Now we have more details, and a trailer. Titled “Ali G: Who Iz I,” the film is set for a theatrical release from Amazo/MGM Studios on October 23, and will mark Cohen’s feature directorial debut.
Just five Cannes competition titles still seek U.S. distribution, four of them subpar, all French. The fifth, and easily the best film still without US studio attachment, is Ira Sachs’ “The Man I Love.”
McConaughey recently said that “How to Lose a Guy in 10 Days” is the movie that pays him the most in residuals—the ongoing “mailbox money” he receives from the film being shown, streamed, and rented.
Despite the Venice launch, “Company” has so far failed to land a berth at any of the major North American fall festivals. It was not announced by Toronto, Telluride or the New York Film Festival.
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.
Peter Bogdanovich’s peak streak of films in the 70s happened with 1971’s “The Last Picture Show,” 1972’s “What’s Up Doc,” and 1973’s “Paper Moon.” Ever since then? Nothing worth shouting about, some out and out disasters and a couple of victorious successes such as 1985’s “Mask” starring Cher.
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South Korea has selected Lee Chang-dong’s “Possible Love” as its submission for the Best International Feature Oscar, choosing it over Na Hong-jin’s “Hope.”