Her kidnapping, which alters the course of her life and devastates her mother (Sharon Duncan-Brewster), is nothing more than a casual whim from people who have no awareness of their own cruelty. (Atwell, an actor who typically radiates warmth, does a remarkable job of curdling the atmosphere of every room unlucky enough to have Caroline in it.) Particularly fraught is the heel turn from Robert Goodwin (Jack Lowden), a white Brit who initially sweeps July off her feet with promises of fidelity and fair wages for all the recently freed slaves on the plantation. There are many painful scenes yet to come, but this one is particularly crushing in its simplicity. This pattern repeats itself over and over again throughout the series, each time just as wrenching as the last. And yet he sours the second the Black people in his employ stand up for themselves, twisting into a hard, gnarled version of the idealistic man July fell for. Born into slavery on a sugarcane plantation, July gets taken from her mother as a child simply because the owner’s sister Caroline (Atwell) spots her out in the fields and thinks she’s cute. For instance: Caroline’s insistence on calling July “Marguerite,” the better to fuel her fantasies of being a fancy lady of the manor even in a humid country she doesn’t understand, is a stabbing indignity every time.
Playing July from a sly teenager to a young mother to a thoroughly bruised woman, Lawrance commands the screen in every iteration of the character. She is, despite the best efforts of the white people constantly dismissing her as collateral, a full human worthy of starring in her own story. By the end of the final episode, it’s clear that the series’ key uniting element is Lawrance. As acted by Lawrance and written by Levy and Williams, however, July is also wry, funny and delightfully rude. As befits a slave narrative, July is of course deeply traumatized, enduring and witnessing violence that would be unspeakable if its perpetrators weren’t distinctly bragging at their lavish dinner tables about it.
(The series was co-written by Levy and “Becoming Jane” scribe Sarah Williams.) This by and large works fine, with the notable exception of July and Robert’s whirlwind romance. Its foundation could’ve used a bit more consideration in order for Robert’s inevitable, awful betrayal to land most effectively. With just three episodes to tell the parallel stories of July, the so-called “Christmas Rebellion” of Jamaican slaves rising against their masters to catastrophic losses, and Robert’s transformation into exactly the kind of violent racist he once decried, “The Long Song” leans hard on its narration to speed things along and tie it all together. Their relationship is such a crucial backbone for the rest of the narrative, especially as Caroline grows more jealous and July watches in horror as Robert resorts to ever more drastic measures to keep his Black employees effectively enslaved to do his bidding.
“The life of a white missus on a Jamaican plantation,” a narrator (Doña Croll) intones, “be surely full of tribulation — from the scarcity of beef to the want of a fashionable hat.” Within seconds, the piercing screech of that “white missus” shatters the idyllic scene, and the acidic streak of sarcasm laden in the narrator’s words comes more clearly into focus. Go,” she says, voice snapping with brittle anger. “If that be the story you want to hear, then be on your way. “The Long Song” knows what an audience might expect from a period drama airing on the BBC, as it did in the UK in 2018, or under the PBS Masterpiece banner, as it will in the US starting on January 31. “Be on your way! The camera, helmed with a steady hand by director Mahalia Belo, pans across still life scenes of porcelain curios and rumpled silks in a manse surrounded by gently swaying palm trees. For the story I have to tell is quite a different one.”
Outside of something like Andrew Davies’ 2019 “Sanditon” adaptation, which cast Crystal Clarke as a Jane Austen character born in the West Indies, there really haven’t been any PBS Masterpiece dramas that spotlight Black characters, let alone have them steer the entire series. “The Long Song,” an adaptation of Andrea Levy’s 2010 novel, not only centers a very specific Black character and experience, but deliberately dares any skittish viewers expecting something quite different to look away. (That this first Masterpiece series to prominently feature Black people is a slave narrative is unsurprising, and worthy of further examination in and of itself.) That the tragic heroine of this story is Black slave July (Tamara Lawrance) rather than her corseted white mistress — played by period drama veteran Hayley Atwell, no less — immediately marks “The Long Song” as a very different kind of Masterpiece series.
31 on PBS.” /> "The Long Song" premieres Jan.

Directing her mother was a challenge at times. “She didn’t want to always put all her energy in the dramatic scenes, but she’s a clown; she’s very funny so she enjoyed doing the comedic scenes,” Ulman recalled, who also noted that her mother studied method acting to prepare for the role and is a movie buff so she understood all the cinematic references.
Set in the gray northern Spanish city of Gijon during the height of the country’s economic crisis in 2009, “El Planeta” revolves around mother and daughter grifters, played by Ulman and her real mother, Ale Ulman, who resort to ever more desperate schemes to survive.
Among the films in World Cinema Dramatic Competition at this year’s virtual Sundance is the darkly comic “El Planeta,” the debut feature of Spanish-Argentine artist Amalia Ulman, who has worked in video, sculpture and performance art.
Writing, producing and directing her first feature film was not much of a stretch for Ulman. “I’ve been working on fictional narratives that have a beginning, a middle and an end so they have similar structures to a film,” she said.
The film is named after the restaurant they scam but also reflects the macro aspect of their personal struggle, which pales in significance when compared to global issues like climate change and the current health crisis, Ulman said.
"I wasn’t sure what to expect because I only knew Amalia as a multidisciplinary artist — but from the very first scene, my heart started to pound with that feeling of discovery … a brand new, totally modern, cinematic voice,” said July.
“She’s very photogenic and used to be a ballerina; she has this graceful presence,” Ulman noted. Despite her total inexperience, Ulman’s mother proved to be a natural in front of the camera.
Her multidisciplinary art involves the use of social media, magazine photoshoots, interviews, self-promotion and brand endorsements as devices for her fictional narratives. Ulman is best-known for her 2014 performance art piece “Excellences and Perfections” (more on that here), which was included in a group show at the Tate Modern.
“El Planeta” has even caught the eye of filmmaker-artist Miranda July, whose own body of work includes fiction, monologue, digital media presentations and live performance art.
She shot “El Planeta,” in black and white, not only because of her micro budget but also because the city of Gijon is often gray and overcast so “it looks black and white, even when you shoot in color,” she said.
Ulman was brought to Gijon as a baby where she grew up even though she was still considered an Argentinian throughout her life in Spain. While not autobiographical, “El Planeta” incorporated many of their personal experiences.
“‘El Planeta’ is such a pure work because Amalia knew she only needed what she had: Her mother, her history, her subtle humor and particular aesthetic, and of course her own mesmerizing self,” she added.
Her next film will be set in northern Argentina and deal precisely with climate change, among other themes, she said.” />

Even so, Jones admits there's nothing quite like the communal experience of watching a movie in a crowded theater.
An added benefit from being chosen for the festival, Morgan notes, is that "Sundance is being very generous and has helped us to offset the cost, because there is a big cost in screening in the proper format and setting up a pop up drive-in."
And for Jones, who plans to see three more films in the theater and one at the drive -in, the opportunity to watch films in Alabama means he’ll get to bring a special plus one.
And I remember, in March, thinking, ‘Surely by next January things are going to be under control, Sundance will be fine.’ But by June, I could already see the signs on the wall that Sundance is not going to have the same operation.” “And then, of course, everything kind of cascaded after that. As I'm sitting in a waiting list tent with 400 people at Eccles or inside a theater with 1200,” Jones recalls. “You’re in that Sundance bubble, but I still remember thinking, ‘COVID is sounding really serious.’ And I'm like, we have so many people here internationally, I couldn't help thinking, ‘I wonder if it's here already?
And he is hopeful that some of the changes are here to stay, suggesting that this hybrid model could change festivals forever, by making them accessible to everyone with an internet connection.
Building on the COVID safety precautions learned from the summer festival, Sidewalk is hosting simultaneous screenings in two locations — inside the theater with a 38-person capacity (hosting 12 people per screen, "That is about 20% capacity," Morgan says. "We're just being hyper-careful.") and an outdoor drive-in, with a capacity of 40 cars.
"From the very start, whether it was our pop up drive-ins, or trying to open the cinema back up, or just our Netflix film recommendations, our hope was to give people something to be excited about. Especially now, that's really needed, and to join with Sundance to be able to know, is just amazing. The excitement seems to be there from the community." "One thing that pandemic's taken away from all of us is things to look forward to, a feeling of connection and community, and a feeling of hopefulness and of being excited about things," Morgan adds.
“I started attending as an undergraduate at the University of Utah; you could get a student pass back in that day for like $50 and watch 40 films. It was just pure heaven for a cinephile,” he recalls.
“She used to attend a few screenings with me, but she hasn't attended one for past 13 years.” “I get to go with my wife, which I haven't been able to do for a long time,” Jones says.
"Every day that comes by is another day that we're either at a reduced income so we're struggling. It's such a tough time for everyone. So, we really appreciate the partnership that's being brought to us, to help us through." "We're more fortunate than some, since we're a nonprofit and can and can go out and ask people for help and people have been fairly generous, but it's a constant ask," Morgan says.
"You can't replace that to be in the room when Nicolas Cage walks in at 2 a.m. “Or you’re at the very first screening of ‘The Blair Witch Project’ and people are passing out. ‘Hereditary’ was the same thing; you can't replicate that. So I'm hoping going forward that they will enhance their online presence and make it more accessible, while at the same time, keeping that in-person component because you just can't replace that.”” /> after ‘Mandy,’ and you're all adrenaline and coffee,” Jones concludes.
"This allows Sundance to get to more people. The same way my students were able to interview filmmakers from France to New York; they never would have had that if we had just had local filmmakers in Birmingham participate but because we opened it up to online and virtual we could suddenly bring in all these other things." "Sundance is so exclusive, and I love it but it's expensive to go there," he adds.
I've attended some other screenings there [after theaters in Alabama reopened], so I've seen firsthand how well they keep things under control.” It's a small town and a big city,” Jones tells Variety. “And I decided, ‘Hey, I'm going to attend the in-person screenings are here at Sidewalk,’ because they do an amazing job with keeping things safe. “The film community here is very supportive.
The work is good, but Jones really attends the fest to “rejuvenate his cinephile battery.” But, each year, he saves up his vacation days and takes about three weeks off from his day job to work at the festival, where he is a contractor hired to manage parking and transportation. Jones is a film studies professor at UAB Birmingham.
On Thursday night, Jones attended the world premiere screening of "Censor," tweeting his reaction after the film, instead of buzzing about the premiere of "Minari" and celebrating with fellow film fans late in the night, like he did at last year's festival, before whispered concerns about coronavirus began to spread around Park City.
This year, amid the pandemic, Jones’ students have been learning the ins and outs of virtual film festivals, adapting their own annual student fest to a digital model, similarly to the way Sidewalk adapted its annual fest over the summer. For example, Jones says that screening Garrett Bradley’s “Time” at the 2020 fest led him to add the film to his “Prison in Film” course. The “time off” also has benefits for his film students, informing the curriculum for his classes.
The Sidewalk team first heard it was in contention to be one of Sundance's Satellite Screens just ahead of their 22nd annual film fest. The event ran from August 24-30 as a drive-in series, in lieu of the traditional model, where screenings take place at multiple venues in the downtown district within walking distance of each other.
Plus, Sundance is allowing Sidewalk to keep 100% of the ticket sales, providing an economic boon for the small theater and nonprofit, that has been operating at reduced capacity (or closed) for nearly a year.
“Seeing it from those early years, all the way up into the 2000s where it really became this huge industry, the beautiful thing about Sundance is it still retains that amazing ability to find filmmakers that need a spotlight, to give them a venue to launch their careers and that has never changed,” he adds. “You still every year have a film like ‘Minari’ that comes in and that's gonna just explode those stars' careers.”
Jones, who hosts a radio show called "Sleep in Cinema," has been a longtime supporter of the nonprofit film fest and cinema, which works to bring more access to independent film and to support the local Alabama film industry. So when he heard about the festival’s Satellite Screen partnerships, he was first relieved and then excited to see that the Sidewalk Film Festival team had been selected to host the Alabama events.
Instead, he drove to the Sidewalk Film Fest and Cinema in downtown Birmingham, Alabama, as the local theater began its run as a Sundance Satellite Screen location, one of the outdoor, drive-in and arthouse theaters used as the fest has shifted to a virtual model amid the ongoing pandemic. But on Thursday night, Jones didn't have to get on a plane to attend the annual film festival. For more than two decades, Gareth Jones had spent late January and early February in snowy Park City, Utah at the Sundance Film Festival.
"And, of course, a global pandemic is new for everyone. "We were very thrilled that we were on the list, and conversations began almost immediately, about how this was gonna look how it was gonna work and how things are going to function, with the acknowledgement that a lot of this is new for them, and clearly new for us," Morgan recalls. We knew things were ever-changing and we'd move forward rolling with the punches."

Fletcher also toured with the Sugar Hill acts and contributed to the writing and recording of their seminal tracks. Born Edward Fletcher, he began writing “The Message” in 1980, the same year he became a studio musician at Sugar Hill Records, which released the early work of groups such as the Sugar Hill Gang and Grandmaster Flash and the Furious Five.
He was 69. 13 of heart failure at his home in Savannah, Ga., the New York Times confirmed. Duke Bootee, whose 1982 hit “The Message" changed the tone of hip-hop, died on Jan.
Fletcher left the music industry early, as he decided his salary was not worth spending time away from his family. He retired in 2019. He got master’s degrees from the New School in media studies and from Rutgers University in education to return to teaching. He worked at a juvenile detention center, a high school and two colleges and spent the last decade of his career as a lecturer in critical thinking and communication at Savannah State University.
The song proved hip-hop could be a medium for enacting sociopolitical change, according to Questlove, who cited the track as one of his top hip-hop songs of all time. "The Message" describes the "jungle" that is living in an impoverished city and marked a stark contrast between the hip-hop hits of the era, which were largely upbeat and meant to make a crowd move. While the Sugar Hill acts were initially hesitant to release the track, it proved to be an instant success and has since been widely regarded as the greatest song in hip-hop history, influencing major artists like Jay-Z and the Notorious B.I.G.
Once he garnered some success for playing on Edwin Starr’s disco single “Contact,” he started working at Sugar Hill. After graduating in 1973 with an English degree, he played with local New Jersey bands. Fletcher was born on June 6, 1951, in Elizabeth. Growing up, he took drum and xylophone lessons and played in cover bands at Dickinson College in Pennsylvania. Ga.
He is survived by his wife, Rosita Ross, his two children Owen Fletcher and Branice Moore and five grandchildren.” />

“She tells a riveting story in every frame and the performances are as truthful as I could ever wish for. “First I watched her film ‘And Tomorrow the Entire World’ and I knew instantly I was in the hands of a true filmmaker,” Patinkin said in a statement.
Von Heinz points out that many people whose parents survived the war suffered from the fact that they were never able to talk to them about their experiences.
The pic is set to premiere on Netflix in April. The critically acclaimed pic, about an idealistic student who joins an Antifa collective to fight the fascist menace of neo-Nazism spreading across Germany, has been selected to represent the country in the Oscars’ best international feature film category. Von Heinz also shared her current film with the actors.
In an interview with Variety during last year’s Venice Film Festival following the premiere of her latest pic, “And Tomorrow the Entire World,” von Heinz said she planned to send Patinkin and Dunham the script and expressed hope that they would do the film, an adaption of Australian writer Lily Brett’s bestselling novel “Too Many Men.”
It’s a traumatized generation. It’s also a story that we have in my family. But we’re not telling a story that is dark and sad. “They have to find out everything by themselves, and that’s what ‘Iron Box’ is about. Like ‘Hanna’s Journey,’ and hopefully also ‘And Tomorrow the Entire World,’ it will be emotional and entertaining.”
The article led to meetings between von Heinz and Patinkin and Dunham.
Mandy Patinkin and Lena Dunham have joined German filmmaker Julia von Heinz’s next film, “Iron Box,” about a New York businesswoman who decides to take her aging father back to his native Poland, where she hopes to explore her Jewish roots.
Regional German funder Medienboard Berlin-Brandenburg, the German-Polish Film Fund and Creative Europe supported the development of "Iron Box."” />
Patinkin’s recent works have included the hit spy series “Homeland” and Fernando Trueba’s Spanish comedy “The Queen of Spain.” With an eclectic career spanning more than 40 years, Patinkin also counts among his many credits “Criminal Minds,” “Chicago Hope” and his iconic roles as Inigo Montoya in Rob Reiner’s classic, “The Princess Bride,” and Che Guevara in Andrew Lloyd Webber and Tim Rice’s Broadway production of “Evita.”
While he agrees to accompany her, “he still doesn’t want to go where it hurts,” explained producer Fabian Gasmia. “Who would think that? But it’s actually a hilarious screenplay in some parts; other parts make you cry.” Set in 1990, right after the fall of the Berlin Wall, “Iron Box” follows Ruth Rothwax, a successful New York businesswoman who insists on taking her father on a trip to the country he fled as a young Holocaust survivor. Despite the serious subject, Gasmia says there is also a lot of comedy in the story.
Besides all the issues that a father and daughter can have, here the conflict is that the father who survived in Poland as a Jew cannot talk about it at all.” Gasmia added: “At its core, it’s a father-daughter relationship.
“Iron Box” is part of von Heinz’s “Aftermath Trilogy,” which examines the legacy of Germany’s Nazi past in three very different films.
Dunham, the creator, writer and star of the hit HBO series “Girls,” has likewise served as writer, director and producer on such shows as HBO and BBC’s “Industry” and HBO’s “Camping.” She also recently appeared in Quentin Tarantino's “Once Upon a Time… in Hollywood.” Via her Good Thing Going banner, Dunham is currently executive producing the HBO Max series “Generation” and directing her feature length medieval coming-of-age comedy “Catherine Called Birdy” for Working Title.
Then she sent me many books to read and an ancient language to begin learning. “Then we had a FaceTime call; she was full of humility, she was kind — two qualities that I long to be around. We were off to the races.”
Dunham added: “Julia’s film struck a deep chord in me both because of its radicalism and its core value of empathy. I knew I wanted to go wherever she was taking me, and the fact that she’s taking me further into an exploration of what it means to be Jewish and the stories we carry forward as daughters of trauma is deeply moving to me. Mandy Patinkin is, of course, the icing on the genius cake.”
It’s the second generation, and they have a huge trauma.” ‘Hanna's Journey’ was my first film about it – a third generation love story between a German girl and an Israeli. “We still struggle with the Holocaust and the trauma passes on to the next generation. ‘And Tomorrow the Entire World’ was about the even younger ones, the fourth generation, who still feel responsible and have to act. And ‘Iron Box’ is the third and last part of this trilogy. They have to stand up if far-right voices rise up again.
The film is now moving into the financing stage, according to Gasmia. The team plans to shoot “Iron Box” on location in Poland next year. Produced by Berlin-based Seven Elephants, the company Gasmia and von Heinz run with directors Erik Schmitt and David Wnendt, the film will be set up as a European co-production with the possible involvement of a U.S. co-producer.

Within two years she was working with Madonna on her meme-spawning song, “Bitch, I’m Madonna.” Equally inspired by pop music and the crushing industrial sounds of acts like Autechre, from the release of her first single, “Nothing More to Say,” in 2013, Sophie’s influence was quickly evident throughout the more adventurous realms of the pop world.
 ” />
The world has lost an angel. Tributes poured out early Saturday as the news spread of Sophie’s death. Words of British vocalist Sam Smith, wrote on Twitter: "Heartbreaking news. A true visionary and icon of our generation."
Her most recent work was collaborations and remixes with like-minded artists such as Arca, Cashmere Cat, Brooke Candy and Shygirl. Sophie then focused on her own work, releasing the eerily elegant “Oil of Every Pearl’s Un-Insides” in 2018, which earned her a 2019 Best Dance/Electronic Album Grammy Award nomination.
Of her 2018 debut album, “Oil of Every Pearl’s Un-Insides,” Variety wrote, “Sophie combines sweet pop melodies and sounds with absolutely hideous noise — grinding, clanking, blaring, burbling, blurting, unpleasant and jarring sounds, wildly autotuned voices — to create a form of pop music that, if not entirely new, may never before have been presented in such extreme fashion.”
“True to her spirituality she had climbed up to watch the full moon and accidentally slipped and fell,” a statement from her label announcing her death reads. “She will always be here with us.”
Legendary producer and Chic cofounder Nile Rodgers wrote, "#RestInPower SOPHIE! You were one of the most innovative, dynamic, and warm persons I had the pleasure of working with at 2019 ⁦@southbankcentre.”

Sophie Xeon, the Grammy-nominated producer-musician whose pioneering work combined sweet pop melodies with mechanical noises into a genre now known as hyper-pop, died in a climbing accident in Greece on Saturday. She was 34.

booth, she ultimately came out as transgender. Born in Glasgow, Scotland as Samuel Long in September 1986, she attended local raves as a kid, began DJ-ing and producing as an adolescent, and by 2013 began dropping aggro-electronic singles such as “Nothing More to Say,” “Bipp/Elle,” and, one year later, the weirdly frenetic dance floor classic “Lemonade/Hard.” By 2015, she was working with Madonna, Charli XCX and, later, Los Angeles rapper Vince Staples on his audience-polarizing 2017 album “Big Fish Theory.” While she was initially reclusive and performed concerts shrouded by dim lighting or from a D.J.

That sound has spread rapidly in recent years via acts like 100 Gecs and artists on Cook’s PC Music label, and Sophie's influence can he heard in virtually every artist on Spotify’s Hyperpop playlist.
Producer-musician Jack Antonoff, who has worked extensively with Taylor Swift, Lorde, the Chicks and others, wrote on Twitter, "To me the genius of Sophie was how she took this concept of bigger brighter harder shinier, a tool that so many have used cynically, and made it brilliant & challenging."
“It was only when I met Sophie and then A.G. British singer-songwriter Charli XCX, who had been pursuing a successful but more conventional pop career, abruptly changed direction with the release of her Sophie-produced 2016 EP, “Vroom Vroom.” Charli, who with collaborator A.G. Cook was awarded Variety’s Hitmakers Innovator award in December, said she had long been seeking a more aggressive pop sound in her music. “We just immediately spoke the same language — we didn’t even have to talk.” that I finally found what I was searching for,” she said.

Speaking to Vanity Fair Friday, the actor said she is eagerly awaiting scripts from showrunner Michael Patrick King, who is leading a writers room that otherwise entirely comprises women.
“It’s incredibly diverse in a really exciting way,” Parker said of the show’s new writers, who will infuse the series with new “life experience, political world views and social world views.”
Parker said writing the coronavirus into the plot was a no-brainer, given that the series' setting is New York City.
"[COVID-19 will] obviously be part of the storyline, because that’s the city [these characters] live in," she said. I have great faith that the writers are going to examine it all.” "And how has that changed relationships once friends disappear?
Are they like some people who are confused, threatened, nervous [by what’s happening in the world]? “I think that Cynthia, Kristin, and I are all excited about the time that has passed,” said Parker. What part have they played? Have they adapted? Where have they fallen short as women, as friends, and how are they finding their way? “You know, who are they in this world now? I’m so curious and excited to see how the writers imagine these women today.”” /> Did they move with momentum?
Along with King, the revival will be executive produced by Parker, Nixon and Davis. The revival will follow Carrie Bradshaw (Parker), Charlotte York (Kristin Davis) and Miranda Hobbes (Cynthia Nixon) as they navigate love and friendship now in their 50s. Kim Cattrall, who played Samantha Jones in the original series, will not be returning and the show will incorporate the city as its "fourth character," Parker said. The series will consist of 10 half-hour episodes and is set to begin production in New York City in late spring.
Parker added that she is excited to see how the women are tackling mid-life.
While specific plotlines for each "Sex and the City" character in the HBO Max revival are unknown, star Sarah Jessica Parker confirmed the limited series will incorporate the COVID-19 pandemic into show.

To prepare for his role, he read the novel by Jessica Bruder, which he called a "wonderful, important, insightful and touching document that was eye-opening." When it came to filming, he just followed Zhao's cues and what she needed to build the character's arc.
I'm not on the same page or even the same library as them." When I remind him of Beatrice Straight's Oscar-winning performance in Sidney Lumet's "Network," which is the shortest performance ever to win at five minutes and twenty seconds, and Judi Dench's winning moment in "Shakespeare in Love," he says, "Look at what they were doing.
His performance is just one of the many small yet bright spots of Chloé Zhao's gorgeous depiction of a long-ignored group in America that hits every note masterfully. From the daily routines to their common regrets, the life of a nomad is examined superbly in "Nomadland" – especially in the heartbreaking character Dave, portrayed by veteran actor David Strathairn.
All it is, is go over there and sit in that van and say hi when somebody says hi to you." The California native is far too humble to acknowledge his own contribution to Zhao's film and his impact on the industry. The 72-year-old actor has been generating Oscar buzz for his work in the Searchlight Pictures film that has taken the awards season by storm. "A word on this Oscar thing," he says. "I don't know where they get their thinking, but they're going to put the character of Dave up for that notoriety?
Confidential" and "The River Wild"), Penny Marshall ("A League of Their Own"), Mike Nichols ("Silkwood") and Steven Spielberg ("Lincoln"). Strathairn's career is long and impressive, starting in the early 1980s, spanning the last four decades. His appearance with actors is even wider with the likes of Kathy Bates ("Dolores Claiborne"), Mary McDonnell ("Passion Fish"), River Phoenix ("Sneakers"), Tim Robbins ("Bob Roberts"), Debra Winger ("A Dangerous Woman") and dozens more. Jodie Foster ("Home for the Holidays"), Curtis Hanson ("L.A. He's worked with an array of filmmakers. The famous parlor game "Six Degrees of Kevin Bacon" could easily have Strathairn as a synonym.
One of his most significant moments came from working with writer and director George Clooney on his film "Good Night, and Good Luck" in 2005, for which he received his first Oscar nomination in best actor for his portrayal of Edward R. Murrow. He's content to simply be working. "Getting to depict that man, a legend in broadcast journalism, was pretty scary," he recalls. But Strathairn isn't the traditional Hollywood celebrity, and likely would lovingly roll his eyes if he was referred to as one. "I have to bow down to George and Grant Heslov for having the audacity to roll the dice on me." Unsure they were rolling the dice on an actor who, up to that point, had roles in over 65 films.
Even if he doesn't acknowledge it, in many ways, Strathairn is the emotional pillar for the film opposite Frances McDormand, who plays Fern. We understand Fern better through their interactions, whether it's the dropping of dishes, or in a one-scene gut-punch in which he asks her to stay with him and his son's family.
When asked if he will ever consider jumping into the director's chair himself, in a quick-witted response, he says, "I don't think so. I'm still trying to figure out this acting thing."” />
"I don't think that a movie has been made for a long time that has dealt with such a visceral and very heartfelt glimpse into this world. I think it's going to make a lot of noise, as people say. I think it's going to be a wonderful experience when it gets out there. Really beautiful film and very dark. It's fantastical, but it's really gritty." Guillermo del Toro's creative abilities are really amazing. Strathairn's next outing will be with Oscar-winning filmmaker Guillermo del Toro in his remake of "Nightmare Alley." "Not only is it going to be beautiful with the production value, but the cast is also just stunning," he says.
I would think, 'how did this happen?' It was a slow process of crashing the party that I'm grateful for." "It started with a little pebble and John Sayles," he explains. His place in this industry occurred in what he describes as a "snowball rolling down the side of a hill." His first screen credit was in John Sayles's independent classic "Return of the Secaucus 7" in 1979. By age 15, he says he had only seen about 10 movies in his entire life. "Those experiences were fulfilling to each one and appreciating what came after.

Breakout lead Emilia Jones plays Ruby, the daughter of a charismatic and tight-knit deaf family on the coast of Massachusetts. Fishermen by birth for generations, Ruby is crucial to the daily lives of her clan as the only hearing person in the house. Her dream of singing leads to a scholarship opportunity that forces a life-changing choice.
Apple acquired worldwide rights on the project, and is said to be in the process of buying out pre-sold international territories that helped finance production.
"The whole 'CODA' team is also so grateful to Sundance for being a part of the film's journey. I hope that this film and Apple’s powerful support will help kick down some doors standing in the way of inclusion and representation and pave a path for more stories that center characters from the Deaf and Disabled community. Now is the time. "I have been so moved by the outpouring of response to the film and am so excited to have found a partner in Apple that loves and deeply gets this movie, the spirit in which it was created and is committed to having this film reach the widest audience possible in a thoughtful and meaningful way," Heder said in a statement to Variety. The world has waited too long for these stories to be told. No more excuses.”
The Zack Van Amburg and Jamie Erlicht-led studio paid close to $25 million for the film, breaking last year’s recording setting “Palm Springs” sale at north of $22 million.
As Variety previously reported, rapturous audience response and glowing reviews powered the 2021 Sundance Day One premiere to a bidding war, which included interest from Netflix and Amazon. The latter was said to be keen on the upbeat tearjerker, Variety reported, but did not have the bandwidth to release the film in 2021 with their loaded slate.
Deadline Hollywood was the first to report the news.” />
Ardavan Safaee and Sarah Borch-Jacobsen were executive producers. Philippe Rousselet, Fabrice Gianfermi, Patrick Wachsberger, and Jérôme Seydoux served as producers. Eugenio Derbez, Troy Kotsur, Ferdia Walsh-Peelo, Daniel Durant, Amy Forsyth, Kevin Chapman, and Marlee Matlin costar. Vendome Pictures and Pathe Films served as production houses.
In a record-setting purchase, Apple Studios has emerged as the winner of “CODA,” the virtual Sundance sensation about a young hearing girl who grapples with breaking away from her deaf family.
The massive sale should quells any fears about the viability of Sundance as a sales market, despite the global pandemic. CAA Media Finance, ICM and Pathe Films brokered the deal on behalf of the filmmakers, including writer-director Siân Heder (of the previous Sundance player “Tallulah”).

"Seating arrangement inside the auditorium of the cinemas/theatres/multiplexes is to be allowed upto 100% seating capacity," read a statement from the Ministry.
The temperature in the cinemas are required to be maintained between 24-30°C, and the relative humidity should be in the range of 40-70%. Air recirculation should be avoided to the extent possible, with provision to be made for cross-ventilation and intake of fresh air.
Thermal screening of visitors and staff will be carried out at entry points and only asymptomatic individuals shall be allowed to enter. Show timings will be staggered. Designated queue markers are required to be made available for entry and exit of the audience from the auditorium and the premises, and the exits need to be in a staggered row-wise manner to avoid crowding.
The increased capacity will come as a relief to stakeholders as several big ticket films including "'83," starring Ranveer Singh and Deepika Padukone, "Sooryavanshi," starring Akshay Kumar, Ajay Devgn and Singh, and "Radhe," starring Salman Khan have been ready for months and awaiting release.
Frequent sanitization of the entire premises, common facilities, and all points which come into human contact, like handles, railings should be ensured, and the cinemas must be sanitized after every screening.
Spitting is strictly prohibited and the use of the 'arogya setu,' the government's track and trace app, is advised. Within cinemas, physical distancing of at least six feet is required outside the auditoriums, common areas and waiting areas at all times, and the use of face covers/masks are mandatory.
In general, hand sanitizers are required to be made available everywhere. Online or mobile phone booking is encouraged for tickets and concessions.
India will allow 100% occupancy in cinemas from Feb. 1, the country's Ministry of Information and Broadcasting announced on Saturday. Cinemas began reopening in October 2020 with 50% occupancy.
"Several other countries which have had a head start, some as much as 40-50 days, have taken a longer time to reach these targets." "India is the fastest country to reach not only the one million target but also two million and three million marks in COVID-19 vaccination," a statement from the Ministry said on Saturday. Meanwhile, India’s total active coronavirus caseload has dropped to 1,69,824, as of Jan. 30, according to the country's Ministry of Health and Family Welfare, and vaccination is continuing apace.

Khan had reassured exhibitors that he would hold back "Radhe" for a theatrical release, unlike several marquee films in 2020 that went direct to streaming.
Exhibition of films, however, will not be allowed in places designated as COVID-19 containment zones.
It began streaming on Amazon Prime Video from Jan. 29.” /> "Master," starring Vijay and Vijay Sethupathi, released in cinemas with 50% occupancy allowed over the Pongal holiday frame and collected $33 million.
The Ministry has also released a list of standard operating procedures to prevent the spread of COVID-19, which visitors and cinema workers are required to adhere to at all times.