Woody Allen just screened “Coup de Chance” at the Venice Film Festival. What I’ve heard is positive, but that doesn’t mean it’ll necessarily translate into good reviews stateside.
Here’s Glenn Kenny reporting:
“Woody Allen is a pariah in the States but Europe still loves him. For the first time at a P&I screening the assembled broke out in warm applause at the written-and-directed credit for “Coup de Chance.” Ronan and company will need to up their efforts on the continent I guess.”
“Coup de Chance” is NOT “Match Point” redux. It’s framed in a substantially different way. And it’s universes better. Those are TWO points of dissimilarity.
“I suppose I have to regret to report that it’s the best thing he’s done in a while but there you go. In the “best since” contest my chips are laid on “Midnight in Paris,” 12 years ago. I wonder if having to write a script in a second language actually compelled him to, you know, do a second draft.”
At this morning’s press conference, Allen was asked whether he thinks he might ever make another film again, it turns out he has an idea for a film, set in New York, but he’s skeptical that he’ll ever be able to find funding for it:
“I’ve got a very good idea for [a film in] New York. And if some guy steps out of the shadows and says they’ll finance my film in New York and agree to my terrible restrictions — they can’t read the script, can’t know who’s in it … just give me the money and go away. If some foolish person agrees to that. I will make the film in New York.”
I doubt anybody will want to fund it, maybe he should stick to making films in Europe. “Coup de Chance” was financed by European money and stars all-French actors.
In an interview with Variety’s Elsa Keslassy, Allen was, obviousky, asked about the allegations thrown against him by Mia and Dylan Farrow and he again refers to the investigations in the ‘90s, which exonerated him:
“The situation has been investigated by two people, two major bodies, not people, but two major investigative bodies. And both, after long detailed investigations, concluded there was no merit to these charges.”
Keslassy seemed to be only marginally interested in Allen’s new film, more interested in his personal history. It’s an absolute disgrace of an interview. Didn’t Allen’s people do their research, knowing that Keslassy is not a fan of his? She writes —
“Allen’s tone and demeanor [shifted] noticeably,” she notes. “He was jovial and talkative when discussing his film and his love for French cinema classics, looking enraptured. [But] his mood suddenly turned gloomy, however, [when] I asked him to comment on Farrow, as well as the impact that her claims has had on his reputation in the U.S.
“By the end of our interview, Allen [had] became pensive, gazing off into space.”
Reviews for “Coup de Chance” will be published later today. Although I’ve heard good things about it from people attending Venice, I’m guessing U.S./U.K. critics will want to steer far away in praising this one.
Lars Von Trier is working on the 15th—and likely final—film of his career, “After,” and according to his producer, Peter Aalbæk Jensen, the screenplay is supposed to be completed this month