After some hard months that I din’t update the sites (I am really sorry), I think I came back and now I can start again adding photos… The problem, I got over 5000 photos to check so, please, be patient because I need some time. Thanks for all your messages and for visiting the site. It really means a lot to me. A big hug
Samuel Goldwyn Films has acquired U.S. rights to Errol Flynn bipoic “The Last of Robin Hood,” starring Kevin Kline, Dakota Fanning and Susan Sarandon, for a fall release.
“Robin Hood” is a Lifetime Films presentation in association with Killer Films and Big Indie Pictures. Producers are Declan Baldwin, Maggie Malina, Pamela Koffler and Christine Vachon.
Richard Glatzer and Wash Westmoreland co-directed “Robin Hood” from their script, centering on Flynn’s final years and his May-December romance with starlet Beverly Aadland and her mother’s role in encouraging the relationship.
Flynn died of a heart attack at age 50 in 1959 in Vancouver. Aadland was 17 at the time.
Executive producers include Todd Haynes, Rob Sharenow, Tanya Lopez, Molly Thompson, Colleen McCormick and Lisa Hamilton Daly.
The deal was negotiated by Ian Puente of Samuel Goldwyn Films, Molly Thompson of Lifetime Films / A+E Studios and John Sloss of Cinetic Media on behalf of the filmmakers. [Source]
Kelly Reichardt’s cool, composed eco-thriller “Night Moves” is pretty much the definition of a slow burner: I saw the film at its Venice premiere and was aloofly impressed, only for it to have wormed its way under my skin by the time I reviewed it a few days later. Six months on, I find my mind wandering back to its snaky ambiguities — it’s one that probably should have placed on my Best of 2013 list, and certainly seals Reichardt’s place in the top ranks of American independent auteurs.
Anyway, “Night Moves” is creeping back on the radar again: next month, it’ll play at the Tribeca Film Festival, while indie distributor Cinedigm will release it in the US on May 30. An American trailer has yet to surface, but this French one (France, funnily enough, will be the first territory to release the film next month) does a good job of establishing the film’s setup, the subtle terrors that ensue and the fine work on show by Dakota Fanning, Peter Sarsgaard and, in particular, Jesse Eisenberg.
It’s all a bit more pumped-up than what Reichardt has done — this may be a genre diversion for her, but it’s still very much the work of the woman behind “Meek’s Cutoff” and “Wendy and Lucy” — but hey, it sells the movie. It makes me hungry to see it again, for starters. [Source]