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3-Hour ‘Midsommar' Director's Cut Screened in NYC
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This year’s 12th edition of the Scary Movies festival at Film at Lincoln Center premiered Ari Aster’s extended version of “Midsommar” this past Saturday.

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Ryusuke Hamaguchi (‘Drive My Car’) To Direct Paris-Set Film ‘All of the Sudden’ With Virginie Efira

May 6, 2025 Jordan Ruimy

Recently, many non-French directors like Verhoeven, Linklater, Farhadi, Allen, and Polanski have been making films in France, drawn by the country’s strong support for filmmaking through grants and tax breaks, which make production easier for established auteurs. Here’s another one.

Last year, Ryusuke Hamaguchi’s “Evil Does Not Exist” was released in the U.S., and while that was happening, I reported that he had already begun working on his next film, to be shot in France.

According to Variety, Hamaguchi’s upcoming film, titled “All of the Sudden,” will be shot in Paris and will feature a stylish female lead duo, starring Virginie Efira (Benedetta) and Tao Okamoto (The Wolverine).

Currently in Paris gearing up for the film, Hamaguchi co-wrote the screenplay with Léa Le Dimna. The story draws loose inspiration from “Youn and I – The Illness Suddenly Gets Worse,” a book by Makiko Miyano and Maho Isono that compiles a series of real-life letters exchanged between the two authors.

“All of the Sudden” will mark Hamaguchi’s first production outside of Japan and Korea. Since “Drive My Car” won acclaim at Cannes and secured a Best Picture nomination at the Oscars, Hamaguchi has firmly established himself on the international stage.

Hamaguchi’s earlier films — the highly praised five-hour “Happy Hour” and the overlooked “Asako I & II” — helped lay the groundwork for his success. His other 2021 release, the captivating triptych “Wheel of Fortune and Fantasy,” is also worth watching; some even find it equal to or better than “Drive My Car.”

“Evil Does Not Exist” is available digitally. It’s a slow-burning film that rewards patient viewers with a powerful ending. Featuring long takes, scenic nature shots, and a gentle score by Eiko Ishibashi, it gradually unfolds its themes — and the payoff is shattering.

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