cinema and welcome artists for the 6th edition of the Rendez-vous with French Cinema co-organized with The French Embassy in India, Institut Français en Inde and Unifrance films.

As part of the festival highlights, Costa Gavras will receive the Lifetime Achievement Award during the opening ceremony in the presence of His Excellency Mr François Richier, Ambassador of France to India who will grace us with his presence especially for this occasion. Among others, Nathalie Baye, jury member of the international section, Mahamat Saleh Haroun, director of the film “Grigris”, Guillaume Brac, director of the film “Tonnerre” (Competition) and Leos Carax, well known film maker who will be conducting a masters class.

The special section “Rendez-vous...

This fall, one of Montreal’s most intriguing film festivals the Festival du Nouveau Cinema (Fnc) offers sixteen films as part of their international showcase. This showcase provides a platform for fresh, personal and visionary films from around the world. Films in this competition come from Quebec, Morocco, France, Poland, Mexico, Singapore, Austria, Venezuela, Georgia and more. Themes range from vengeance, drama, youth, daily violence, questions of identity, to migrant life, mystery, and love.

Some of these titles have already won awards (despite their short time on the festival circuits), including Escalante’s Heli, Chen’s Illo,Ilo, Guiraudie’s L’Inconnu du Lac, Avranas’ Miss Violence (picture on right), and Dolan’s Tom à la ferme (featured image). However, this doesn’t mean the prize is in the bag for these front runners.

The program is from Oct. 9th to Oct. 20th, 2013:

Arwad, Samer Najari et Dominique Chila (Québec)

Au nom du fils,...

Tom at the Farm

Written by Xavier Dolan

Directed by Xavier Dolan

Canada/ France, 2013

Quebecois director Xavier Dolan returns to Tiff in the Special Presentations programme with the gorgeously atmospheric psychological thriller, Tom at the Farm (Tom à la Ferme), shedding some of his visual compositions while embracing the themes of desire, loss, and attachment with mixed results in its overall plotting. The film is an adaptation of a French-language play of the same name by Michel Marc Bouchard, who worked with Dolan to bring the story to the big screen. Tom (played by Dolan) leaves Montreal for rural Quebec to attend the funeral of his lover, Guilliaume. While this would usually provide opportunities for a sense of closure and some semblance of inner peace, Tom is initially met by confusion and then eventual acceptance by Guilliaume’s world-weary mother Agathe, played by Lise Roy. Tom settles in, Agathe makes him a delicious home-cooked meal,...

Denis Villeneuve will have two films in the festival as it emerged that Canadian Features world premiere Enemy starring Jake Gyllenhaal as a man and his doppelganger [pictured] has joined the previously announced Prisoners, also starring Gyllenhaal.

The Canadian Features selection includes Michael Dowse’s Goon follow-up The F Word, Xavier Dolan’s Tom At The Farm and Chloe Robichaud’s Sarah Prefers To Run as well as work from Jeff Barnaby, Bruce McDonald and Bruce Labruce. Also receiving its world premiere is All The Wrong Reasons featuring the final performance by the late Glee star Cory Monteith.

Festival organisers also unveiled Producers Lab Toronto participants and Telefilm Canada Pitch This! finallists, the shorts programme and participants in the tenth Tiff Talent Lab.

“The scope of this year’s feature films is as broad as Canada’s filmmaking community and demonstrates the deep versatility of our filmmakers,” said Tiff senior programmer Steve Gravestock. “From clever...

Denis Villeneuve will have two films in the festival as it emerged on Wednesday [7] that Canadian Features world premiere Enemy starring Jake Gyllenhaal as a man and his doppelganger [pictured] has joined the previously announced Prisoners, also starring Gyllenhaal.

The Canadian Features selection includes Michael Dowse’s Goon follow-up The F Word, Xavier Dolan’s Tom At The Farm and Chloe Robichaud’s Sarah Prefers To Run as well as work from Jeff Barnaby, Bruce McDonald and Bruce Labruce.

“The scope of this year’s feature films is as broad as Canada’s filmmaking community and demonstrates the deep versatility of our filmmakers,” said Tiff senior programmer Steve Gravestock. “From clever, biting satire to intimate social commentary, powerful dramas and even a truly magical comedy, the settings and themes vary, but the perspectives are always uniquely Canadian.”

The City Of Toronto and Canada Goose Award for Best Canadian Feature Film will be given to one of many outstanding...

Tom à la Ferme

Director: Xavier Dolan

Writer(s): Dolan and Michel Marc Bouchard

Producer(s): Mk2′s Charles Gillibert and Nathanaël Karmitz

U.S. Distributor: Rights Available

Cast: Caleb Landry Jones, Xavier Dolan, Evelyne Brochu

Legend has it that Xavier Dolan met with the playwright directly after one of the play’s engagements (see promotional pic above) and asked to bring the film to the big screen. Fast forward a couple of seasons later and Dolan makes it his fourth feature – a departure for him as it’s an adaption for one, and that this source material wasn’t penned by him. It’ll be a nice change of pace to see the director work from material that is somewhat removed from him but yet remains in the confines of the family drama (for which Dolan excelled in with his very first feature, I Killed My Mother). As for now,...