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In Depth Look: Un Certain Regard’s Puiu, Nakata, Xiaoshuai, Cianfrance, Kocsis and Hochhausler

When Hideo Nakata was mentioned as a possibility, and then named today, I honestly thought it was a misprint and that they mislabeled the pic - but I think we can elevate our expectation level for Chatroom because of scribe Enda Walsh's participation in the project -- she penned Steve McQueen's debut film which I mentioned above. I predicted a healthy Hungarian presence this year, and Ágnes Kocsis' Adrienn Pál is the first mention for that country.

Mother Wins Best Picture at the 4th Asian Film Awards

Korea’s Mother won the top honor at the 4th Asian Film Awards, picking up Best Picture, while Chinese and Hong Kong films sweeped the other major award categories. After the grand opening of HKIFF on Sunday night, the ceremony has been held on the following day, adding an extra kick to the film festival. Bong Joon-ho’s murder mystery predictably won in a category that has previously been dominated by Korean films.

35th Cesars: A Prophet Sweeps the Cesars with Nine Wins

No surprises at the 35th Cesars, as A Prophet cleaned up in all major categories it was nominated in: Best Film, Best Director (Audiard), Best Original Screenplay, Best Cinematography (Stephane Fontaine), Best Editing (Juliette Welfling), Best Art Direction (Michel Barthelemy) and last but not least, one of my top 5 performance of the year, Niels Arestrup won for Best Supporting...

Kaplanoglu’s ‘Honey’ Claims Golden Bear

What do Central Station (1998), The Thin Red Line (1999) and Paul Thomas Anderson's Magnolia (2000) all have in common? They were awarded the top honor at the Berlin Film Festival and you can add Honey, the final leg in Semih Kaplanoglu's trilogy which commenced with Egg and last year's Milk, to that grouping.

Remains of the Day: Christopher Doyle at TIFF, Ballast on VOD, Barthes on Charlie Rose

Christopher Doyle's "Picture Start" (Doyle (Happy Together) reconsiders how images evolve before the director’s call to “action” and what happens to them after the “cut.” Doyle superimposes directives from traditional film leader on to the processed still film and filmmaking images he has created during his extensive career.

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