Exclusive: André Holland (Passing), Kate Mara (Black Mirror), Zazie Beetz (The Harder They Fall) and Stephen McKinley Henderson (Beau Is Afraid) are set to star in The Dutchman, a psychological thriller based on the Obie Award-winning play by Amiri Baraka that has landed a SAG-AFTRA Interim Agreement.
Directing from his script written with filmmaker Qasim Basir is Andre Gaines, the Emmy-nominated multi-hyphenate behind Showtime’s 2021 documentary The One and Only Dick Gregory. Production kicks off in New York City September 25th, putting a group of 150 or so back to work.
Set on a New York subway, The Dutchman centers on an encounter between a well-to-do Black man and an enchanting white woman who match wits in a sexualized game of cat and mouse that leads to a violent conclusion. The searing confrontation amplifies the dimensions of racial conflict in America in this adaptation of the stage show first presented...
Directing from his script written with filmmaker Qasim Basir is Andre Gaines, the Emmy-nominated multi-hyphenate behind Showtime’s 2021 documentary The One and Only Dick Gregory. Production kicks off in New York City September 25th, putting a group of 150 or so back to work.
Set on a New York subway, The Dutchman centers on an encounter between a well-to-do Black man and an enchanting white woman who match wits in a sexualized game of cat and mouse that leads to a violent conclusion. The searing confrontation amplifies the dimensions of racial conflict in America in this adaptation of the stage show first presented...
- 9/18/2023
- by Matt Grobar
- Deadline Film + TV
Foreign films and a doc scored well in the Specialty arena this weekend. That isn’t something I get to write very often but it’s a pleasure when it happens. China Lion‘s Breakup Buddies, Tribeca Film‘s music doc Nas: Time Is Illmatic and Bollywood heavyweight Bang Bang all pulled in solid numbers when they debuted this weekend among U.S. speciality films.
By contrast, the weekend’s most notable U.S. indie debut, Jason Reitman‘s Men, Women & Children, took a dive in its first limited runs, while Radius-twc’s music documentary Keep On Keepin’ On again lived up to its name, gathering momentum in its third week.
That so-so start came even though Paramount seemingly did everything right for Men, Women & Children after a premiere at Toronto. The company created a marketing campaign that targeted both social networking-savvy young audiences and the traditional movie-going crowd. The...
By contrast, the weekend’s most notable U.S. indie debut, Jason Reitman‘s Men, Women & Children, took a dive in its first limited runs, while Radius-twc’s music documentary Keep On Keepin’ On again lived up to its name, gathering momentum in its third week.
That so-so start came even though Paramount seemingly did everything right for Men, Women & Children after a premiere at Toronto. The company created a marketing campaign that targeted both social networking-savvy young audiences and the traditional movie-going crowd. The...
- 10/5/2014
- by Brian Brooks
- Deadline
Even with another flood of specialty film debuts, The Skeleton Twins, the dramedy starring Kristen Wiig and Bill Hader, had another impressive box office showing in its third weekend. Meanwhile, another dozen films tried to elbow past last week’s 14 newcomers and numerous others already in the market, to middling success among those reporting.
Other than Twins, the holdovers that look like they’re gaining some autumnal momentum include IFC Films‘ The Trip To Italy with Steve Coogan and Rob Brydon, and more niche-oriented films such as American Experience/PBS Films’ doc Last Days In Vietnam and Oscilloscope’s Art And Craft. Starz Media also scored a robust gross for the second week of Not Cool, featuring YouTube star Shane Dawson, as it migrated east to New York and was also profiled on a Starz channel doc series.
CBS Films’ Pride can be proud of scoring the weekend’s highest average among new titles.
Other than Twins, the holdovers that look like they’re gaining some autumnal momentum include IFC Films‘ The Trip To Italy with Steve Coogan and Rob Brydon, and more niche-oriented films such as American Experience/PBS Films’ doc Last Days In Vietnam and Oscilloscope’s Art And Craft. Starz Media also scored a robust gross for the second week of Not Cool, featuring YouTube star Shane Dawson, as it migrated east to New York and was also profiled on a Starz channel doc series.
CBS Films’ Pride can be proud of scoring the weekend’s highest average among new titles.
- 9/28/2014
- by Brian Brooks
- Deadline
Music is at the core of two new Specialty features making their theatrical bows this weekend, albeit from rather different ends of the spectrum. XLrator Media will open Jimi: All Is By My Side focusing on the artist’s life in London in nearly three dozen theaters, while Samuel Goldwyn Films will bow faith-centered The Song in over 300 theaters, the biggest number of runs for a limited release newcomer this week. Magnolia Pictures will take thriller The Two Faces Of January starring Viggo Mortensen, Kirsten Dunst and Oscar Isaac to an initial half-dozen locations in the wake of its VOD release late last month and CBS Films is targeting the same number of runs for its Cannes ’14 feature Pride. Factory 25 is opening its art meets goth-rap thriller Hellaware and Cinema Libre will debut a former Swiss foreign-language Oscar contender The Little Bedroom in exclusive New York runs. The weekend is...
- 9/26/2014
- by Brian Brooks
- Deadline
Good Grief: Nuanced Dramatic Debut Lands Long Awaited Release in Us
Initially premiering at the Locarno Film Festival in 2010, the directorial debut of Stephanie Chuat and Veronique Reymond, The Little Bedroom, at last gets a Us theatrical release after four years. Picking up several accolades during its extended festival circuit tour, the film was Switzerland’s submission for Best Foreign Language Film back in 2011. Notably, it may be one of the last chances to see Michel Bouquet in a lead role (though he’s also in 2012’s celebrated Renoir, which France submitted for the same accolade in 2013). An intersection of two individuals during a period of increasing desperation, both refusing to accept an innate truth about the present state of their situations, it’s a quietly affecting and genuinely moving portrait of grief, reconciliation, and the cruel inevitably of aging.
Having given birth to a stillborn child only several months ago,...
Initially premiering at the Locarno Film Festival in 2010, the directorial debut of Stephanie Chuat and Veronique Reymond, The Little Bedroom, at last gets a Us theatrical release after four years. Picking up several accolades during its extended festival circuit tour, the film was Switzerland’s submission for Best Foreign Language Film back in 2011. Notably, it may be one of the last chances to see Michel Bouquet in a lead role (though he’s also in 2012’s celebrated Renoir, which France submitted for the same accolade in 2013). An intersection of two individuals during a period of increasing desperation, both refusing to accept an innate truth about the present state of their situations, it’s a quietly affecting and genuinely moving portrait of grief, reconciliation, and the cruel inevitably of aging.
Having given birth to a stillborn child only several months ago,...
- 9/25/2014
- by Nicholas Bell
- IONCINEMA.com
In their affecting debut film, set in Switzerland, co-writer-directors Stéphanie Chuat and Véronique Reymond take on grief and aging, two of life's — and cinema's — most challenging themes. Months after the death of her unborn child, Rose (Florence Loiret Caille) returns to work as a home care nurse, and is immediately challenged by Edmond (Michel Bouquet), an increasingly frail old man who refuses to give up his independence. Rose won't speak of her loss, while Edmond is simply indomitable, and it's their shared refusal to give in to careless emotion that draws the two together. Chuat and Reymond also share a desire to avoid melodrama, which makes The Little Bedroom an undeniably slow build. The screenplay is built of small moments and...
- 9/24/2014
- Village Voice
I'm not sure what the cutoff date is for from the individual countries for the Foreign Language Film nominations, but Sony Pictures Classics are glad to see Canada select Denis Villeneuve's Incendies. The company now has three horses in the race and once again, places the distributor in a pretty good position to grab the most of the spots in the final five nominations. Their solid trio so far includes: the Villeneuve film that played at Venice, Telluride and Tiff with Cannes items Xavier Beauvois' Of Gods and Men and Olivier Schmitz's Life, Above All. Having seen all three mentioned titles, I can say that this will please Academy voters. Cross your fingers for Dogtooth folks. Algeria: Outside the Law, Rachid Bouchareb Austria: La Pivellina, Tizza Covi and Rainer Frimmel Azerbaijan: The Precinct, Ilgar Safat Belgium: Illègal, Olivier Masset-Depasse Bosnia and Herzegovina: Circus Columbia, Danis Tanovic Bulgaria: Eastern Plays,...
- 9/22/2010
- IONCINEMA.com
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.