"The State of Cinema knows no boundary and the prospect of joining with my comrades from around our planet to discover and celebrate work from all her continents is a privilege and joy for which I am sincerely grateful and to which I look forward immensely," said Swinton.
The actress gained international recognition in 1992 with her performance in Sally Potter's "Orlando" which was based on the novel by Virginia Woolf. Swinton started her career starring with "Caravaggio" directed by Derek Jarman with she made seven more films, including "The Last of England," "The Garden," "War Requiem" and "Edward II" for which she won best actress at Venice in 1991.
The Marrakech festival is run by a foundation presided by Morocco’s Prince Moulay Rachid, the brother of King Mohammed VI. The new programming team is spearheaded by Christoph Terhechte, the former head of the Berlin Film Festival’s Forum section.
She has collaborated with prominent directors from different countries, for instance Bong Joon Ho on "Snowpiercer," and "Okja;" Lynn Ramsay on "We Need to Talk About Kevin;" Jim Jarmusch on "Broken Flowers," "The Dead Don't Die" and "Only Lovers Left Alive;" the Coen Brothers on "Hail, Caesar!" and "Burn After Reading;" Luca Guadagnino on "I Am Love," "A Bigger Splash" and "Suspiria;" and Wes Anderson on four films, including "Moonrise Kingdom" and the upcoming "The French Dispatch" which she recently wrapped shooting. Swinton, who won an Oscar and a BAFTA award for best supporting actress for "Michael Clayton," has been leading an eclectic acting career. She also starred in the Marvel Studios blockbuster "Doctor Strange."
The Marrakech made a big comeback in 2018 after a one-year hiatus and brought together a flurry of big names, notably Martin Scorsese, Robert de Niro, the late Agnes Varda, Guillermo Del Toro, Robert Pattinson, Dakota Johnson and Gray who presided the jury.
Swinton has also been co-producing and exec producing feature films and documentaries, notably the 2018 documentary "Women Make Film: A New Road Movie Through Cinema."
28-Dec. 7.” /> The 18th edition of the festival will run Nov.
"It is my honour to serve the exceptional festival of Marrakech as president of the Jury this year," said Swinton.
On top of "The French Dispatch," Swinton recently finished shooting the second part of Joanna Hogg's "The Souvenir" whose first film world premiered at Sundance this year, and Apichatpong Weerasethakul's "Memoria."
Tilda Swinton, the iconoclastic British actress and producer, is set to preside over the 18th edition of the Marrakech International Film Festival, succeeding to American director James Gray.

Pure Flix's faith-based war drama "Indivisible" fell flat, earning just $1.5 million in 830 theaters. This weekend's other new offerings failed to stir up much interest.
"It is quite appropriate that a movie called 'Halloween' would deliver a sweet box office treat to the industry that typically suffers a slowdown on this particular weekend," said Paul Dergarabedian, a senior media analyst with comScore. "Universal picked a perfect release date, inspiring nostalgia and excitement among moviegoers looking for the perfect film to complement their Halloween weekend plans."
As the month winds to a close, October officially hit a new record in North America. This weekend was up 37.6% over the same frame last year when "Jigsaw" led the domestic box office, according to comScore. The month was up over 50% from the same frame in 2017. This year's period brought in $789 million, which was enough to top the benchmark previously set by 2014 with $757 million.” />
It wasn't able to beat "Goosebumps 2: Haunted Halloween" as Sony's family friendly flick came in fourth place with $7.5 million. Otherwise, studios generally steered clear of the pre-Halloween frame. Lionsgate and Summit’s "Hunter Killer," a high-stakes thriller starring Gerard Butler and Gary Oldman, was the only wide release.
"Halloween" easily stayed No. 1 at the domestic box office in its second weekend as the spooky holiday nears.
Elsewhere, Universal's "Johnny English Strikes Again" pocketed a meager $1.6 million from 544 screens. The third installment in the Rowan Atkinson-led British spy series launched earlier this month overseas, where it has already earned $107 million. An underwhelming performance in the States might not matter considering the movie is virtually engineered for international audiences.
Does the strong pre-holiday showing mean studios should reconsider sitting out the Halloween weekend? A lot depends on the product, and the "Halloween" sequel hit all the right elements for success — a timely theme, a beloved property and solid execution.
That brings its domestic tally to $187 million for a worldwide cume of $508.4 million. Warner Bros.' "A Star Is Born" landed in second place with $14 million, dropping just 26% in its fourth outing. The acclaimed movie hit $100 million at the international box office for a global total of $253.2 million. Holdovers "A Star Is Born" and "Venom" also remained in the top five. Lady Gaga and Bradley's musical drama has earned $148 million. Meanwhile, "Venom," Sony's dark superhero film with Tom Hardy, came in third with $10.8 million.
Critics were far less generous with a Rotten Tomatoes average of 36%. "Hunter Killer" was, at least, able to round out the top five with $6.65 million when it opened in 2,720 locations. The audience, which was predominately male and over the age of 25, gave the film an A- CinemaScore.
Directed by David Gordon Green, "Halloween" crossed $100 million on Friday. Universal and Blumhouse's slasher film starring Jamie Lee Curtis picked up another $32 million, marking a 58% decline from its impressive debut. The movie pocketed $25 million overseas for a total of $172 million worldwide.
In limited release, Amazon Studios nabbed the highest screen average of the year as Luca Guadagnino's horror remake "Suspiria" with Dakota Johnson and Tilda Swinton generated $179,806 from just two locations, or $89,903 per venue.

Just about every member of the cast is female, and the film extends that ideal to what looks, at first, like a supreme casting coup: Tilda Swinton plays the troupe’s artist-guru choreographer as a chain-smoking, feral-eyed sylph in long svelte gowns who says things like "When you jump, it’s not the height but the space beneath you that matters" — but she also, under a mountain of make-up, plays the role of Dr. Josef Klemperer, an old, stooped, white-haired German psychiatrist, one of whose patients, Patricia (Chloë Grace Moretz), was a member of the troupe and then disappeared. He’s trying to find out what happened to her.
During her audition, she improvises a routine by snapping her head back and forth and jutting her limbs out with scissory percussive aggression (very creative, and also very here’s what the devil will do to you in an "Exorcist" knockoff). That, as it turns out, is just what Madame Blanc (Tilda Swinton), the austere director of dance at the academy, is looking for. Susie, young and naïve, is a fearless dancer. In "Suspiria," Luca Gaudagnino’s gory but imperiously lofty matriarchal horror film, Susie Bannion (Dakota Johnson), a doe-eyed lass who grew up on an Amish farm in Ohio, joins a dance troupe in West Berlin housed in a building of somber high-ceilinged marble that looks like it was designed by Albert Speer in the '30s.
That’s an outrageously graphic scene, but in "Suspiria" it’s not just a moment of horror designed to upset us. What’s more, she’s a dutiful sweetheart, or appears to be. After all, the person doing the flinging (from afar) is the movie’s heroine. When her movements, in that one scene, inflict mortal damage, it’s presented as a divinely demonic spectacle of womanly power. The movie says that this is what a dancer, unleashing her natural energies, can do. Dakota Johnson, from "Fifty Shades of Grey" and its sequel, plays Susie with beatific eyes and a long earnest red braid and that voice of spun sugar, and her ambition seems driven by nothing so much as a pure desire to create.
The story is so threadbare it would have been sent back for a rewrite by Roger Corman, yet that’s part of its aesthetic, because it allows "Suspiria" to be a movie that’s all style, all psychotic-Italian-horror-movie frosting: the sets that still dazzle with their Satan-gone-Liberace décor, the 14-note evil-music-box theme by Goblin that can play in your head for decades. Released in 1977, Argento’s "Suspiria" has always been a movie you could be a fan of without having to pretend that it’s very good. "Suspiria" came out at a moment when the horror film was in the midst of a high renaissance ("The Texas Chain Saw Massacre," "Carrie," "Halloween"), but the Argento aesthetic mostly paved the way for the nonsensical-ization of horror. It’s voluptuous shlock — the Italian giallo film gone grade-Z psychedelic. It’s a sketchy crazy Grand Guignol head trip whose pleasures are all on the surface, because there’s nothing underneath the surface.
He has made a movie in which a cult of dance-troupe witches scheme with great cunning, abuse their dancers, and menace anyone who would threaten them, but they’ve also taken a righteous historical stand against male hubris. Guadagnino is more ambivalent. In the original "Suspiria," the fact that the villains were witches carried an undertow of feminist novelty, but the drama was still about Jessica Harper uncovering what amounted to a hideous conspiracy. Guadagnino, though, has felt the material out less as storytelling than as a vehicle for his timely theme, which is the rise of women.
Yet considering that it’s a remake of one of the most lavishly nutty baroque-schlock horror films of its era, you’d think Guadagnino might have wanted to lighten up and take a bit more debauched glee in the material. "Suspiria" is that rarity, an extreme horror movie made by a deeply serious maestro of a director. But no. He has said that while he grew up as a fan of Dario Argento’s "Suspiria," which he saw for the first time when he was 14, he has chosen to reimagine it in the style of a film by Rainer Werner Fassbinder.
Fosse’s bopping, hat-tipping, shoulder-flexing moves invited women to strut their erotic energy with forceful ownership, but the dancing was still filtered through a male gaze. The dancing in "Suspiria," which is a major part of the movie, has so much snap and thrust and rhythm you might call it an art-conscious cousin of the pop choreography of Bob Fosse. Only there’s a crucial difference. Fosse seemed to be saying, "Empower yourselves — for me!" In "Suspiria," the movement is even more jutting and explosive, but it erupts from the women’s souls. It’s primal writhing turned into modern dance; it’s sexual, but there’s nothing ingratiating or "sexy" about it. And that’s why it’s dangerous.
But if the film had figured out a less labored way to carry that message, it could have been 45 minutes shorter. But here’s where the joke is on the movie. Swinton does such a note-perfect job of portraying a doddering German intellectual in his 80s, and the make-up is so flawless, that the notion that there’s an actress under there, even if you know it, all but vanishes in significance. This leaves us with a draggy detective character who keeps stepping on the film’s rhythm, especially once he starts to pursue the question of what happened to his wife, Anke (played in a cameo by Jessica Harper), during the war. This is the film’s little joke (the "actor" who plays Klemperer is billed as Lutz Ebersdorf, complete with fake biography in the press notes). Much as I appreciate the genius of Tilda Swinton, the real reason the doctor keeps hanging around is that, by the end, he stands in for the patriarchy (he’s the shrink who thinks women suffer from delusions).
It holds your attention, and creeps you out at times, but it’s not scary, and it’s not really — dare I say it? Can we please go back to when it was just a garishly flamboyant piece of bat-house trash?" — fun. "Suspiria" has the virtues, but also the limits, of a lavishly cerebral high-end horror film. He isn’t kidding. Hirokazu Kore-eda’s reboot of "Audition"? By the time it drags itself to the finish line, you may think, "Okay, now we know what 'Suspiria' looks like as an art film. It makes you wonder what’s coming next — a remake of "The Hills Have Eyes" done in the style of Chantal Akerman? The movie, while absorbingly crafted, is two-and-a-half hours of solemn slow-burn mystery. The new "Suspiria" has more than touch of Fassbinder’s astringent dryness and rigor, and a little of that goes a long way.
"Suspiria" has just enough intrigue to creep you out and keep you curious. On the rare occasions when he tries to shock us, he does a great job: the fragmented nightmare montages of bad-acid-trip imagery — worms, evil faces, memories of domestic torture — are incredibly well executed, and I wish the movie had done more with them. Which could have been fine, except that Gaudagnino, in his way, condescends to the horror genre by taking such elaborate pains to elevate it. And the characterizations of the witches are quite effective, with veteran actresses like Angela Winkler and Ingrid Caven using their thick accents to create that sinister ghost-of-the-Nazi-era vibe.
You’d think that would be designed to spook us. But Guadagnino, though he serves up generous helpings of blood-gushing nightmare imagery in "Suspiria," has a lot more on his mind than getting a rise of fear out of you. I’d say, in fact, that he has way too much on his mind. Then again, the reason it’s all happening is that the dance troupe Susie has joined is, in fact, run by a coven of witches.
That’s sure what it seems like. Sacrificial lamb? Susie becomes their choice, which mirrors her role in the grand performance of Volk, done in half-nude costumes of blood-red rope. She’s the demon as too-cool-for-the-room celebrity. But it’s all boilerplate sinister in an overly vague and slippery way. It’s all built around the presence of Helena Markos, the ancient witch who claims to be one of the three "mothers." She is played, under pounds of rotting naked flesh, by — you guessed it — Tilda Swinton, though the best touch here is Markos’ sunglasses. And then, at long last, the payoff arrives: a scene so grotesque and insane it’s meant to be a catharsis. The witches are looking for one of the dancers to become the next…something. Even here, you may watch the scene mesmerized by the horror but, at the same time, wishing you knew who, exactly, was lording it over whom, and how. "Suspiria" has been made with enough skill to get inside your head, but also with enough ominous pretension to leave you scratching it.” />
After winning a place in the troupe, Susie tries out for the role of the protagonist in Volk, the group’s signature dance piece, because the lead dancer who was first cast in it has stalked out in a huff. Susie now amps up her performance, flinging her arms out like weapons, and this time they really are: The woman she replaced finds herself trapped in a mirrored studio on a different floor, where her body gets flung around the room, in tandem with Susie’s movements. She’s like a doll being smashed by an invisible psychotic child. She winds up as a crumpled mass of broken bones on the floor, leaking saliva and urine. Her limbs bend and break; her ribs crack and bulge.
"Suspiria" is now a period piece, set in 1977, consisting of "Six acts and an epilogue, set in divided Berlin" (as the opening title informs us, already making the film sound like homework). It’s all very topical and serious. Guadagnino replaces Argento’s operatic slasher bravura with his own deliberate pace and soft colors and subtle framing. Oddly enough, this really is a movie — in spirit and style — by the director of "Call Me by Your Name." In the background, the radio crackles with news reports about the Red Army Factions’s kidnapping of Hanns-Martin Schleyer and the simultaneous hijacking of Lufthansa Flight 181.