Poster for "Call Me by Your Name"

by Murtada

Call Me By Your Name, Luca Guadagnino's already wildly acclaimed gay romantic drama, was just announced for TIFF. It will probably play NYFF, too, on its way to a limited release on November 24, the sweet Thanksgiving spot for Oscar hopeful movies. And now the gorgeous poster for one of our most anticipated films of the year, has been revealed. See it in all its glory (plus more news about the film) after the jump...

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Feud 1.07 - Abandoned!

In the penultimate episode of the series, Bette gains creative control and Joan loses everything, while B.D. and Mamacita get out while they still can. Here's Jorge...

Feud doesn’t play favorites.  The show has done a good job (for the most part) at digging down into why these two screen legends acted the way they did towards each other. And they’ve made a point (over and over and over) that they were not as different as the world saw them; they were actually very similar, acting from the same place of desperation and clinginess to relevance.

In this week’s episode. Joan repeatedly boycotts the production of Hush, Hush… Sweet Charlotte, unable to cope with the creative control that Bette has over her as a producer. This eventually ends with her being fired from the picture, and Olivia de Havilland stepping in; the only actress willing to take her spot and also Bette's dear friend...

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Picture, Director, Screenplays ~ April Foolish Oscar Predix

by Nathaniel R

I've been rubbing my crystal ball vigorously backstage to bring you the new Oscar charts. Everything is up but the acting now Let's discuss our way too early April guesswork in these categories: PICTURE and DIRECTOR and SCREENPLAYS. Thoughts? Objections? Applause?

Which 2017 releases will Oscar voters fall hard for?

Perfect on paper
Looks right on paper for major Oscar love doesn't always translate to the real thing but I've fallen for the chances of this year's World War II dramas from Chris Nolan (Dunkirk) and Joe Wright (Darkest Hour). Curiously, though both men have helmed Best Picture nominees in the past, neither have been nominated for Best Director yet. So strange but I'm predicting both of them to get in. I'm also predicting Get Out to score a Best Picture, Best Screenplay and Best Film Editing nods. That might sound crazy but I don't think it is. As I've often said genre pictures need time with awards bodies to cement their worth. Jump in your time machine and I'll bet you people are still talking in glowing terms about Get Out in December and everyone starts rooting for its Oscar nomination because they've accepted that it's special...

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Feud: Bette and Joan. "Mommie Dearest"

Previously
Ch. 1 "Pilot"
Ch. 2 "The Other Woman" 

Feud's writing team is nothing if not devoted to playing to a single theme per episode. All but a couple of scenes in chapter 3 of Feud are devoted to the notion of mothering (though Victor Buono's more generous notion of "legacy" might have been a smarter move for retroactive potency). Or at least the show spends this hour playing with our pre-conceptions of the mothering skills of Bette Davis and Joan Crawford. That's evident in the way it pulls the episode title from the infamous Christina Crawford memoir that damned Joan forever in the public eye as a psychopath and child abuser. In one of the earliest scenes we even get a potent reminder of this memoir as Joan pretends she's not going to send Christina a card congratulating her on the opening of a play until she reads reviews, but then signs the card "Mommie Dearest," as soon as two of her other children are out of sight.

I know what you think of my mothering...

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Interview: Céline Sciamma on "My Life as a Zucchini" and life after "Girlhood"

The past couple of years have featured many conversations about the need for fresh voices of all races and genders and sexual orientations in the movies. Consider it a healthy sign for the future that when this conversation comes up, there are dozens and dozens of young directors out there to champion. Certainly one of the most exciting newish female writer/directors working is Céline Sciamma in France. In the past ten years she's established herself as a revelatory voice in the genre of coming-of-age films, starting with her César nominated debut Water Lilies (2007) and reaching a new level of critical interest and popularity with Girlhood (2014). But, in something of a left turn -- which she says is no left turn at all -- she hasn't been behind the camera this past year but behind the screenplays of two acclaimed pictures.

She cowrote Andre Techine's well received LGBT film Being 17 and this past weekend her latest film, her first to win an Oscar nomination, My Life as a Zucchini, opened in US theaters. You should definitely go see it. She adapted the screenplay for this charming melancholy story about orphans hoping to find a home from a novel by Gilles Paris. Our interview is after the jump...

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