ANORA: for me should go on to win Best Picture (but think Emilia will). It's full of real, nuanced, subversive characters and small improvisational moments, and a central set piece that feels like it was lifted from a Billy Wilder comedy. Then that ending. ๐ข
"Films need to cost less money, & they need to be bolder in that [sub-$15m] space," said Working Title's Eric Fellner at #LFF
"Right now, what the industry desperately needs is innovative new filmmakers, creative ideas," said producing partner Tim Bevan: https://t.co/CnRJD6klcM
UNDER THE SILVER LAKE: is SO good! A sad, hilarious shaggy-dog LA story - career-best from Andrew Garfield, beautifully shot. Not for everyone, but If The Long Goodbye x Mullholland Drive x 100 Old Hollywood noirs floats your boat, this will spoil you๐ @silverlakemov
GUNDA - you'd think a film with no dialogue set on a farm would be a grind, but it flies by. Every shot by Egil Hรฅskjold Larsen and Viktor Kossakovsky is a work of art... and it will break your heart.
INSPIRE: MEET THE COHORT ๐ฅณ
Weโre delighted to announce the directors taking part in the 2024-25 cycle of our Inspire mentoring scheme!
Find out more about our latest group of mentees: https://t.co/ML8zrVGsVr
Thrilled to join 17 other directors for the @Directors_UK Inspire Programme 2024/25 being mentored by the awesome @eddie_sternberg - canโt wait to learn all I can from him and the rest of the cohort! ๐ฅ
@ZoneOfInterest- one of those films that make other films feel flimsy. LOVED - the shooting style: deep focus, high fps (?), so horribly immediate, like a disturbing family home video. There's a sequence with flowers that's๐คฏ. And Mica Levi does it again. Go see it. @Directors_UK
KILLERS OF THE FLOWER MOON: another incredible late-career epic from Scorsese. All 3 central performances are career-bests (Lily will be huge). A looong film but riveting. Ending might be controversial but I loved it, a tiny recompense for an entire genre of cinema built on lies