Is a wedding the happy ending of a love story, or just the beginning? And is it even possible to get really ready to the moment? These are some of the questions risen by Israeli female director Talya Lavie in her sophomore work “Honeymood” which follows the 2004 debut, the record-breaking box office hit “Zero Motivation”, a film following two utterly demotivated young women in the Israely Army, assigned to a remote military outpost. The work earned Lavie the top prize at Tribeca in 2014, as well as the Nora Ephron Prize and six Israeli Academy Awards. Of course, it also set the bar very high for her following effort.
“Honeymood” is screening at the BFI London Film Festival
The Wedding reception has just finished and newlywed Eleanor (Avigail Harari) and Noam (Ran Danker) open the doors of the Grand suite in the Waldorf Astoria Jerusalem, ready to spend there their first night as a married couple.
“Honeymood” is screening at the BFI London Film Festival
The Wedding reception has just finished and newlywed Eleanor (Avigail Harari) and Noam (Ran Danker) open the doors of the Grand suite in the Waldorf Astoria Jerusalem, ready to spend there their first night as a married couple.
- 10/8/2020
- by Adriana Rosati
- AsianMoviePulse
A woman can be anything in a movie: a silent witness to men’s wisdom, flat-chested, large-bosomed, skinny, chubby, thick as a plank or clever, a muscular beast or a screaming victim, sword-wielding hero or a coward, name it. But two things she can never be – hairy, or above 30 and desired sexually by a younger man. And a man can be 30+ and just about anything, without limitations in his looks or character. Except – he falls for a woman who is older than him, and who actually doesn’t care about the ticking clock. In real life – this is even stranger than fiction.
Even if we look back at groundbreaking movies such as Hal Ashby’s Harold and Maude” (1971), or Mike Nichols’ “The Graduate” (1967) – relationships between very young men and mature women are doomed to an end, either by introducing a clear sharp end (death) or by turning it into a female perversion,...
Even if we look back at groundbreaking movies such as Hal Ashby’s Harold and Maude” (1971), or Mike Nichols’ “The Graduate” (1967) – relationships between very young men and mature women are doomed to an end, either by introducing a clear sharp end (death) or by turning it into a female perversion,...
- 6/8/2020
- by Marina D. Richter
- AsianMoviePulse
Short extract from the film will be shown at Jerusalem Film Festival’s Pitch Point.
Tel Aviv-based Transfax is set to unveil extracts today from Guilhad Emilio Schenker’s Madame Yankelova’s Fine Literature Club, about a women’s reading club with a secret feminist and cannibalistic agenda.
The picture is Schenker’s debut feature after his award-winning short Lavan, which toured some 70 festivals.
“I’m curious to see the response. It’s very different from what people normally expect of Israeli cinema, it’s very stylised,” said Transfax founding chief Marek Rozenbaum, adding that the décor and costumes had a period 1950s and 1960s feel although it was not set in a specific time.
A 10 to 20-minute subtitled extract will be shown in a industry work-in-progress session at Israeli feature-focused Pitch Point today at the Jerusalem Film Festival.
Adapted from Shmuel Yosef Agnon’s novella The Mistress and the Peddler, the film revolves...
Tel Aviv-based Transfax is set to unveil extracts today from Guilhad Emilio Schenker’s Madame Yankelova’s Fine Literature Club, about a women’s reading club with a secret feminist and cannibalistic agenda.
The picture is Schenker’s debut feature after his award-winning short Lavan, which toured some 70 festivals.
“I’m curious to see the response. It’s very different from what people normally expect of Israeli cinema, it’s very stylised,” said Transfax founding chief Marek Rozenbaum, adding that the décor and costumes had a period 1950s and 1960s feel although it was not set in a specific time.
A 10 to 20-minute subtitled extract will be shown in a industry work-in-progress session at Israeli feature-focused Pitch Point today at the Jerusalem Film Festival.
Adapted from Shmuel Yosef Agnon’s novella The Mistress and the Peddler, the film revolves...
- 7/15/2014
- ScreenDaily
A new Australian film in limited release has opened quietly across just 16 screens.
Billed as Australian noir, Swerve had its world premiere at last year’s Melbourne International Film Festival and opened the Australian Film Festival in March.
Directed by Craig Lahiff and produced by Helen Leake the film took $24,487 at the box office for a $1,530 screen average.
The original strategy to be released in the USA through Cohen Media Group before Australia. In February Leake told Encore: “Our Australian market is so tricky I thought why not start overseas and bring it back home. We have to balance this tightrope really well and break through the little film syndrome.”
Set in the dusty country town of Neverest, around a suitcase full of cash, Swerve stars Jason Clarke, Emma Booth, Vince Colosimo, David Lyons and Roy Billing.
In a wide release of 467 screens, Ridley Scott’s sci-fi film Prometheus took...
Billed as Australian noir, Swerve had its world premiere at last year’s Melbourne International Film Festival and opened the Australian Film Festival in March.
Directed by Craig Lahiff and produced by Helen Leake the film took $24,487 at the box office for a $1,530 screen average.
The original strategy to be released in the USA through Cohen Media Group before Australia. In February Leake told Encore: “Our Australian market is so tricky I thought why not start overseas and bring it back home. We have to balance this tightrope really well and break through the little film syndrome.”
Set in the dusty country town of Neverest, around a suitcase full of cash, Swerve stars Jason Clarke, Emma Booth, Vince Colosimo, David Lyons and Roy Billing.
In a wide release of 467 screens, Ridley Scott’s sci-fi film Prometheus took...
- 6/13/2012
- by Colin Delaney
- Encore Magazine
Chicago – I suspect there is a segment of the moviegoing population that will take one look at the title, “Anton Chekhov’s The Duel,” and flee in the other direction, most likely into “The Hangover Part II.” Chekhov is the sort of literary genius whose work is quoted by writers aiming to prove their own level of intellectualism. Yet his work is too good to be merely confined in art houses.
Israeli director Dover Koshashvili has created what is easily the most accessible cinematic adaptation of Chekhov to date. It’s perched delicately on the razor’s edge between wrenching drama and deadpan comedy, allowing several sequences to simultaneously succeed as both. There isn’t a stilted or inauthentic moment in the picture, evoking memories of the best Merchant Ivory productions, particularly 1985’s “A Room with a View.”
Blu-Ray Rating: 4.0/5.0
Like Koshashvili’s acclaimed 2001 drama, “Late Marriage,” Chekhov’s 1891 short story,...
Israeli director Dover Koshashvili has created what is easily the most accessible cinematic adaptation of Chekhov to date. It’s perched delicately on the razor’s edge between wrenching drama and deadpan comedy, allowing several sequences to simultaneously succeed as both. There isn’t a stilted or inauthentic moment in the picture, evoking memories of the best Merchant Ivory productions, particularly 1985’s “A Room with a View.”
Blu-Ray Rating: 4.0/5.0
Like Koshashvili’s acclaimed 2001 drama, “Late Marriage,” Chekhov’s 1891 short story,...
- 5/27/2011
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Anton Chekhov’s The Duel, the acclaimed English-language adaptation of Chekhov’s 1891 novella directed by Dover Koshashvili (Late Marriage), is coming to Blu-ray and DVD from Music Box Films on May 24.
Tobias Menzies takes aim in Anton Chekhov's The Duel.
Set during a sweltering summer at a seaside resort on the Black Sea, the 2010 independent film centers on the ne’er-do well Laevsky (Andrew Scott, HBO’s John Adams) and his illicit relationship with his mistress Nadya (Fiona Glascott, TV’s Clone). Laevsky has convinced Nadya to leave her husband for him, but now he wants to abandon her, which doesn’t sit too well with Von Koren (Tobias Menzies, HBO’s Rome), a former friend who can no longer tolerate the morally and financially bankrupt Laevsky’s irresponsibility. The only way for the three to maintain their honor and possibly achieve a modicum of satisfaction is for the men...
Tobias Menzies takes aim in Anton Chekhov's The Duel.
Set during a sweltering summer at a seaside resort on the Black Sea, the 2010 independent film centers on the ne’er-do well Laevsky (Andrew Scott, HBO’s John Adams) and his illicit relationship with his mistress Nadya (Fiona Glascott, TV’s Clone). Laevsky has convinced Nadya to leave her husband for him, but now he wants to abandon her, which doesn’t sit too well with Von Koren (Tobias Menzies, HBO’s Rome), a former friend who can no longer tolerate the morally and financially bankrupt Laevsky’s irresponsibility. The only way for the three to maintain their honor and possibly achieve a modicum of satisfaction is for the men...
- 3/11/2011
- by Laurence
- Disc Dish
How desperate is Hollywood for box-office money? Not only was Avatar re-released a couple of weeks ago, now The Twilight Saga: Eclipse is getting a re-release as well. But I'm liking the fact that the Winnebago Man travels over to Alamo Drafthouse on South Lamar this week, and is getting some other screenings at various Alamos, so check their schedule to see all the options for seeing it.
Meanwhile, here's what's opening in Austin this week -- sadly, none of these movies screened for press, so we have no reviews. We've been watching aGLIFF movies instead, and urge you to do the same through Sunday.
Anton Chekhov's The Duel -- A Chekhov book is adapted for the big screen by director Dover Koshashvili (Late Marriage). (Arbor)
Everyone Else -- Vacationing on the Mediterranean tests a German couple's relationship (pictured above, courtesy The Cinema Guild). (Arbor)
read more...
Meanwhile, here's what's opening in Austin this week -- sadly, none of these movies screened for press, so we have no reviews. We've been watching aGLIFF movies instead, and urge you to do the same through Sunday.
Anton Chekhov's The Duel -- A Chekhov book is adapted for the big screen by director Dover Koshashvili (Late Marriage). (Arbor)
Everyone Else -- Vacationing on the Mediterranean tests a German couple's relationship (pictured above, courtesy The Cinema Guild). (Arbor)
read more...
- 9/10/2010
- by Jenn Brown
- Slackerwood
Observing its characters’ faults with equanimity, Dover Koshashvili’s adaptation of Anton Chekhov’s short story “The Duel” treats the residents of a seaside town in the Caucuses as specimens of humanity’s dual nature. The idyllic setting serves as an ironic backdrop to a story governed by petty morality and impenetrable whims, behavior that can be finely calculated or impetuous and animalistic. Andrew Scott heads the British cast of Anton Chekhov’s The Duel, playing a bitter, self-loathing man who has coaxed a married woman (Fiona Glascott) into living with him and now plans to rid himself of her ...
- 4/29/2010
- avclub.com
Daniel Barber's "Harry Brown" will provoke justifiable comparisons to 2008's surprise hit "Gran Torino" -- geezer with a past decides to clean his neighborhood of punks -- but in some ways, it feels closer to that winter's other surprise hit "Taken" -- likable actor kills legions of faceless hoods.
Michael Caine is the geezer in question -- a former British soldier who was stationed in Northern Ireland, now widowed and living in a rundown council estate (the UK equivalent of a housing project) that's going to the dogs. Mild-mannered Harry minds his own business, preferring to spend time in his local pub playing chess with his friend Leonard (David Bradley), even as drug transactions and acts of senseless violence increasingly swirl around him. When Leonard is killed, Harry loses it, deciding to take justice into his own hands. And... well, he does.
This is pretty straightforward vigilante justice stuff -- lean,...
Michael Caine is the geezer in question -- a former British soldier who was stationed in Northern Ireland, now widowed and living in a rundown council estate (the UK equivalent of a housing project) that's going to the dogs. Mild-mannered Harry minds his own business, preferring to spend time in his local pub playing chess with his friend Leonard (David Bradley), even as drug transactions and acts of senseless violence increasingly swirl around him. When Leonard is killed, Harry loses it, deciding to take justice into his own hands. And... well, he does.
This is pretty straightforward vigilante justice stuff -- lean,...
- 4/29/2010
- by Bilge Ebiri
- ifc.com
the list #100-76, #75-51, #50-31, #30-16 and #15-1.
Awards for 2009 begin tomorrow or thereabouts.
So much cinema to love. Love it hard...
50 La Mala Educación dir. Pedro Almodóvar (2004)
Pedro's dizzying, carnal "fag noir" is one of a kind.
49 You Can Count On Me dir. Kenneth Lonergan (2000)
You know how wonderful it can be to hear a film's title worked into the dialogue? Turns out it's even better when the title warmly permeates the entire film and (just barely) goes unsaid.
48 Sideways dir. Alexander Payne (2004)
Eventually it will shake off the "overrated" tag that compromised its full bodied flavor. It's still one of the best comedies of the decade. Rrawwwr.
47 25th Hour dir. Spike Lee (2002)
Like The Painted Veil, its throwaway release in crowded December assured it wouldn't be noticed in its time. Hopefully the audience is still coming around to Lee's best film outside of Do The Right Thing (1989). This bitter drama,...
Awards for 2009 begin tomorrow or thereabouts.
So much cinema to love. Love it hard...
50 La Mala Educación dir. Pedro Almodóvar (2004)
Pedro's dizzying, carnal "fag noir" is one of a kind.
49 You Can Count On Me dir. Kenneth Lonergan (2000)
You know how wonderful it can be to hear a film's title worked into the dialogue? Turns out it's even better when the title warmly permeates the entire film and (just barely) goes unsaid.
48 Sideways dir. Alexander Payne (2004)
Eventually it will shake off the "overrated" tag that compromised its full bodied flavor. It's still one of the best comedies of the decade. Rrawwwr.
47 25th Hour dir. Spike Lee (2002)
Like The Painted Veil, its throwaway release in crowded December assured it wouldn't be noticed in its time. Hopefully the audience is still coming around to Lee's best film outside of Do The Right Thing (1989). This bitter drama,...
- 1/13/2010
- by NATHANIEL R
- FilmExperience
TEL AVIV, Israel -- Satellite television broadcaster YES pushed local film and TV production to the forefront Wednesday, launching the Israeli Cinema Channel. Hailed as a boost to Israel's fragile filmmaking industry and designed to compete for subscribers with the cable television industry, the channel will provide a home for locally made feature and documentary film and television dramas as well as producing exclusive programming about Israeli Cinema. It is the only channel of its kind locally and will be available as a premium channel to YES's approximately 400,000 subscribers. YES declined to provide further details before the launch. The move comes as the Israeli film industry, traditionally cold-shouldered by local audiences, has recently scored some boxoffice hits with such films as Dover Kosashvilli's Late Marriage, Nir Bergman's Broken Wings and Savi Gavizon's Nina's Tragedies. It also comes in the wake of the successful launch this summer of Music 24, an all-Israeli music channel, which demonstrated viewer appetite for local fare.
- 12/11/2003
- The Hollywood Reporter - Movie News
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