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Before Hollywood takes the spotlight this weekend, the film world turns its eyes to France for the annual Cesar Awards. Presented by the French Academy, this year’s nominees represent a distinct blend of international favorites, festival standouts and homegrown hits.

Paul Verhoeven’s “Elle” led this year’s nominees, scoring 11 nominations for Verhoeven as Best Director, lead actress Isabelle Huppert, Best Adapted Screenplay and a trio of other acting awards.

Read More: ‘Elle,’ Isabelle Huppert, Xavier Dolan Nominated in France’s Cesar Awards

The evening’s winners at Paris’ Salle Pleyel featured a variety of upsets and sure things. Huppert, going into a busy weekend in the States, won her category. In a pair of surprises, Xavier Dolan and Gaspard Ulliel both won their respective categories for Dolan’s “It’s Only the End of the World.” Houda Benyamina’s debut feature “Divines” also won big, taking home prizes for Best First Film,...

France’s film community congratulated Isabelle Huppert on her Oscar nomination, adding yet another to her growing list of accolades for her performance in “Elle.” The French Academy announced its nominees for what Americans call the “French Oscars” on Wednesday morning. “Elle” received 11 nominations in total, including best film and best director for Paul Verhoeven.

Following in a close send was Francois Ozon’s “Frantz,” which garnered 10 nominations, and Bruno Dumont’s “Slack Bay,” which received nine. Xavier Dolan received a best director nomination for “It’s Only the End of the World.” Actors Vincent Cassel, Gaspard Ulliel, and Nathalie Baye were all nominated for their work in Dolan’s film as well.

Read More: Oscars 2017 Surprises and Snubs: Amy Adams and ‘Weiner’ Out, Mel Gibson and ‘Passengers’ In

The Cesars have little import on the Oscars, though there is often some crossover. The French Academy did recognize Kenneth Lonergan...

There are a multitude of reasons why any film may get unfairly overlooked. It could be a lack of marketing resources to provide a substantial push, or, due to a minuscule roll-out, not enough critics and audiences to be the champions it might require. It could simply be the timing of the picture itself; even in the world of studio filmmaking, some features take time to get their due. With an increasingly crowded marketplace, there are more reasons than ever that something might not find an audience and, as with last year, we’ve rounded up the releases that deserved more attention.

Note that all of the below films made less than $1 million at the domestic box office at the time of posting — VOD figures are not accounted for, as they normally aren’t made public — and are, for the most part, left out of most year-end conversations. Sadly, most...

“A cinematographer is a visual psychiatrist — moving an audience through a movie […] making them think the way you want them to think, painting pictures in the dark,” said the late, great Gordon Willis. As we continue our year-end coverage, one aspect we must highlight is, indeed, cinematography, among the most vital to the medium. From talented newcomers to seasoned professionals, we’ve rounded up the examples that have most impressed us this year. Check out our rundown below and, in the comments, let us know your favorite work.

Arrival (Bradford Young)

At this point, it would be unfair to call Bradford Young an up-and-coming cinematographer. While it’s an accurate description in terms of his relative years behind the camera, the caliber of his work already feels like one of the most accomplished in the genre. Ahead of a Han Solo prequel, he got his first taste with sci-fi thanks to Denis Villeneuve‘s Arrival.

1. CosmosAdam Maida’s silent scream for Andrzej Zulawski’s swansong Cosmos is a poster that cries out to be noticed. Channeling the starkest of Polish poster design—think Mieczyslaw Wasilewski or Andrzej Pagowski—Maida’s design is as deceptively crude as it is beautifully executed. I love everything about this poster, down to its hand-lettering, that tiny hanged bird and the even tinier—nice if you can get away with it—billing block. Maida’s witty, diagrammatic work has already graced Criterion covers for Nagisa Oshima’s Death by Hanging, John Frankenheimer’s The Manchurian Candidate, and Costa-Gavras’s The Confession and State of Siege, but it is his eye-catching black-and-white editorial illustration/montages for the New York Times that this most reminds me of. You can see more of his work here.2. The HandmaidenTrees and a hanging also feature heavily in my second favorite poster of the year: an...

Every week we dive into the cream of the crop when it comes to home releases, including Blu-ray and DVDs, as well as recommended deals of the week. Check out our rundown below and return every Tuesday for the best (or most interesting) films one can take home. Note that if you’re looking to support the site, every purchase you make through the links below helps us and is greatly appreciated.

Cosmos (Andrzej Żuławski)

If there’s any way to synthesize the many pieces that form the bull-in-a-china-shop filmmaking that is Andrzej Żuławski‘s Cosmos, an adaptation of Witold Gombrowicz‘s novel, consider its status as his first feature in fifteen years. Might some sense of long-awaited release account for its why and how — the intensity of its performances, the force of its camera moves, the sharpness of its cuts, the bombast of its emotions? I’m inclined to think so,...

Editor’s Note: After a two-week vacation break, we are back with an expanded selection to catch up on what we missed! Enjoy below.

With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit platforms. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon, and more (note: U.S. only). Check out our rundown for this week’s selections below.

13th (Ava DuVernay)

Humanity gave birth to inequality. The American experience is rooted in institutionalized racial inequity. Our forefathers came to this nation either by choice or by force. Once here, this distinction coalesced into a convoluted caste system driven by notions of survival and supremacy,...

★★★☆☆ Prepare to be well and truly bamboozled. Attaining maddening, yet fascinating, levels of abstraction and ambiguity, Cosmos is the final feature from Polish auteur Andzrej Zulawski, who passed away in February. His last project is nigh on impossible to fully comprehend; an unclassifiable, existential mind-bender which takes us down the rabbit hole of human nature and thought via the warped psyche and piercing, goggly eyes of law school drop out and aspiring novelist, Witold (Jonathan Genet). Imagine Withnail and I after something a little more potent than two double gins and a pint of cider.

“‘2016 is a bad year for film’ is just another way of saying ‘I really blew it when I chose what films to watch in 2016,'” producer Keith Calder recently said. Taking this statement to heart, as summer winds down, there’s no shortage of writing about how the season was a disappointment overall — but, on the contrary, there have been gems throughout the last four months, and we’ve set out to name our favorites.

All of the below films received at least one-week theatrical runs in the United States from May to August, and while some are still in theaters, many are now currently available to stream. Check out our favorites below and let us know what you most enjoyed this summer. One can also see our fall preview series, which just kicked off this week, here.

A Bigger Splash (Luca Guadagnino)

Despite a loose script that justifies little,...

This article was produced as part of the Locarno Critics Academy, a workshop for aspiring journalists at the Locarno Film Festival, a collaboration between the Locarno Film Festival, IndieWire and the Film Society of Lincoln Center with the support of Film Comment and the Swiss Alliance of Film Journalists. The following interview, conducted by a member of the Critics Academy, focuses on a participant in the affiliated Filmmakers Academy program at the festival.

With no prior film education, filmmaker Wei Liang Chiang relocated to Taiwan to participate in the sixth Golden Horse Film Academy under the mentorship of filmmakers Hou Hsiao-hsien and Arvin Chen. Like his cinematic mentors, Chiang’s work, varying from realist portraits to melodramas, captures the intersection of the personal and political with patience and warmth.

His 2015 film, “Anchorage Prohibited,” won the Audi Short Film Award at the 66th Berlin International Film Festival. Comprised of long takes and minimal dialogue,...

It’s only June and it already feels like the dog days of summer. No breakouts. A slew of niche titles, including several documentaries. This week’s standout is Sundance doc hit “Tickled” (Magnolia), which is showing some potential.

This week’s range of titles is wide and diverse. Some boast high festival and/or review pedigrees, and many come from distributors who aren’t reporting numbers (we offer estimates; “Parched,” an Indian indie from Wolfe Releasing and “2016 Sundance Film Festival Short Film Tour” remained elusive).

Meantime, “Love & Friendship” (Roadside Attractions) and “The Lobster” (A24) continue to thrive ahead of other recent releases and “Maggie’s Plan” (Sony Pictures Classics) keeps going, along with doc standout “Weiner” (IFC).

Opening

“Tickled” (Magnolia) – Metacritic: 77; Festivals include: Sundance, San Francisco, Seattle 2016

$24,000 in 2 theaters; PTA (per theater average): $12,000

After its strong reaction contending at Sundance’s World Documentary competition, this expose of the...

Earlier this year, the film world lost one of its truly unsung icons. On February 17, director Andrzej Zulawski passed away, leaving behind not only a filmography of some of cinema’s most singular works but a critically beloved festival darling that had yet to arrive in theaters stateside. Now, beginning this weekend exclusively at The Metrograph in New York City, Zulawski’s last film is finally available to general audiences, and is without a doubt the most delightfully off-kilter picture you’re bound to see all year.

Entitled Cosmos, the picture may sound as though its eyes are set to the heavens, but with a tight runtime of just a pinch under 100 minutes, this is a ground level, if delightfully histrionic melodrama in the vein of Zulawski’s very best films. Standing as a perfect culmination of everything that made the director an auteur of entirely singular vision, Cosmos opens...

2016 will be a very rich year if it offers even one other film as brazenly and convincingly out-there as Andrzej Żuławski‘s Cosmos, a melange of mysterious figures, strange events, bizarre gestures, and hilarious non-sequiturs fueled by restless temperament. Exhausting and widely entertaining, it constitutes a very fitting final transmission from one of the world’s most idiosyncratic directors.

Americans will be able to see Cosmos in just a handful of weeks — thus necessitating the release of a domestic trailer. I really do think it’s best to enter this one essentially blind, but this quick, mostly context-derived collection of moments makes for an effective preview; as I said in my review, “Almost anything can only be comprehended if seen as part of a continuum; as individual moments, they’d ring meaningless or insignificant.” You know what you’re getting and nothing is given away.

See the preview below:

Synopsis:...

Earlier this year, Polish filmmaker Andrzej Zulawski — perhaps best known for cult film favorites like “The Devil” and body horror frenzy “Possession” — passed away at the age of 75. But he left one more gift for cinephiles in “Cosmos,” and after earning acclaim on the festival circuit last year, the movie is hitting stateside cinemas, and […]

The post Exclusive: U.S. Trailer For Andrzej Zulawski’s Final Film ‘Cosmos’ appeared first on The Playlist.

“There is in every one of us, even those who seem to be most moderate, a type of desire that is terrible, wild, and lawless.”—The Republic, Book IX 572bWhat’s the best way to describe the mania of an Andrzej Żuławski film? William Grimes, eulogizing Żuławski for The New York Times chose “emotionally savage.” J. Hoberman used “hyperkinetic,” “frenzied,” and “‘awful’ in its root sense of inspiring dread. Daniel Bird, writing about the most recent Lincoln Center screenings in New York, chose “deeply disturbing.” These descriptors make perfect sense after experiencing a Żuławski film, but I’ve never been able to sell his films to a newcomer this way. How could I? They’re much too primal for adjectives in our delicate English language, crafted to communicate Enlightenment-era ideas in a pleasing series of vibrations. The intensity of this director’s films could only be described in some sort of ancient Lovecraftian squelching,...

Andrzej Żuławski. Photo by Isabelle Vautier.How does one translate into film the books by Witold Gombrowicz, who ranks among the greatest modernists of the 20th century? Few have actually dared. Whereas Peter Lilienthal’s adaptation for television of Pornografia (Die Sonne angreifen, 1971) has been all but consigned to oblivion, the famed Polish director Jerzy Skolimowski went on a 17-year hiatus following his failed adaptation of Ferdydurke (30 Door Key, 1991). However, the opposite holds true for Andrzej Żuławski, who came out of a 15-year pause to adapt for the screen Gombrowicz’s fourth novel Cosmos (1965), also his last and most complex. Unfortunately, it became a farewell work for Żuławski as well. What kind of cosmos is it? First and foremost, it’s the bizarre microcosm of a boarding house where the young writer Witold (Jonathan Genet) arrives with his friend Fuchs (Johan Libéreau) in tow to finish his novel The Haunted.

Andrzej Zulawski lost his battle with cancer last week, adding his name to mounting number of cultural icons who passed away this year. His death came as a shock especially to New York cinephiles, who's been waiting patiently for the chance of seeing Cosmos, his new film in 15 years, ever since it made a world premiere at Locarno Film Fest last year. When the good folks at Film Society of Lincoln Center announced the roster for this year's Film Comment Selects series, I was overjoyed that Zulawski's new film was included. Incidentally, they also added A Spotlight on Zulawski, a mini-retro consists of his digitally restored Polish films, including the seldom seen Sci-fi epic, On The Silver Globe. The good news is that Kino Lorber...

[Read the whole post on twitchfilm.com...]...

Andrzej Zulawski lost his battle with cancer last week, adding his name to mounting number of cultural icons who passed away this year. His death came as a shock especially to New York cinephiles, who's been waiting patiently for the chance of seeing Cosmos, his new film in 15 years, ever since it made a world premiere at Locarno Film Fest last year. When the good folks at Film Society of Lincoln Center announced the roster for this year's Film Comment Selects series, I was overjoyed that Zulawski's new film was included. Incidentally, they also added A Spotlight on Zulawski, a mini-retro consists of his digitally restored Polish films, including the seldom seen Sci-fi epic, On The Silver Globe. The good news is that Kino Lorber...

[Read the whole post on twitchfilm.com...]...

No other filmmaker fuses hysteria and contemplation like Andrzej Zulawski. The director is most often represented by his 1981 film "Possession," an emotionally fraught breakup movie in which a tentacled monster is part of a love triangle. That film has recently enjoyed a critical upswing after years as a cult favorite. He made only twelve features between 1971 and 2000, but those movies are remarkably consistent explorations of a core set of ideas about love, honestly and responsibility, the interrelated nature of personal and political lives, and the many transcendent and often terrifying ways in which emotions burst through any barrier as lives collide. Watch: New Trailer For 'Cosmos,' Andrzej Zulawski's First Film In 15 Years Just hours after the announcement that "Cosmos," his thirteenth feature and his first in fifteen years, had secured U.S. distribution, Andrzej Zulawski died due to a battle with cancer. He was 75. What was briefly a reason to.

Even as we gather remembrances of Andrzej Zulawski, who passed away last night at the age of 75, this year's edition of Film Comment Selects opens today with a Spotlight on the Polish director and novelist. Cosmos screens on Friday and new restorations of The Third Part of the Night, The Devil and On the Silver Globe follow. There'll also be a Spotlight on Charles Bronson, with screenings of Tom Gries's Breakout and René Clément's Rider on the Rain on Sunday. We're gathering film scholar Daniel Bird's thoughts on working with him plus reviews of other films in the series: Aleksei German Jr.'s Under Electric Clouds, Marco Bellocchio's Blood of My Blood, Damien Odoul’s The Fear and Kianoush Ayyari's The Paternal House. » - David Hudson...

Even as we gather remembrances of Andrzej Zulawski, who passed away last night at the age of 75, this year's edition of Film Comment Selects opens today with a Spotlight on the Polish director and novelist. Cosmos screens on Friday and new restorations of The Third Part of the Night, The Devil and On the Silver Globe follow. There'll also be a Spotlight on Charles Bronson, with screenings of Tom Gries's Breakout and René Clément's Rider on the Rain on Sunday. We're gathering film scholar Daniel Bird's thoughts on working with him plus reviews of other films in the series: Aleksei German Jr.'s Under Electric Clouds, Marco Bellocchio's Blood of My Blood, Damien Odoul’s The Fear and Kianoush Ayyari's The Paternal House. » - David Hudson...

Le Monde is among the many French papers reporting today that Polish director and novelist Andrzej Zulawski passed away last night, succumbing at the age of 75 to his battle with cancer. Just yesterday, news broke that Kino Lorber would be bringing Cosmos, Zulawski's first feature in 15 years, which premiered last year in Locarno, where it won the best director award, and has just screened in Berlin's Critics' Week, to the Us. During his years in France, Zulawski worked with the likes of Romy Schneider, Isabelle Adjani and Sophie Marceau. J. Hoberman in the New York Times: "His movies are seldom more than a step from some flaming abyss, with his actors (and audience) trembling on the edge." » - David Hudson...

Le Monde is among the many French papers reporting today that Polish director and novelist Andrzej Zulawski passed away last night, succumbing at the age of 75 to his battle with cancer. Just yesterday, news broke that Kino Lorber would be bringing Cosmos, Zulawski's first feature in 15 years, which premiered last year in Locarno, where it won the best director award, and has just screened in Berlin's Critics' Week, to the Us. During his years in France, Zulawski worked with the likes of Romy Schneider, Isabelle Adjani and Sophie Marceau. J. Hoberman in the New York Times: "His movies are seldom more than a step from some flaming abyss, with his actors (and audience) trembling on the edge." » - David Hudson...

Plus: Donne Yen joins xXx reboot; Film Movement acquires The Ardennes; Kino Lorber finds Cosmos; and more…

Gale Anne Hurd, Joe Swanberg, Don Cheadle, Joel Edgerton, Gaby Hoffmann, Joe Berlinger and Barbara Kopple are among the keynotes and on-stage conversation stars featuring at SXSW. The festival and conference runs in Austin, Texas, from March 11-19. For full details click here.

Martial arts star Donnie Yen has been cast as the villain opposite Vin Diesel in xXx: The Return Of Xander Cage for Revolution Studios, Roth Kirschenbaum Films, One Race Films and Paramount Pictures. Production is set to begin this month in Toronto and the Dominican Republic.Kino Lorber has picked up North American rights to Andrzej Żuławski’s Locarno 2015 best director winner Cosmos ahead of its Us premiere at the Film Comment Selects series in New York on Wednesday. The distributor brokered the deal with producer Paulo Branco of Alfama Films.Film Movement has acquired...

Plus: Donne Yen joins xXx reboot; Film Movement acquires The Ardennes; Kino Lorber finds Cosmos; and more…

Gale Anne Hurd, Joe Swanberg, Don Cheadle, Joel Edgerton, Gaby Hoffmann, Joe Berlinger and Barbara Kopple are among the keynotes and on-stage conversation stars featuring at SXSW. The festival and conference runs in Austin, Texas, from March 11-19. For full details click here.

Martial arts star Donnie Yen has been cast as the villain opposite Vin Diesel in xXx: The Return Of Xander Cage for Revolution Studios, Roth Kirschenbaum Films, One Race Films and Paramount Pictures. Production is set to begin this month in Toronto and the Dominican Republic.Kino Lorber has picked up North American rights to Andrzej Żuławski’s Locarno Silver Leopard winner Cosmos ahead of its Us premiere at the Film Comment Selects series in New York on Wednesday. The distributor brokered the deal with producer Paulo Branco of Alfama Films.Film Movement has acquired...

Kino Lorber has acquired North American rights to Cosmos, the first feature film in 15 years from Polish director Andrzej Żuławski, whose horror pic Possession starring Sam Neill and Isabelle Adjani played at Cannes in 1981. The indie distributor plans a theatrical release this summer before a VOD rollout in the fall. Adapted by Witold Gombrowicz’s absurdist novel, Cosmos centers on Witold (Jonathan Genet), who has just failed the bar, and his companion Fuchs (Johan…...

Kino Lorber has acquired all North American distribution rights to celebrated Polish filmmaker Andrzej Żuławski's "Cosmos." The movie, a dark adaptation of Witold Gombrowicz's absurdist novel of the same name, marks the director's first feature in 15 years. Żuławski won the Best Director prize at the Locarno Film Festival last year, where the film had its world premiere. The movie was also an official selection at the 2015 Toronto International Film Festival. Read More: Locarno Review: Andrzej Zulawski's First Film in 15 Years, 'Cosmos,' Delivers the Crazy The film's official synopsis reads: "Witold (Jonathan Genet), who has just failed the bar, and his companion Fuchs (Johan Libéreau), who has recently quit his fashion job, are staying at a guesthouse run by the intermittently paralytic Madame Woytis (Sabine Azéma). Upon discovering a sparrow hanged in the woods near the house, Witold’s reality mutates into a whirlwind of...

As always, a number of deserving film festival entries are stragglers in need of distribution or funneled away by buyers to be released in the following year. One of the downsides of attending a number of film fests is seeing great cinema sometimes plopped unceremoniously into a limited theatrical (or even VOD) release over a year later without any traction. And if a film happened to receive a cold shoulder at a prestigious venue like Cannes the chances of convincing audiences otherwise is a difficult feat.

Happily, all but two titles from this list currently have Us distribution (and with a little luck, someone will eventually get around to snapping those up, too). A thankful shout out to the following distributors is in order, with Strand Releasing responsible for three of the titles, while Kino Lorber, Sundance Selects, Drafthouse, A24, and Alchemy make up the others. Until then, here’s...

At the halfway point of December, there are, to put it lightly, many end-of-year lists hitting the web, and few publications have round-ups as consistently excellent as Film Comment‘s. (“Consistently excellent” translates to “aligns with my specific taste,” of course.) Their 20-film selection represents the year rather nicely, from the widely seen and frequently listed (e.g. Mad Max: Fury Road and Inside Out) landing among some of our limited-release favorites, including Timbuktu, The Assassin, and Jauja. As editor Gavin Smith says, “That balance, which happens to be encapsulated in the top five in micro form, feels about right for the agenda of this magazine, which, since the very beginning, has been to champion the best in cinema wherever it hails from, all creatures great and small. Since we managed to run features on 11 of these and sung the praises of another five, it’s a pleasure to close...

If there’s any way to synthesize the many pieces that form the bull-in-a-china-shop filmmaking that is Andrzej Żuławski‘s Cosmos, an adaptation of Witold Gombrowicz‘s novel, consider its status as his first feature in fifteen years. Might some sense of long-awaited release account for its why and how — the intensity of its performances, the force of its camera moves, the sharpness in its cuts, the bombast of its emotions? I’m inclined to think so, but it’s possible I’m only proposing this in search of a “what” — what’s going on, what he was thinking, and what we’re meant to take from any and all of it. Answers, if they do come at all, will only gradually present themselves, and they won’t arrive via exposition or, with some exception, clearly stated themes. A filmmaker who values the power of shock, but not necessarily thrills for thrills’ sake,...

It’s been a long fifteen years since Polish filmmaker Andrzej Zulawski has had a movie in theatres, but for fans of the mad genius behind bizarro cult films like “The Devil” and the truly unsettling body horror freakout “Possession,” the wait is now officially over. The trailer for what some are calling a sort of unconventional comeback vehicle for the reputed director is here, and it’s an odd bit of business with the title of “Cosmos” (itself based on a novle by Witold Gombrowicz). The result is as bold, stylish and weird as longtime fans of the director’s would no doubt hope it to be. Ostensibly the story of a series of bizarre happenings that plague two friends staying at a house in the countryside, “Cosmos” looks to be, like many of the director’s older films, an usual tonal blend: pitched somewhere in between camp and realism,...

It may be sans subtitles, but the latest preview for Andrzej Zulawski‘s Cosmos is a visual delight — arguably one made all the more lucid by its incomprehensibility. First reviews out of Locarno were largely positive, if not a bit befuddled by the whole thing — which is often how people react to the Possession auteur, if we’re being honest — and I think, speaking uninformed, you can get some sense of their reactions within.

Since we’re still awaiting any news concerning distribution in the United States, this, along with some clips, might be the closest we get for a little while. (Unless you, like I, will be traveling to Poland’s Camerimage later this month, where it’ll screen; I can at least sit you down over some beers and describe the thing shot-for-shot when timing’s right.) Judging by what’s been seen, we are (eventually) in store for an overwhelming experience.

In the nine consecutive years I’ve attended the Toronto International Film Festival, it remains an elusive monstrosity of an event. With its hundreds of offerings, it’s a gluttonous buffet for the committed cineaste, a playground of auteurs mixed with unknown quantities. Even after having attended Sundance and Cannes, navigating the selections still somehow feels like ‘catching up’ with entries from Berlin, Locarno, and the concurrent Venice. And, therefore, everyone’s Toronto experience is bound to seem a bit different, even as streamlined as the festival is as it remains one of the most press and public friendly film festivals in existence.

Of course, there’s always complaints (or questions) as to what doesn’t make an appearance at the festival, and we’re always subject to the tastes of various programmers. For instance, why exactly room could not have been made for Polish master Andrzej Zulawski’s first...

Read More: The 2015 Indiewire Locarno Bible: Every Review, Interview and News Item Posted During Run of Festival South Korean director Hong Sang-soo's "Right Now, Wrong Then" took home three awards at this year's Locarno Film Festival, including the Golden Leopard in its International Competition. The director took home the Golden Leopard for Best Direction the first time two years ago for his film "Our Sunhi." Check out all of this year's winners below: 2015 Locarno Film Festival Winners: International Competition Golden Leopard "Right Now, Wrong Then"- Director: Hong Sang-soo Special Jury Prize "Tikkun"- Director: Avishai Sivan Best Direction "Cosmos"- Director: Andrzej Zulawski Best Actress Tanaka Sachie, Kikuchi Hazuki, Mihara Maiko and Kawamura Rira for "Happy Hour" Best Actor Jung Jae-Young for "Right Now, Wrong Then" Special Mention Script of "Happy Hour" by Hamaguchi...

The 68th Locarno International Film Festival wound to a close yesterday and offered its top prize to a Korean film for the first time, in what was a strong night overall for Asian features. Two years after picking up the Best Director (Silver Leopard) prize for Our Sunhi, Hong Sangsoo was awarded the Golden Leopard for his 17th film Right Now, Wrong Then (read Twitchfilm's review here). The film's star Jung Jae-young was also recognized with the Best Actor Prize from the Swiss Fest. Best Director went to Polish cineaste Andrzej Zulawski for Cosmos, his first film in 15 years, while the Special Jury Prize was won by Isreali filmmaker Avishai Sivan for Tikkun, which also received a special mention for its cinematography. Hamaguchi's Ryusuke's...

[Read the whole post on twitchfilm.com...]...

Top Locarno Film Festival prize for Hong Sang-soo for Right Now, Wrong Then Photo: Locarno Film Festival South Korean director Hong Sang-soo has won the top prize at the 68th Locarno Film Festival for his bitter sweet romance Right Now, Wrong Then (Jigeumeun matgo geuttaeneun teullida).

Jeong Jae-yeong and Kim Min-hee star as a film director and aspiring painter who meet and spend the same day together, twice. Apparently the director shot and edited the first part, screened it for the actors and then filmed the second part with them in the same locations.

The Competition jury, comprising among others actor Udo Kier and Scarecrow director Jerry Schatzberg also rewarded the film’s leading man Jung Jae-young with a best actor accolade.

The director was previously named best director at Locarno two years ago for Our Sunhi.

This year the best director award went to the veteran Polish director...

The Golden Leopard of Locarno Film Festival’s 68th edition went to Right Now, Wrong Then by South Korea’s Hong Sang-soo.Scroll down for full list of winners

The top award comes two years after Sang-soo picked up the Leopard for Best Direction for his previous feature, Our Sunhi.

A previous winner of Locarno’s top award from South Korea was Bae Yong-kyun for Why Has Bodhi-Dharma Left for the East? (Dalmaga dongjogeuro gan kkadalgeun) in 1989.

Right Now, Wrong Then – which is handled internaitonally by Fine Cut - also received the Best Actor Leopard for Jung Jae-Young and a Special Mention from the Ecumenical Jury.

The International Jury – which included German actor Udo Kier, Israeli filmmaker Nadiv Lapid and veteran Us director Jerry Schatzberg awarded its Special Jury Prize to Avishai Sivan for Tikkun, and the Leopard for Best Direction to the veteran Polish director Andrzej Zulawski for Cosmos, his first film...

The international competition jury of the 68th Locarno Film Festival—Udo Kier, Nadav Lapid, Daniela Michel, Moon So-ri and Jerry Schatzberg—has awarded the Golden Leopard to Hong Sang-soo's Right Now, Wrong Then. The Special Jury Prize goes to Avishai Sivan's Tikkun. Best Direction: Andrzej Zulawski for Cosmos. Best Actress; Sachie Tanaka, Hazuki Kikuchi, Maiko Mihara and Rira Kawamura for their performances in Ryusuke Yamaguchi's Happy Hour, which, for Notebook editor Daniel Kasman, "emerged at the end of the festival as one of its best films." We've got the full list of all the award-winners. » - David Hudson...

The international competition jury of the 68th Locarno Film Festival—Udo Kier, Nadav Lapid, Daniela Michel, Moon So-ri and Jerry Schatzberg—has awarded the Golden Leopard to Hong Sang-soo's Right Now, Wrong Then. The Special Jury Prize goes to Avishai Sivan's Tikkun. Best Direction: Andrzej Zulawski for Cosmos. Best Actress; Sachie Tanaka, Hazuki Kikuchi, Maiko Mihara and Rira Kawamura for their performances in Ryusuke Yamaguchi's Happy Hour, which, for Notebook editor Daniel Kasman, "emerged at the end of the festival as one of its best films." We've got the full list of all the award-winners. » - David Hudson...

Awards Locarno Film Festival Announces 2015 Open Door Awards Interviews Edward Norton Has a Solution to the 'Monetization' of the Oscars Features & Analysis Edward Norton Discusses the Collaborative Process in Highlights from Locarno Film Festival Panel Some of the Best Discoveries of the Year Are About to Screen in Switzerland Film Reviews Locarno Review: 'Right Now, Wrong Then' is Hong Sang-soo's 'Groundhog Day' Locarno Review: 'Chevalier' is a Buddy Comedy With a Bigger Purpose From Athina Rachel Tsangari Locarno Review: Romantic Comedy or Philosophical Debate? Jose Luis Guerin's 'The Academy of Muses' is Both Locarno Review: Satire and Surrealism Meet in Otar Iosseliani's Delightful 'Winter Song' Locarno Review: 'Schneider vs. Bax' is a Hilarious Dark Comedy of Errors Locarno Review: Andrzej Zulawski's First Film in 15 Years, 'Cosmos,' Delivers the Crazy Locarno Review: If Louie C.K. Were a Struggling Bosnian Actor, He Would Star in 'The Waiting Room' Locarno.

In Andrzej Zulawski's Cosmos, Sabine Azéma's Madame Woytis welcomes aspiring novelist Witold (Jonathan Genet) and Fuchs (Johan Libéreau) to a family hotel "where Witold is entranced by the beautiful Lena (Victoria Guerra) and intrigued by excitable maid Catherette (Clémentine Pons) who has a deformed mouth," writes Allan Hunter for Screen. "The two men become part of a family where Madame Woytis stops moving when she becomes over-excited and her blundering, radish-loving husband Leon (Jean-François Balmer) talks ceaselessly. There is a barely suppressed hysteria that seems to have permeated the entire edifice." We're collecting early reviews and clips from Locarno. » - David Hudson...

In Andrzej Zulawski's Cosmos, Sabine Azéma's Madame Woytis welcomes aspiring novelist Witold (Jonathan Genet) and Fuchs (Johan Libéreau) to a family hotel "where Witold is entranced by the beautiful Lena (Victoria Guerra) and intrigued by excitable maid Catherette (Clémentine Pons) who has a deformed mouth," writes Allan Hunter for Screen. "The two men become part of a family where Madame Woytis stops moving when she becomes over-excited and her blundering, radish-loving husband Leon (Jean-François Balmer) talks ceaselessly. There is a barely suppressed hysteria that seems to have permeated the entire edifice." We're collecting early reviews and clips from Locarno. » - David Hudson...

"It will be difficult to continue this story of mine. I don't even know if it is a story. It is difficult to call this a story, this constant....clustering and falling apart...of elements..." —Witold Gombrowicz's CosmosIf I weren't already soaked to the bone from the sweltering heat that has accompanied the Locarno Film Festival this year, Andrzej Żuławski's first movie in fifteen years was bound to get me feverish. One of the few true visionary risk-takers of cinema has yet again found a subject fitting for his boundless energy, Witold Gombrowicz's mental madcap 1965 novel Cosmos. For those familiar with Żuławski's films like Possession, On the Silver Globe and L'amour braque, it may come as a surprise that the assaultive quality of the novel's streaming consciousness–poring over a young man's vacation in a small town boarding house, where he seems to discover conspiracies of small crimes...

Read More: Locarno Review: Lesbian Drama 'Summertime' Takes 'Blue is the Warmest Color' to the Countryside Polish auteur Andrzej Żuławski may be best known worldwide for his 1981 body horror whatsit "Possession," in which Sam Neill and Isabelle Adjani play a couple whose relationship crumbles in increasingly bizarre, expressionistic terms. For the outrageous dark satire "Cosmos," his first feature in 15 years, Żuławski savages a much broader target — the inherent chaos and desperation of human consciousness. It's often hilarious, confounding and downright strange; if not the director's most polished work, it nevertheless delivers a demented philosophical puzzle that's fun to scrutinize in all of its baffling uncertainties. Żuławski's French-language production, which adapts the 1965 novel by Polish writer Witold Gombrowicz, follows a crazy-eyed law school dropout named — for symbolic purposes that immediately endow the material with meta quality from...

Hong Sang-soo's Right Now, Wrong Then.The lineup for the 2015 festival has been revealed, including new films by Hong Sang-soo, Andrzej Zulawski, Chantal Akerman, Athina Rachel Tsangari, and others, alongside retrospectives and tributes dedicated to Sam Peckinpah, Michael Cimino, Bulle Ogier, and much more.Piazza GRANDERicki and the Flash (Jonathan Demme, USA)La belle saison (Catherine Corsini, France)Le dernier passage (Pascal Magontier, France)Der staat gegen Fritz Bauer (Lars Kraume, Germany)Southpaw (Antoine Fuqua, USA)Trainwreck (Judd Apatow, USA)Jack (Elisabeth Scharang, Austria)Floride (Philippe Le Guay, France)The Deer Hunter (Michael Cimino, UK/USA)Erlkönig (Georges Schwizgebel, Switzerland)Guibord s'en va-t-en guerre (Philippe Falardeau, Canada)Bombay Velvet (Anurag Kashyap, India)Pastorale cilentana (Mario Martone, Italy)La vanite (Lionel Baier, Switzerland/France)The Laundryman (Lee Chung, Taiwan)Me and Earl and the Dying Girl (Alfonso Gomez-Rejon, USA) I pugni ni tasca (Marco Bellocchio, Italy)Heliopolis (Sérgio Machado, Brazil)Amnesia (Barbet Schroeder,...

Among the highlights of the just-announced lineup for the 68th Locarno Film Festival: Hong Sang-soo's Right Now, Wrong Then, Andrzej Zulawski’s Cosmos, Chantal Akerman's No Home Movie, Athina Rachel Tsangari's Chevalier, Benjamín Naishtat’s El Moviemiento, Jonathan Demme's Ricki and the Flash, Antoine Fuqua’s Southpaw, Anurag Kashyap's Bombay Velvet, José Luis Guerin's L’Accademia delle Muse, Nathan Silver's Riot, a Sam Peckinpah retrospective, tributes to Marco Bellocchio, Walter Murch, Bulle Ogier, Edward Norton, Michael Cimino, Alex Phillips, Andy Garcia—and more. » - David Hudson...

Among the highlights of the just-announced lineup for the 68th Locarno Film Festival: Hong Sang-soo's Right Now, Wrong Then, Andrzej Zulawski’s Cosmos, Chantal Akerman's No Home Movie, Athina Rachel Tsangari's Chevalier, Benjamín Naishtat’s El Moviemiento, Jonathan Demme's Ricki and the Flash, Antoine Fuqua’s Southpaw, Anurag Kashyap's Bombay Velvet, José Luis Guerin's L’Accademia delle Muse, Nathan Silver's Riot, a Sam Peckinpah retrospective, tributes to Marco Bellocchio, Walter Murch, Bulle Ogier, Edward Norton, Michael Cimino, Alex Phillips, Andy Garcia—and more. » - David Hudson...

World premieres for new films by Athina Rachel Tsangari, Hong Sangsoo, Ben Rivers; Southpaw, Trainwreck among Piazza Grande titles.

The 68th Locarno Film Festival (August 5-15) will open with Jonathan Demme’s musical comedy-drama Ricki And The Flash, in which Meryl Streep stars as a musician who tries to make things right with her family after giving up everything to pursue her dream of rock-and-roll stardom.

Written by Diablo Cody, the film gets a Piazza Grande berth alongside Judd Apatow’s Trainwreck, Alfonso Gomez-Rejon’s Me And Earl And The Dying Girl, Catherine Corsini’s La Belle Saison and Antoine Fuqua’s Southpaw.

Also playing is Michael Cimino’s The Deer Hunter. Cimino is being honoured with a Pardo D’onore Swisscom and will be taking part in an onstage conversation.

14 of the 18 films competing in the festival’s International Competition section for the Golden Leopard Award are world premieres including Andrzej Zulawski’s Cosmos, Ben Rivers’ The Sky...

The Locarno Film Festival's announced that it'll screen Hong Sang-soo's Right Now, Wrong Then and Andrzej Zulawski's Cosmos in competition. Also in today's roundup of news and views, the new Film Comment is out, featuring Kent Jones on Pedro Costa's Horse Money, Amy Taubin on Marielle Heller's The Diary of a Teenage Girl, Richard Combs on Richard Lester and more. The Chiseler's posted pieces on Patricia Highsmith, Clifton Young and the late Christopher Lee. An Audrey Hepburn exhibition opens in London today. And Paul Thomas Anderson will write—and may end up directing—a live-action take on Pinocchio starring Robert Downey Jr. » - David Hudson...

The Locarno Film Festival's announced that it'll screen Hong Sang-soo's Right Now, Wrong Then and Andrzej Zulawski's Cosmos in competition. Also in today's roundup of news and views, the new Film Comment is out, featuring Kent Jones on Pedro Costa's Horse Money, Amy Taubin on Marielle Heller's The Diary of a Teenage Girl, Richard Combs on Richard Lester and more. The Chiseler's posted pieces on Patricia Highsmith, Clifton Young and the late Christopher Lee. An Audrey Hepburn exhibition opens in London today. And Paul Thomas Anderson will write—and may end up directing—a live-action take on Pinocchio starring Robert Downey Jr. » - David Hudson...