table of
contents 2 4 5 7
Little Boy
Director: Alejandro Monteverde
Desert Dancer
Director: Richard Raymond
Aloft
Director: Claudia Llosa
Infinitely Polar Bear
Writer & Director: Maya Forbes
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True Story
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The Salt of the Earth
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Lambert and Stamp
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Saint Laurent
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Far From the Madding Crowd
Director: Rupert Goold Directors: Wim Wenders & Juliano Ribeiro Salgado Director: James D. Cooper
Tomorrowland Director: Brad Bird
Director: Bertrand Bonello Director: Thomas Vinterberg
Film Previews
A look at over 30 upcoming releases
True Story
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The Salt of the Earth
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Film Guide Senior Staff Publisher
Robbie Arrington Managing Editor
Wendy Runyard Creative Director
Rodney Griffin Designer
Rona Moss Corporate Editor
Tomorrowland
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Far From the Madding Crowd
Irene Gillaspy Advertising and Promotions
email: robbie.arrington@ regalcinemas.com
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The Regal Cinema Art Film Guide is a free national publication courtesy of Regal Entertainment Group, 7132 Regal Lane, Knoxville, TN 37918. To have your film featured, email robbie.arrington@regalcinemas.com.
directed by Aleja n d ro Mo n tev erd e
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ittle Boy is a powerful and moving film about a child who is willing to do whatever it takes to bring his dad home alive from World War II. The heartwarming story will capture your heart and lift your spirits as it reveals the indescribable love a little boy has for his father and the love a father has for his son. Set in the 1940s, Little Boy is an instant cinematic classic that captures the wonder of life through the eyes of a 7-year-old. Written and directed by Smithsonian Institute Award-winning director Alejandro Monteverde, Little Boy highlights themes of faith, hope and love in the face of adversity. A moviegoing experience for all ages, Little Boy features an allstar cast/crew including Oscar®-nominated actors Emily Watson and Tom Wilkinson as well as Ben Chaplin, Michael Rapaport, Cary-Hiroyuki Tagawa, Ted Levine, David Henrie, Eduardo Verastegui and newcomer Jakob Salvati (the seven-year-old lead actor who delivers an extraordinary, Oscar®-caliber performance). Mr. Monteverde (Bella) also directs the film, which is taken from a screenplay by Monteverde and Pepe Portillo. Executive produced by Roma Downey and Mark Burnett (Son of God, upcoming NBC series A.D. and Paramount’s remake of Ben-Hur), the film is produced by Eduardo Verastegui, Leo Severino, Alejandro Monteverde, Emilio Azcarraga (Televisa/Univision), Bernardo Gomez (Televisa), Micky Ohare and Sean Wolfington. Little Boy opens in select theatres April 24, 2015.
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Desert Dancer directed by Ric hard Ray mo n d
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esert Dancer follows the true, inspiring story of a brave Iranian dancer, Afshin Ghaffarian. Set in Tehran during the volatile climate of the 2009 presidential election and the start of the “Green Movement,” Afshin and a group of dancers (including “Elaheh” played by Freida Pinto) risk their lives and form an underground dance company. With what little access to the Internet they have, the group discovers music and dance videos banned from viewing in their country. The group learns various forms, techniques and styles of dance from timeless legends like Michael Jackson, Gene Kelly and Rudolf Nureyev. Inspired by these newfound heroes, they stage their own performances and uncover a passion for dance and one another. While the political and cultural backdrop of Desert Dancer is unique to the time and place, the struggle to overcome oppression—whether from a government or from within—proves universal. In theatres starting April 10, 2015.
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A L O F T directed by Cl audia L l osa
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mother who abandons her child for the common good, a son who abandons himself and his own ability to feel in order to bear the weight of tragedy, and a woman who abandons her life to follow her one obsession of curing herself: three characters reveal themselves to us, reflecting on the difficult balance of creating a full life while assuming its fragility and uncertainties. Aloft journeys through the worlds of art and nature to explore the meaning of healing and death as it forces us to confront the immensity of such concepts as love, order, chaos and faith, which at times are impossible to understand through rational thinking alone. Does art heal? Is nature a variable? Aristotle said that humans feel pain when they act against their natures—cycles, seasons, renovation and change. In the end, we learn that understanding ourselves is the most difficult task in life and that, perhaps, art can help us by offering the possibility of catharsis and sublimation. Nana Kunning (Jennifer Connelly) explores that concept through her acts, aware that the exploration is not to be found in the piece of art (the object) itself but in the process of its creation. Aloft forces the viewer into that journey. The same journey that her son Ivan (Cillian Murphy) will embark upon to find her. It's a journey to the infinite, into the absolute whiteness where there is nowhere to hide, a journey back to ourselves. — Claudia Llosa In theatres starting May 22, 2015. summer 2015
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written & directed by Maya Forbes
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hile most fathers spend their days at work, Cam Stuart (Mark Ruffalo) is more likely to be found mushroom-hunting, cooking elaborate meals or working on one of his many half-completed projects. Family wealth keeps Cam's brood just barely afloat while he struggles to live with bipolar disorder. When he has a manic episode that lands him in a mental hospital, Cam's wife Maggie (Zoe Saldana) and two young daughters Amelia and Faith are forced to leave their country house. They move into a cramped apartment in Cambridge where Maggie tries to find a decent job, with no luck.
completes her degree. After all, routine is what the doctor ordered and the girls miss their dad. Cam agrees, hoping to rebuild his family. But the two spirited girls are not interested in making things easy for him.
Broke, stressed and overwhelmed, Maggie applies to business school and is accepted to Columbia University’s MBA program. Seeing this as her chance to build a better life for their daughters, Maggie asks Cam to become the primary caregiver for the girls while she
Based on a true story, Infinitely Polar Bear is a funny and heartbreaking portrait of the many unexpected ways in which parents and children save each other.
With Maggie away in New York, Cam quickly realizes that he’s in over his head. As Maggie rushes to complete the MBA program during the next 18 months, Cam learns through much trial and error how to care for his precocious daughters, and himself. After years of struggling, he finally may have found his place in the world.
In theatres starting April 24, 2015.
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When disgraced New York Times reporter Michael Finkel (Jonah Hill) meets accused killer Christian Longo (James Franco)—who has taken on Finkel’s identity—his investigation morphs into an unforgettable game of cat-and-mouse. Based on actual events, Finkel’s relentless pursuit of Longo’s true story encompasses murder, love, deceit and redemption.
BASED ON THE BOOK BY MICHAEL FINKEL SCREENPLAY BY RUPERT GOOLD AND DAVID KAJGANICH DIRECTED BY RUPERT GOOLD www.truestorymovie.com
IN SELECT THEATERS APRIL 10
THE SALT OF THE EARTH
directed by Wim Wenders & Juli a n o Ri bei ro Sa lg ado
About the film
F
or the last 40 years, the photographer Sebastião Salgado has been travelling through the continents in the footsteps of an ever-changing humanity. He has witnessed some of the major events of history: international conflicts, starvation and exodus. He is now embarking on the discovery of pristine territories, of wild fauna and flora, and of grandiose landscapes as part of a huge photographic project, which is a tribute to the planet’s beauty. Sebastião Salgado’s life and work are revealed to us by his son Juliano, who went with him during his last travels, and by Wim Wenders, himself a photographer.
Inside The Salt of the Earth with directors Juliano Sebastiao & Wim Wenders Film Guide: Did your father encourage you in the early stages of your career? How did you start working on this project with your Father? Julian Salgado: Yes, with fantastic confidence, maybe close to recklessness. For example, he thought my plan to head off alone to Afghanistan was great! For her part, my mother was very worried, but since she had chosen to put up with my father’s perilous trips to theaters of war, and to be in denial of the danger, she accepted it. I was very lucky to have been able to start my career as a documentary maker very young and to have fulfilled this. My father, that distant hero, when he was home, our relationship wasn’t always easy. From my adolescence, there was a distance between us. I pursued my path, I made some more documentaries and then I moved to London to go to film school. It was at that point that our paths really went
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their separate ways. When, in 2004, he embarked on his latest long-term project Genesis, this quest for unspoilt paradises which took up eight years, he suggested that I accompany him. I was reticent; I didn’t know how my work would fit in with him. But our first trip turned out to be incredible. It took us to Brazil, to the heart of Amazonia, some 300km from the nearest town, to meet an isolated tribe, the Zo’é, with whom we stayed for a month. These are people who still live in the Paleolithic era. I experienced that as a privilege, a moment suspended in time. And a dialog formed between my father and I or, rather, re-formed. We then went to Papua New Guinea, to Irian Jaya, Indonesia to stay with another isolated tribe, the Yali, then to an island in the Arctic Circle, Wrangel, home to walruses and polar bears. During these journeys, we talked about a lot of things we’d never talked about before, and that’s when I found a clear purpose to the footage I had been filming since I started accompanying him. When my father saw the first raw edits I had done with those pictures, he got very moved, to the point of having tears in his eyes. FG: Was that when you had the idea that an outsider’s point of view should be added to your own to flesh out the film? JS: That process was already underway. There were already films on Sebastião and films about other photographers. But it seemed to me that making a film about a photographer had its limitations: a man prepares to take a photo and the story is over when the photo is taken. Except that he takes a second one, then a third, and so on. So in my opinion, it wasn’t the right approach. This film should come out of Sebastião’s own story, from his experiences that few people have shared; from the fact that for 40 years he found himself in extreme situations and that he has witnessed humanity confronting some terrible events. It would be through exploring his story, his memories that we would come to pose this question:
What changes a man? What changed in Sebastião Salgado? I knew the answer. I’d seen him live with Indians and the Papuan people. He sees people and does not judge them. He puts himself on the same level as them, no doubt because he too comes from a tiny, very violent village in a remote part of Brazil, cut off from the world. I think the people he photographs are sensitive to the benevolence of his viewpoint. I think about what happened between Sebastião and them before and after taking the photographs, and how these exchanges can nourish us. Yes, even us, in our privileged and indifferent societies. That was the film. But for it to take shape, we needed someone other than me, less involved than I am, to speak freely to Sebastião, to tackle what should be the core of the film. In other words, to show the evolution of his gaze over the years, everything that we could learn from his career, in a militant way—I know he doesn’t like that word—as he becomes increasingly aware that his work can, to some extent, change things for the people he photographs. FG: Is that when Wim Wenders became involved? JS: Wim Wenders was the ideal person. He already knew Salgado’s work; they had already met a few times. At the time, Wim was already nursing the idea of making a film about Sebastião. We saw each other a lot, we talked a lot, and it was quite natural that we decided to make this film together. Not only did he understand the project, but he immediately adhered to it and was totally committed to it. It was really wonderful to see this man respecting the intimacy of this project, but adding a host of essential elements, bringing his own particular sensitivity, his own talent in terms of images. FG: How did you divide up the work? JS: I showed Wim what I had filmed during the trips with my father and explained how I felt these images had to be linked to Sebastião’s trajectory so that we could learn from his testimony, his memories, the situations in which he had found himself. This discussion resulted in the emergence of the structure of our film, but for my part … I was incapable of having the necessary distance to achieve this. Wim Wenders was now there to pull together this story of a man who had grown weary of the suffering he had photographed, who himself bears the scars of what he has seen and experienced, and who said: “After years working in refugee camps, I had seen so much death that I felt myself dying.” To begin with, I thought that Wim and my father would sit either side of a little table and would talk. Not so. Working with a great artist like Wenders changes things, and the idea he came up with to confront Sebastião visually with his memories is much more ingenious. At the end of these very fertile confrontations, we shut ourselves away in the editing room for a year and a half. That enabled us to eliminate certain complicated narrative threads and to be more simple and direct. FG: Wim Wenders, your presence in the film is warm and discreet: where and when did the interviews with Sebastião Salgado take place? And what governed the choice of photographs that you discussed together? Wim Wenders: During the first interviews I appeared on camera. But as our conversations progressed, I increasingly had the feeling I should disappear and that I should give the whole space over to Sebastião and, above all, to the photographs. The work should be left to speak for itself. So I had the idea of a directorial approach using a sort of dark room: Sebastião was in front of a screen, looking at the photographs, whilst answering
my questions about them. So the camera was behind this screen, filming through his photographs—if that’s how I can put it—thanks to a semi-transparent mirror, which meant that he was looking at the same time at his photographs and the spectator. I thought it was the most intimate setting for the audience to hear him express himself and at the same time discover his work. We more or less cut out all the “traditional” interviews, of which only a few bits remain. But they turned out to be a great preparatory stage for our sessions in the “dark room.” We chose the photographs together, and those choices were mainly dictated by the stories that Sebastião told me and which are in the film. We had hours and hours of rushes at our disposal. FG: Did you encourage him to comment on his photographs by taking him back to the time and place where they were taken: A Brazilian gold mine, famine in the Sahel, the genocide in Rwanda, and so on? They are, for the most part, tragic images. Did you ever find them “too beautiful” as some have reproached him? WW: In the “dark room” we ran through Sebastião’s entire photographic oeuvre, more or less in chronological order, for a good week. It was very difficult for him—and for us too behind the camera—because some of the accounts and journeys are deeply disturbing, and a few are genuinely chilling. Sebastião felt as if he was returning to these places, and for us these internal journeys “to the heart of darkness” were also overwhelming. Sometimes we’d stop and I had to go out for a walk to get a bit of distance on what I’d just seen and heard. As for the question of whether his photographs are too beautiful, or too aestheticized, I totally disagree with those criticisms. When you photograph poverty and suffering, you have to give a certain dignity to your subject and avoid slipping into voyeurism. It’s not easy. It can only be achieved on condition that you develop a good rapport with the people in front of the lens and you really get inside their lives and their situation. Very few photographers manage this. The majority of them arrive somewhere, fire off a few photographs, and get out. Sebastião doesn’t work like that. He spends time with the people he photographs to understand their situations, he lives with them, he sympathizes with them and he shares their lives as far as possible. And he feels empathy for them. He does this job for the people in order to give them a voice. Pictures snapped on the hoof and photographed in a “documentary” style cannot convey the same things. The more you find the right way to convey a situation in a convincing way, the closer you come to a language which corresponds to what you’re illustrating and to the subject in front of you, the more you make a real effort to obtain a “good photo” and the more you give nobility to your subject and make it stand out. I think that Sebastião offered real dignity to all those people who found themselves in front of his lens. His photographs aren’t about him, but about all those people! FG: The documentary offers the portrait of a man and brings to life his work. It also offers a touching study of the father-son relationship. Was this dual undertaking obvious from the start? WW: Yes, from the outset our film had several dimensions. The father-son relationship was also clearly part of it from the start. It could have turned out to be a pitfall for the film, and I think that the Salgados—father and son—were right to bring me in to avoid any risk of that happening. But ultimately, it’s a very moving side of the film. In theatres starting March 2015. summer 2015
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FOCUS FEATURES PRESENTS IN ASSOCIATION WITH STAGE 6 FILCASTING MS AN ENTERTAINMENT ONE PRESENTATION A BLUMHOUSE PRODUCTION AN OREN PELI PRODUCTION "INSIDIOUS: CHAPTER 3" DERMOT MULRONEY COSTUME COSTEFANIE SCOTT ANGUS SAMPSON LEI G H WHANNELL AND LIN SHAYE BY TERRI TAYLOR, CSA DESIGNER ARIYELA WALD-COHAIN PRODUCERS RICK A. OSAKO JEANETTE VOLTURNO-BRILL BAILEY CONWAY MUSIC EDITED PRODUCTION DIRECTOR OF EXECUTIVE BY JOSEPH BISHARA BY TIM ALVERSON, ACE DESIGNER JENNIFER SPENCE PHOTOGRAPHY BRIAN PEARSON, ASC PRODUCERS STEVEN SCHNEIDER BRIAN KAVANAUGH-JONES CHARLES LAYTON PETER SCHLESSEL LIA BUMAN XAVIER MARCHAND PRODUCED BASED ON CHARACTERS WRITTEN AND BY JASON BLUM, p.g.a. OREN PELI JAMES WAN CREATED BY LEIGH WHANNELL DIRECTED BY LEIGH WHANNELL www.InsidiousCh3.com
LAMBERT & STAMP directed by James D. Cooper
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arly 1960s London: The postwar generation who grew up playing in air raid shelters and bomb sites is detonating a youth rebellion. At London’s Shepperton Studios, two young 2nd assistant directors compare notes on film, music and frustrated ambitions, forging an unlikely friendship and collaboration that leaves an indelible mark on pop music and culture of the ‘60s and beyond. Kit Lambert and Chris Stamp, aspiring filmmakers, set out to make a cinema vérité documentary about the mod world of rock and roll, but sidetracked instead into managing and developing the sonic powerhouse that came to be called The Who. Their gorgeously propulsive footage—the rock documentary that was never completed—lays a foundation for director James D. Cooper’s kaleidoscopic study of an era and a rare friendship’s creative bond. Present-day interviews with the surviving principals, now grown older, reflect thoughtfully on their relationships and life trajectories. In theatres starting April 2015. summer 2015
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screenplay by D a m o n L i n d e lo f & B ra d B i rd story by D a m o n L i ndelof, B ra d B i rd & J e f f J ensen
SNEAK PEEK INTO TOMORROWLAND
W
hen Disney lends a name for anything from its historic past, they do so only when the heart and the imagination of the project—and of those helming it—is pure and professional. Tomorrowland promises that purity. Director Brad Bird and writer Damon Lindelof bring more than professionalism, they define creativity and cinema for a generation that wants more, and reaches for the stars. Fans of Brad Bird span the globe and sing his praises when films like Mission: Impossible—Ghost Protocol, The Incredibles or The Iron Giant grace a screen near them. His co-pilot, writer and producer is Damon Lindelof, a fan favorite and the man behind the pen of blockbusters such as Cowboys & Aliens, World War Z and Star Trek Into Darkness. Together Brad and Damon have delved into the Walt Disney vault and brought back a fundamental building block of our past and future: imagination.
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Film Guide: The name Tomorrowland exudes wonderment. How do you deliver on this new world and ideal? Brad Bird: I think we are delivering on asking questions and taking steps on a journey. Damon Lindelof: I think it exudes a feeling and an association that I had when I first visited Disneyland. I feel it captures an emotional optimism about the future and our capabilities. Starting from a place of “can we generate that feeling without making it feel dated or corny?” Brad: For me, the word “tomorrow” is something that’s coming, that’s not quite here. There is a feeling of newness, which is in itself an optimistic thing. FG: While Tomorrowland looks futuristic, is time really a factor in this new timeless dimension? Brad: We are going for timeless, but there are many “futures” from our past that feel new. Meaning, really good futurisms can be eternally modern. Certain architects and design have a simplicity that will age very well. Damon: If you think about how the future was glimpsed from the past, things like the world’s fair, which the movie is very interested in, the way they viewed the future back at the turn of the century or the 1960s versus how we see the future now. It is always shifting and changing. FG: In the teaser we see Britt Robertson leaving a police station, but before she touches the pin that transports her to Tomorrowland, she glances at a television showing anger and strife. Was that a juxtaposition you wanted established early on? Brad: Trailers and movies have certain needs. The idea of her being in a confined space in a world that feels confined is what we are looking for. We were trying to put her into a place that would allow contrast to the color, space and openness of Tomorrowland. So that when she does touch the pin, the new world she enters is a relief. FG: George Clooney plays Frank Walker. Can you tell us how he came into this role? Brad: I had met George before. So when we were writing and talking about who we would want in a perfect world, we looked at each other and both said “George.” We knew that he didn’t do these kinds of movies, but Damon had something to do with it, I believe through Brad Pitt? Damon: Yes; I had worked with Brad Pitt on World War Z. George and Brad are friends, so I believe Brad said something nice about me. So when Brad
and I talked about Frank Walker, we kept saying he was a “Clooney” type. So in a flash of light we thought, “Why don’t we just ask George Clooney?” FG: Both of you have the responsibility of delivering hopes and dreams, not just in the new projects you pick but the continuation of beloved successes from the past. How do you weigh those choices? Damon: For someone who’s basically just done mostly franchise movie work, from Star Trek to Prometheus, playing in those worlds is incredibly exciting. At the same time, as an audience member not just a storyteller, always grumbling, wishing there was more original stuff out there. Original is exciting because you don’t know what it is or where it will take you. So that was the appeal of doing this movie. It was very challenging but just immensely satisfying. It could be whatever we wanted it to be. Brad: In terms of The Incredibles, while I’m very attracted to new original projects, it’s kind of a half step for me. It’s following up something that I put into the world in the first place. It’s original material but it’s also a sequel. After working a bit with Damon on Mission: Impossible—Ghost Protocol, we had lunch and I asked him what he was doing next. He mentioned Tomorrowland and then started throwing ideas and it just sounded really exciting to me and really different. The weirdness of it is, if it is truly different, simultaneously making you nervous, scared slash excited because you don’t have a model. It’s an unsettling place where you keep asking, “Is this right?” We’ve just operated on a what’s-next attitude, and then we ask, “What would we want if we were sitting in an audience, what would surprise us or what would delight us and be satisfying?” Tomorrowland arrives in theaters on May 22, 2015.
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S L
AINT AURENT
Inside the mind of director Bertrand Bonello Film Guide: Did Yves Saint Laurent interest you before starting work on a film about him?
Bertrand Bonello: I knew a little about him, thanks to my mother who admires him and gave me several books about his houses and objects, particularly the enormous five-volume catalogue of the Grand Palais auction in 2010. I was more familiar with his universe and period than with fashion. Above all, I was drawn to the cinematic possibilities linked to the extravagant and decadent aspect that it was possible to highlight thanks to the filter of reality. Inventing that would be impossible! I wanted to extend the idea, present in L’Apollonide, of magnificent confinement falling to pieces. That is also why I shot the film on 35mm. It lends the colors, textures and fabrics, a voluptuousness that digital does not render. Celebrities who are the subjects of biopics—Claude François, Edith Piaf and so on—are often poor people who succeed in fulfilling a childhood dream without disowning their working-class origins. It always plays with audiences. Saint Laurent, on the other hand, was surrounded from birth by the love of his mother and sisters; his family was wealthy; at age 17 he won first prize in a competition; at 20 he was a star at Dior; at 22 he had his own brand; at 25 he was a celebrity worldwide. That handicap, with regard to usual biopic standards, fascinated me.
directed by Bertrand Bonello
above and below. He was constantly going up and down. These three chapters were subtitled ”Day,” ”Night” and ”Limbo.” Then, in 1976, we jump to 1989, when Helmut Berger is Saint Laurent—the body has changed but the voice is Gaspard’s. FG: That’s one of the most daring aspects of the film—the jump in time and re-embodiment. BB: Yves says he can no longer face himself. We shift then to 1989 and Helmut Berger. The film becomes a parallel montage, going back and forth. It was one of our first ideas: to show this body changing until it becomes Saint Laurent in his sublime tower on Rue de Babylone, alone but still full of vigor. The introduction of Helmut Berger, even if it disconcerts at first, allows another door to be opened through which the audience enters deeper into Saint Laurent’s mind and affect. The film becomes truly mental. FG: How did you avoid the standard scenes of the biopic genre that is so popular now?
FG: At what point was the issue of the actor who would play Saint Laurent raised?
BB: It’s the biopic concept that raises 'How do you get the information across?' That’s the issue with a biopic, with the added difficulty that in fashion, everything goes so fast. How do you show that Saint Laurent wants to break with something, that it doesn’t work, and then that it works? It’s complicated unless you are very explanatory. I used the reply to Warhol, in which Saint Laurent says he wanted to be modern, but now he just wants to be Saint Laurent. That’s the kind of way with words that speeds things up. The love I have for the films of Robert Bresson has taught me how to disrupt time by the use of voiceover.
BB: We started casting in early 2012, well before the script was completed. Gaspard Ulliel’s name soon cropped up. I was very keen that his resemblance to Saint Laurent should not be the sole factor, so I met with Gaspard, as I did with another twenty or so actors. For three months, we shot tests, mainly to see if we could work and communicate together.
“Yves Saint Laurent transforms women.” How do you film that? I thought of Vertigo—you know the passion I have for Vertigo—for the scene with Valeria Bruni Tedeschi: a man manipulates a woman who is suddenly transformed before our eyes. Valeria is brilliant in that scene. In her performance, she becomes 15 years younger in three minutes.
FG: Why did you decide to restrict yourself to ten years in Saint Laurent’s life and career, between 1967 and 1976?
FG: You take very complex paths to recount the birth of the creative process—they are magnificent meanderings...
BB: Very early on, Thomas and I chose to restrict ourselves to two emblematic collections, the Liberation collection in 1971 and the Russian Ballet collection in 1976. The first provoked outrage. In 1971, with hippie chic booming, Saint Laurent dressed women like their mothers, drawing on his passion for his own, for 1940s movie stars and so on. The newspapers were in uproar, but six months later everybody was wearing vintage. As for the second collection, it has oriental influences from Gauguin, Delacroix, Matisse to the Russian Orient. We divided the script into three chapters. We called the first, up to the 1940 collection, just before the famous photo of Saint Laurent posing naked, ”The Young Man.” The second, from that photo to the end of his affair with de Bascher, became ”The Star.” And the third, 1976, ”YSL”—Yves becomes a brand; he’s lost touch with who he is. That’s when the contrast is greatest between
BB: Filming the emergence of an idea is one of the most difficult tasks. We racked our brains for weeks to find a way of showing how Yves got the idea for the Russian Ballet collection in 1976. Before we get to the hallucinatory snakes, he enters Proust’s bedroom and gets into his bed. Memories and images of all kinds come back to him: a scene from Max Ophüls’ The Earrings of Madame de..., with Danielle Darrieux, that Saint Laurent adored; fragments of emotions from childhood—the opera, his little theatre, his aunt dressing him; and, of course, Oran, which is present in two ways, through an evocation worthy of Marguerite Duras when Yves arrives in Marrakech, and here through snippets of flashbacks when everything starts to diffract. Agonizing mental torture to avoid the clichés with which the birth of an idea is usually shown! In theatres starting May 8, 2015. summer 2015
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Carey
MULLIGAN
Matthias SCHOENAERTS
Michael
SHEEN
Based On The Classic Love Story By
Thomas Hardy Directed By
Thomas Vinterberg
FarFromTh eMadding CrowdMov ie.com
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Tom
STURRIDGE
B
ased on the literary classic by Thomas Hardy, FAR FROM THE MADDING CROWD is the story of independent, beautiful and headstrong Bathsheba Everdene (Carey Mulligan), who attracts three very different suitors: Gabriel Oak (Matthias Schoenaerts), a sheep farmer, captivated by her fetching willfulness; Frank Troy (Tom Sturridge), a handsome and reckless Sergeant; and William Boldwood (Michael Sheen), a prosperous and mature bachelor. This timeless story of Bathsheba’s choices and passions explores the nature of relationships and love, as well as the human ability to overcome hardships through resilience and perseverance.
summer 2015
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A LITTLE CHAOS
Director: Alan Rickman Starring: Kate Winslet, Alan Rickman and Stanley Tucci A female landscape-gardener is awarded the esteemed assignment to construct the grand gardens at Versailles, a gilt-edged position that thrusts her to the very centre of the court of King Louis XIV. In theatres starting June 5, 2015.
ALOFT
Director: Claudia Llosa Starring: Jennifer Connelly, Cillian Murphy and Mélanie Laurent Aloft tells of a struggling mother who encounters the son she abandoned 20 years earlier when an unforeseen accident again tears them apart. In theatres starting May 22, 2015.
A PIGEON SAT ON A BRANCH REFLECTING ON EXISTENCE
Director: Roy Andersson Starring: Holger Andersson, Nils Westblom, Charlotta Larsson and Viktor Gyllenberg Like a modern day Don Quixote and Sancho Panza, Sam and Jonathan, two traveling salesmen peddling novelty items, take us on a kaleidoscopic wandering through human destiny. It is a journey that unveils the beauty of single moments, the pettiness of others, the humor and tragedy hidden within us, life’s grandeur as well as the ultimate frailty of humanity. In theatres starting May 1, 2015.
BEST OF ENEMIES
Directors: Morgan Neville and Robert Gordon Starring: John Lithgow, Kelsey Grammer, Dick Cavett and Christopher Hitchens In the summer of 1968 television news changed forever. Dead last in the ratings, ABC hired two towering public intellectuals to debate each other during the Democratic and Republican national conventions. William F. Buckley Jr. was a leading light of the new conservative movement. A Democrat and cousin of Jackie Onassis, Gore Vidal was a leftist novelist and polemicist. Armed with deep-seated distrust and enmity, Vidal and Buckley believed each other’s political ideologies were dangerous for America. Like rounds in a heavyweight battle, they pummeled out policy and personal insult—their explosive exchanges devolving into vitriolic name-calling. Live and unscripted, they kept viewers riveted. And a new era in public discourse was born. In theatres starting the summer of 2015.
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FIL M PREVIEWS CHILD 44
Director: Daniel Espinosa Starring: Tom Hardy, Gary Oldman, Joel Kinnaman, Noomi Rapace, Vincent Cassel and Jason Clarke Based on the first novel in author Tom Rob Smith’s best-selling trilogy, CHILD 44 tells the story of a man fighting to reclaim his humanity from a system that requires him to sacrifice it in order to survive. In theatres starting April 17, 2015.
DESSERT DANCER
Director: Richard Raymond Starring: Nazanin Boniadi, Freida Pinto and Tom Cullen Afshin Ghaffarian risks everything to start a dance company amidst his home country of Iran’s politically volatile climate and the nation’s ban on dancing. In theatres starting April 10, 2015.
DOPE
Director: Rick Famuyiwa Starring: Zoë Kravitz, Forest Whitaker, Blake Anderson Malcolm is surviving life in The Bottoms, a tough neighborhood in Inglewood, CA inhabited by gangsters and drugs dealers, while juggling his senior year of college. A chance invitation to a big underground party leads Malcolm and his friends into a gritty adventure packed with offbeat characters and bad choices. If Malcolm can persevere, he’ll go from being a geek, to being dope, to ultimately being himself. In theatres starting June 2015.
FAR FROM THE MADDING CROWD
Director: Thomas Vinerberg Starring: Michael Sheen, Carey Mulligan, Tom Sturridge and Matthias Schoenaerts Based on the literary classic by Thomas Hardy, it is the story of independent, beautiful and headstrong Bathsheba Everdene (Carey Mulligan), who attracts three very different suitors: Gabriel Oak (Matthias Schoenaerts), a sheep farmer, captivated by her fetching willfulness; Frank Troy (Tom Sturridge), a handsome and reckless sergeant; and William Boldwood (Michael Sheen), a prosperous and mature bachelor. This timeless story of Bathsheba’s choices and passions explores the nature of relationships and love—as well as the human ability to overcome hardships through resilience and perseverance. In theatres starting May 1, 2015.
INFINITELY POLAR BEAR Director: Maya Forbes Starring: Zoe Saldana and Mark Ruffalo
A manic-depressive mess of a father tries to win back his wife by attempting to take full responsibility of their two young, spirited daughters who don’t make the overwhelming task any easier. In theatres starting April 24, 2015.
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FIL M PREVIEWS INSIDIOUS: CHAPTER 3
Director: Leigh Whannell Starring: Dermot Mulroney, Stefanie Scott, Lin Shaye, Angus Sampson and Leigh Whannell The new chapter in the terrifying horror series is written and directed by franchise co-creator Leigh Whannell. This chilling prequel, set before the haunting of the Lambert family, reveals how gifted psychic Elise Rainier (Lin Shaye) reluctantly agrees to use her ability to contact the dead in order to help a teenage girl (Stefanie Scott) who has been targeted by a dangerous supernatural entity. In theatres starting the summer of 2015.
IRIS
Director: Albert Maysles Starring: Iris Apfel and Carl Apfel
This movie pairs legendary recently deceased documentarian Albert Maysles with Iris Apfel, the quick-witted, flamboyantly dressed 93-year-old style maven who has had an outsized presence on the New York fashion scene for decades. More than a fashion film, the documentary is a story about creativity and how, even in Iris’ dotage, a soaring free spirit continues to inspire. Despite the abundance of glamour in her current life, she continues to embrace the values and work ethic established during a middle-class Queens upbringing during the Great Depression. In theatres starting May 1, 2015.
LAMBERT AND STAMP Director: James D. Cooper Starring: Chris Stamp and Kit Lambert
Lambert and Stamp tells the remarkable story of Chris Stamp and Kit Lambert, aspiring filmmakers from opposite sides of the tracks who set out to find a subject for their underground movie, leading them to discover, mentor and manage the iconic band that would become known as The Who. In theatres starting in April 2015.
LITTLE BOY
Director: Alejandro Monteverde Starring: Emily Watson, Kevin James and Michael Rapaport A 7-year old boy is willing to do whatever it takes to end World War II so he can bring his father home. The story reveals the indescribable love a father has for his child and the love a son has for his father. In theatres starting April 24, 2015.
LOVE AND MERCY
Director: Bill Pohlad Starring: John Cusack, Elizabeth Banks, Paul Dano and Paul Giammatti In the late 1960s, reclusive Beach Boys songwriter and musician Brian Wilson finds himself in the midst of extraordinary success. From his successes with highly-influential orchestral pop albums to his nervous breakdown and subsequent encounter with controversial therapist Dr. Eugene Landy, a young Brian Wilson is played by Paul Dano, while the aging Wilson is played by John Cusack. The film also stars Elizabeth Banks and Paul Giamatti. In theatres starting June 5, 2015. summer 201 5
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FIL M PREVIEWS MR. HOLMES
Director: Bill Condon Starring: Ian McKellen, Milo Parker and Laura Linney Mr. Holmes is an American-British crime mystery directed by Bill Condon, based on the 2005 novel A Slight Trick of the Mind written by Mitch Cullin. The film stars Ian McKellen as Sherlock Holmes and Laura Linney as his housekeeper Mrs. Munro. In 1947, the long-retired Sherlock Holmes, aged 93, lives in a remote Sussex farmhouse with Mrs. Munro and her young son Roger. The retired Holmes reflects on his life while writing in his journals, tending to his bees and grappling with an unsolved case involving a beautiful woman. In theatres starting July 17, 2015.
SAINT LAURENT
Director: Bertrand Bonello Starring: Gaspard Ulliel, Jeremie Renier and Louis Garrel Synopsis: As one of history’s greatest fashion designers entered a decade of freedom, neither came out of it in one piece. In theatres starting May 8, 2015.
SELFLESS
Director: Tarsem Singh Starring: Ryan Reynolds, Natalie Martinez, Matthew Goode, Victor Garber, Derek Luke,Michelle Dockery and Ben Kingsley In this provocative psychological science-fiction thriller from the producers of Looper, an extremely wealthy man (Academy Award®-winner Ben Kingsley) dying from cancer undergoes a radical medical procedure that transfers his consciousness into the body of a healthy young man (Ryan Reynolds). But all is not as it seems when he starts to uncover the mystery of the body’s origin and the secret organization that will kill to protect its cause. In theatres starting June 5, 2015.
SOUTHPAW
Director: Antoine Fuqua Starring: Jake Gyllenhaal, Rachel McAdams and Rita Ora A boxer fights his way to the top only to find his life falling apart around him. In theatres starting July 31, 2015.
SUNSHINE SUPERMAN
Director: Marah Strauch Starring: Carl Boenish , Jean Boenish, Phil Smith and Phil Mayfield
A heart-racing documentary portrait of Carl Boenish, father of the BASE jumping movement, whose early passion for skydiving led him to ever more spectacular— and dangerous—feats of foot-launched human flight. Experience his jaw-dropping journey in life and love to the pinnacle of his achievements when he and wife Jean broke the BASE jumping Guinness World Record in 1984 on the Norwegian “Troll Wall” mountain range. Told through a stunning mix of Carl’s 16mm archive footage, well-crafted reenactments and state-of-the-art aerial photography, Sunshine Superman will leave you breathless and inspired. In theatres starting May 22, 2015.
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FIL M PREVIEWS TANGERINE
Director: Sean Baker Starring: Kiki Kitana Rodriguez, Mya Taylor and Karren Karagulian A working girl tears through Tinseltown on Christmas Eve searching for the pimp who broke her heart. In theatres starting July 10, 2015.
THE AGE OF ADELINE
Director: Lee Toland Krieger Starring: Blake Lively, Harrison Ford and Amanda Crew A young woman born at the turn of 20th century is rendered ageless after an accident. After years of a solitary life, she meets a man who might be worth losing her immortality. In theatres starting April 24, 2015.
THE MOON AND THE SUN
Director: Sean McNamara Starring: Pierce Brosnan, William Hurt, Benjamin Walker and Kaya Scodekario King Louis XIV’s quest for immortality leads him to capture and steal a mermaid’s life force, a move that is further complicated by his illegitimate daughter’s discovery of the creature. In theatres starting April 10, 2015.
THE SALT OF THE EARTH
Directors: Juliano Ribeiro Salgado, Wim Wenders Starring: Sebastião Salgado, Wim Wenders and Juliano Ribeiro Salgado
Wim Wenders’ mastery of the documentary form is again on display in The Salt of the Earth, a stunning visual ode to the photographer Sebastião Salgado, co-directed by the shutterbug’s docu-helmer son Juliano Ribeiro Salgado. Long recognized as one of the camera’s great artists, Sebastião’s sculptural use of light and space is combined with a deep empathy for the human condition, resulting in richly complex black-and-white images that capture the dignity within every subject. “Salt” guides the viewer on a visual odyssey through the photographer’s career, enriched by Wenders’ monochrome footage and Juliano’s color. For the last 40 years, the photographer Sebastião Salgado has been travelling through the continents in the footsteps of an ever-changing humanity. He has witnessed some of the major events of our recent history; international conflicts, starvation and exodus.
THE VATICAN TAPES
Director: Mark Neveldine Starring: Michael Peña, Djimon Hounsou, Kathleen Robertson and Dougray Scott This film relates the haunting tale of 27-year-old Angela Holmes, an ordinary girl who begins to have demonic manifestations. The local priest, Father Lozano, examines Holmes and believes she is possessed, but when Vicar Imani and Cardinal Bruun are called from the Vatican to exorcise the demon, it proves to be an ancient satanic force more powerful than they imagined. In theatres starting May 22, 2015.
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FIL M PREVIEWS THE WATER DIVINER
Director: Russell Crowe Starring: Russell Crowe, Jai Courtney, Olga Kurylenko and Isabel Lucas An Australian man travels to Turkey after the Battle of Gallipoli to locate his three missing sons. In theatres starting April 24, 2015.
THE WOLFPACK
Director: Crystal Moselle Starring: Bhagavan Angulo, Govinda Angulo, Jagadisa Angulo, Krsna Angulo, Mukunda Angulo and Narayana Angulo
Locked away from society in an apartment on the Lower East Side of Manhattan, the Angulo brothers learn about the outside world through the films they watch. Nicknamed “The Wolfpack,” the brothers spend their childhoods re-enacting their favorite films using elaborate homemade props and costumes. With no friends and living on welfare, they feed their curiosity, creativity and imagination with film, which allows them to escape from their feelings of isolation and loneliness. Everything changes when one of the brothers escapes and the power dynamics in the house are transformed. In theatres starting June 12, 2015.
TOMORROWLAND
Director: Brad Bird Starring: George Clooney, Britt Robertson and Hugh Laurie Bound by a shared destiny, a teen bursting with scientific curiosity and a former boygenius inventor embark on a mission to unearth the secrets of a place somewhere in time and space that exists in their collective memory. In theatres starting May 22, 2015.
TRUE STORY
Director: Rupert Goold Starring: Jonah Hill, James Franco and Felicity Jones When disgraced New York Times reporter Michael Finkel meets accused killer Christian Longo—who has taken on Finkel’s identity—his reporting job morphs into an unforgettable game of cat-and-mouse. Based on actual events, Finkel’s relentless pursuit of Longo’s true story encompasses murder, love, deceit and redemption. In theatres starting April 17, 2015.
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FIL M PREVIEWS UNFRIENDED
Director: Levan Gabriadze Starring: Cal Barnes, Matthew Bohrer and Courtney Halverson A group of online chat-room friends find themselves haunted by a mysterious and supernatural force using the account of their dead friend. In theatres starting April 17, 2015.
WHERE HOPE GROWS
Director: Chris Dowling Starring: Danica McKellar, Kerr Smith and William Zabka
Calvin Campbell is a former professional baseball player sent to an early retirement due to his panic attacks at the plate. Even though he had all the talent for the big leagues, he struggles with the curveballs life has thrown him. Today, he mindlessly sleepwalks through his days and the challenge of raising his teenage daughter. His life is in a slow downward spiral when it is suddenly awakened and invigorated by the most unlikely person—Produce, a young-man with Down syndrome who works at the local grocery store. Calvin slowly loses the chip on his shoulder as he begins to experience the world through Produce’s eyes. Faith, work, purpose and, most important, family blossom into Calvin’s life as their friendship develops. The unlikely pair becomes intertwined, giving Calvin’s life new meaning and purpose, but unfortunately leading to tragedy due to a single decision echoed from Calvin’s past.
WOMAN IN GOLD
Director: Simon Curtis Starring: Helen Mirren, Ryan Reynolds, Daniel Bruhl, Katie Holmes and Charles Dance This is a remarkable true story of one woman’s journey to reclaim her heritage and seek justice for what happened to her family. Sixty years after she fled Vienna during World War II, an elderly Jewish woman, Maria Altmann, starts her journey to retrieve family possessions seized by the Nazis, among them Klimt’s famous painting “The Lady in Gold.” Together with her inexperienced but plucky young lawyer Randy Schoenberg, she embarks upon a major battle which takes them all the way to the heart of the Austrian establishment and the U.S. Supreme Court and forces her to confront difficult truths about the past along the way. In theatres starting April 2015.
Z FOR ZACHARIAH
Director: Craig Zobel Starring: Margot Robbie, Chris Pine and Chiwetel Ejiofor In the wake of a nuclear war, a young woman (Margot Robbie) survives on her own, fearing she actually may be the proverbial last woman on earth, until she discovers the most astonishing sight of her life: another human being. A distraught scientist (Chiwetel Ejiofor), he’s nearly been driven mad by radiation exposure and his desperate search for others. A fragile, imperative strand of trust connects them. But when a stranger enters the valley (Chris Pine), their precarious bond begins to unravel. In theatres starting April 17, 2015.
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FOCUS FEATURES AND ENDGAME ENTERTAINMENT PRESENT A RAM BERGMAN PRODUCTION ATARSEM SINGH FILM RYAN REYNOLDS "SELFMUSIC EZ MATTHEW GOODE VICTOR GARBER DEREK LUKE AND BEN KINGSLEY /LESS" NATALIE MARTINCOSTUME CASTING PRODUCTION BY MARY VERNIEU, C.S.A. BY ANTONIO PINTO DESIGNER SHAY CUNLIFFE EDITOR ROBERT DUFFY DESIGNER TOM FODEN DIRECTOR OF EXECUTIVE PRODUCED PHOTOGRAPHY BRENDAN GALVIN PRODUCERS JULIE GOLDSTEIN DAVE POMIER LIA BUMAN BY RAM BERGMAN JAMES D. STERN PETER SCHLESSEL WRITTEN DIRECTED BY ALEX PASTOR & DAVID PASTOR BY TARSEM SINGH www.outlive.life
©2015 FOCUS FEATURES LLC, AND SHEDDING DISTRIBUTION, LLC. ALL RIGHTS RESERVED.
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