The autumn/vacation season will see the discharge of a number of awards contenders shot on Kodak movie: Pablo Larraín’s “Maria,” Robert Eggers’ “Nosferatu,” Brady Corbet’s “The Brutalist, and Luca Guadagnino’s “Queer.”
Kodak, which had a momentous 2023 with greater than 60 films shot on movie (led by the Oscar-winning “Oppenheimer,” lensed by Hoyte van Hoytema), additionally has Sean Baker’s “Anora” and Guadagnino’s “Challengers” as Oscar and ASC 35mm hopefuls.
Kodak had eight on-film premieres in competitors on the 81st Venice Competition: “Maria,” “Queer,” “The Brutalist,” Athina Rachel Tsangari’s “Harvest,” Alex Ross Perry’s “Pavements,” Giovanni Perrier Tortorici’s “Diciannove,” Déa Kulumbegashvili’s “April,” and Walter Salles’ “I’m Nonetheless Right here.”
Previous to that, Kodak had 33 on-film premieres at Cannes. These included 9 winners, together with “Anora,” which earned the Palme d’Or prize; Matthew Rankin’s “Common Language,” which took the primary Administrators’ Fortnight Viewers Award; and “Grand Tour,” which grabbed Greatest Director for Miguel Gomes. As well as, Yorgos Lanthimos’ “Sorts of Kindness” earned Jesse Plemons Greatest Efficiency by an Actor, and “Armand” received the Caméra d’Or Prize for director Halfdan Ullmann Tondel.
This text was first revealed January 27, 2024. It has been up to date.
2024 Launch Dates
‘Challengers’ (Amazon MGM Studios, April 26)
Luca Guadagnino tackles tennis with a aggressive love triangle involving former tennis prodigy-turned-coach Zendaya, her husband and slumping tennis champ Mike Faist, and tennis rival Josh O’Connor, who’s her ex-lover and his former greatest buddy. Shot in 35mm by cinematographer Sayombhu Mukdeeprom, the film subjectively focuses on their relationships and rivalries. Whereas the matches replicate their altering emotional and private dynamics, the scenes off the court docket obtain their very own pure rigidity and colourful look.
‘I Noticed the TV Glow’ (A24, Could 3)
Jane Schoenbrun’s (“We’re All Going to the World’s Honest”) newest meta-cultural exploration follows two youngsters (Justice Smith and Brigette Lundy-Paine) who bond over their love of a ’90s supernatural TV collection, “The Pink Opaque,” solely to see actuality blur after it’s sudden cancelation. Shot in 35mm by Eric Ok. Yue (“A Thousand and One”) with the Arricam LT and Zeiss Grasp Prime lenses, they wished to convey the deep sense of loneliness and isolation with a wealthy shade palette together with grainier blacks.
‘Dealing with the Undead’ (Neon, Could 31)
Documentary director Thea Hvistendahl (“Adjø Montebello”) tackles horror from “Let the Proper One In” writer John Ajvide Lindqvist (who co-scripted). It’s about three grieving households in Oslo who should cope with a wierd electrical area that awakens town’s newly lifeless. Shot in 35mm by cinematographer Rokseth, the movie reunites Renate Reinsve and Anders Danielsen Lie from “The Worst Individual within the World.”
‘The Bikeriders’ (Focus Options, June 21)
Jeff Nichols’ ’60s drama in regards to the rise of a fictional Chicago motorbike membership acquired pushed again by Disney final yr due to the SAG/AFTRA strike and was picked up domestically by Focus Options. Impressed by the 1967 photograph e book by Danny Lyon, it stars Jodie Comer, Austin Butler, Tom Hardy, and Michael Shannon. Cinematographer Adam Stone shot 35mm anamorphic with the Panavision Millennium XL2 and Panavision G-Sequence lenses to seize a way of naturalism.
‘Sorts of Kindness‘ (Searchlight Photos, June 21)
Yorgos Lanthimos’ triptych fable in regards to the lack of free will in alternate realities stars Jesse Plemons, Emma Stone, and Willem Dafoe. Shot by go-to cinematographer Robbie Ryan in 35mm (utilizing black-and-white for dream sequences), the black comedy is a far cry from “Poor Issues” and “The Favorite” with anamorphic lenses for the American setting (shot on the outskirts of New Orleans) and introspective tone.
‘The Satan’s Bathtub’ (Filmladen, June 21)
Severin Fiala and Veronika Franz’s horrifying historic drama, set in 1750, issues depressed girls who murdered youngsters to get themselves executed and salvation from Hell, it was shot in 35mm by Martin Gschlacht.
‘Mom, Sofa’ (Movie Motion, July 5)
Swedish director Niclas Larsson’s characteristic debut stars Ewan McGregor and Ellen Burstyn in a dysfunctional household drama, wherein she received’t budge from a show sofa in an vintage retailer, shot in 35mm/3perf by Chayse Irvin.
‘Twisters’ (Common, July 19)
Lee Isaac Chung’s replace of the 1996 blockbuster places storm-chasing rivals Kate (Daisy Edgar-Jones) and Tyler (Glen Powell) in the midst of Oklahoma’s worst twister season. Filmed on location in Oklahoma and at Prairie Surf Studios in Oklahoma Metropolis, cinematographer Dan Mindel (“Mission: Unimaginable III”) shot in 35mm utilizing Panavision XL cameras and handheld ARRI 435s and 235s for a mid-century rural vibe. He additionally used T collection, C collection, and Primo Anamorphic lenses for the widescreen panorama look.
‘Entice’ (Warner Bros., August 2)
M. Evening Shyamalan’s newest psychological thriller, shot in 35mm by Mukdeeprom, stars Josh Hartnett as a dad who attends a Woman Raven (Saleka Shyamalan) live performance along with his daughter (Ariel Donoghue). The twist: He’s a serial killer who’s been arrange by the cops.
‘Sing Sing’ (A24, August 2)
Greg Kwedar’s fact-based drama a couple of theater troupe of inmates at Sing Sing, led by Colman Domingo, was filmed contained in the correctional facility and shot in 16mm by Pat Scola. This captured the authenticity of the atmosphere and the visceral high quality of the performances.
‘Cuckoo’ (Neon, August 9)
Tilman Singer’s horror movie sees Gretchen (Hunter Schafer) reluctantly dwell together with her father (Márton Csókás) at a resort within the German Alps, tormented by unusual noises and bloody visions. It’s shot by Paul Faltz in 35mm.
‘Between the Temples‘ (Sony Photos Classics, August 23)
Nathan Silver’s (“Thirst Road,” “Stinking Heaven”) late-coming-of-age comedy stars Jason Schwartzman as a cantor who experiences a disaster of religion when his grade college music trainer (Carol Kane) reenters his life as his new grownup bat mitzvah pupil. Shot in 16mm by Sean Worth Williams (“Humorous Pages,” “Tesla”) with the Tremendous 16mm, Aaton XTR, and a mixture of S16 and S35 Zeiss Tremendous Velocity lenses, amongst others.
‘Unusual Darling’ (Magenta Mild Studios, August 23)
JT Mollner directs this horrifying meet-cute, shot in 35mm by Giovanni Ribisi, which turns right into a cat-and-mouse between a serial killer (Kyle Gallner) and his date (Willa Fitzgerald).
‘A Totally different Man’ (A24, September 20)
Aaron Schimberg’s (“Chained for Life”) psychological thriller is about an aspiring actor (Sebastian Stan) who undergoes radical reconstructive facial surgical procedure, solely to lose out on a task about his former life. Shot in 16mm by cinematographer Wyatt Garfield (“Manodrome”), the movie co-stars Reinsve and Adam Pearson (“Below the Pores and skin”).
‘Gazer’ (October 6)
Ryan J. Sloan’s revenge thriller stars Ariella Mastroianni as a younger New Jersey mom affected by dyschronometria, a degenerative mind situation, who makes use of cassette tapes to maintain monitor of time. Shot in 16mm by Matheus Bastos.
‘Saturday Evening’ (Sony Photos, October 11)
Jason Reitman chronicles the lead-up to the premiere of NBC’s iconic late-night sketch comedy present on October 11, 1975, starring Gabriel LaBelle (“The Fabelmans”) as “SNL” creator/producer Lorne Michaels, shot in 16mm by go-to cinematographer Eric Steelberg to authenticate the look of the interval.
‘Anora’ (Neon, October 18)
Baker’s Palme d’Or Cannes winner will get a fall launch to showcase its offbeat, fever dream of a “Cinderella” story, starring Mikey Madison as a Russian-American unique dancer who hooks up with the son of a Russian oligarch. It was shot in 35mm anamorphic by cinematographer Drew Daniels (“Pink Rocket”), who achieves a ’70s vibe with the assistance of unfavorable flashing in such areas as Brooklyn, Coney Island, and Las Vegas.
“Chook” (November 8)
Andrea Arnold will get surreal with this coming-of-age British fable a couple of 12-year-old (newcomer Nykiya Adams) who seeks escape from boredom and her preoccupied tattooed father, Barry Keoghan, and finds friendship with an eccentric vagabond (Franz Rogowski). Shot in 35mm by Robbie Ryan.
“Christmas Eve at Miller’s Level” (November 8)
Tyler Taormina’s comedy a couple of household’s last Christmas at their ancestral house is marked by teenage rebel. Shot digitally with one sequence in 16mm by Carson Lund.
“Maria” (November 27)
Larraín’s biographically-inspired drama about opera singer Maria Callas (Angelina Jolie) comprises a visible idea that fuses the ’40s by way of the ’70s with surreal musical sequences. It’s shot in a number of codecs (35mm, 16mm, Tremendous 8) by Oscar-nominated cinematographer Ed Lachman (“El Conde”) in shade for the current and in black-and-white for her recollections.
“Queer” (November 27)
Luca Guadagnino’s adaptation of William S. Burroughs’ semi-autobiographical novella stars Daniel Craig as an American expatriate in Mexico Metropolis within the Forties, who falls for the youthful Drew Starkey (“Outer Banks”). Mukdeeprom (“Challengers”) shot this surreal journey in 35mm. The solid additionally consists of Jason Schwartzman, Henrique Zaga, Andres Duprat, Ariel Shulman, Drew Droege, Colin Bates, pop star Omar Apollo, as nicely filmmakers Lisandro Alonso, David Lowery, and Michael Borremans.
“Armand” (November 29)
Halfdan Ullmann Tøndel’s drama revolves round two moms who battle one another to uncover the reality in a schoolroom when one among their sons accuses the opposite of wounding him. Shot in 16mm by Pål Ulvik Rokseth.
“Nutcrackers” (November 29)
David Gordon Inexperienced Inexperienced’s comedy-drama stars Stiller as a workaholic who goes to Ohio to take care of his not too long ago orphaned nephews. It was shot in 35mm by Michael Simmonds.
“The Brutalist” (December 20)
Corbet’s follow-up to “Vox Lux” spans 30 years within the lifetime of László Tóth (Adrien Brody), a Hungarian Jew and Auschwitz survivor, who struggles as a visionary architect earlier than being supplied an enormous challenge by industrialist Hamilton Lee Van Buren (Man Pearce). Shot primarily in 35mm VistaVision by go-to cinematographer Lol Crawley and launched in 70mm in choose theaters.
‘Nosferatu‘ (Focus Options, December 25)
Robert Eggers‘ on-again-off-again remodeling of the legendary silent vampire movie by F.W. Murnau (1922), later remade by Werner Herzog in 1979, lastly will get launched as a Christmas feast. Shot in 35mm in shade by go-to cinematographer Jarin Blaschke, the movie boasts a desaturated look paying homage to Nineteenth-century Romanticism utilizing particular filters. It stars Invoice Skarsgård as Rely Orlok, Lily-Rose Depp as Ellen Hutter, and Nicholas Hoult as her husband, Thomas.
Cannes 2024 Premieres
“Caught by the Tides” (Competitors)
The Chinese language drama from director Jia Zhang-Ke issues a working class lady in 2001 who will get concerned together with her supervisor as she hustles to earn a residing as a singer, mannequin, and membership woman. Shot in 35mm by Yu Lik-wai.
“Motel Destino” (Competitors)
Aïnouz facilities his erotic thriller at a roadside motel utilized by intercourse staff in his hometown of Ceará, Brazil, wherein a gang member provides solace to the co-owner of the lodge. Shot in 16mm by Hélène Louvart.
“Grand Tour” (Competitors)
Gomes units his interval drama in Burma in 1917, the place a British civil servant runs away from his fiancée, who pursues him on his melancholy Asian grand tour. Shot in 16mm in black-and-white by Gui Liang, Sayombhu Mukdeeprom, and Rui Poças.
“September Says” (Un Sure Regard)
Ariane Labed’s movie explores two very shut sisters — September and July — who expertise rigidity on a vacation in Eire when July begins to discover her personal independence. Shot in 35mm by Balthazar Lab.
“Viet and Nam” (Un Sure Regard)
Truong Minh Quy’s drama focuses on Nam and Viêt, each younger miners, who cherish fleeting moments, figuring out that one among them will quickly go away for a brand new life throughout the ocean. Shot in 16mm by Son Doan.
“When the Mild Breaks” (Un Sure Regard)
Rúnar Rúnarsson’s drama explores a bereaved artwork pupil by way of the fast aftermath of her lover’s sudden passing, sophisticated by secrets and techniques revealed between them. Shot in 16mm by Sophia Olsson.
“East of Midday” (Administrators’ Fortnight)
Hala Elkoussy provides an allegory of two realms: The East32 industrial relic and the liberating fluidity of The Sea. Shot in 35mm and 16mm black-and-white by Abdelsalam Moussa.
“Savanna and the Mountain” (Administrators’ Fortnight)
Paolo Carneiro’s documentary in regards to the distant Portuguese village Covas do Barroso and the way the townspeople combat to halt the development of a lithium mine. Shot in 16mm by Duarte Domingos.
“Sister Midnight” (Administrators’ Fortnight)
In Karan Kandhari’s black comedy about an organized marriage in Mumbai, Uma (Radhika Apte) is remodeled right into a ruthless free spirit. Shot in 35mm by Sverre Sørdal.
“To a Land Unknown” (Administrators’ Fortnight)
Mahdi Fleifel’s Palestinian characteristic issues cousins and refugees fleeing Greece for Germany by posing as smugglers. Shot in 16mm by Thodoros Mihopoulos.
“Common Language” (Administrators’ Fortnight)
Matthew Rankin’s Canadian comedy is an ode to Winnipeg’s Iranian group within the ’80s in addition to Iranian cinema of the interval, carried out solely in Farsi and French. Shot in 16mm by Isabelle Stachtchenko.
“Blue Solar Palace” (Critics’ Week)
Constance Tsang’s melodrama (winner of the French Contact Prize of the Jury award) explores the bond between two migrants within the Chinese language group of Queens who’re thrown collectively by sudden violence. Shot in 16mm by Norm Li.
“Julie Retains Quiet” (Critics’ Week)
Leonardo Van Dijl’s drama (winner of the Gan Basis Award for Distribution and the SACD Award) issues the titular tennis academy star who chooses to remain silent when her coach is suspended and underneath investigation. Shot in 35mm/65mm by Nikolas Karakatsanis.
“It Doesn’t Matter” (ACID Choice)
Josh Mond’s sophomore movie reunites him with actor Christopher Abbott and facilities on the connection between a misplaced man (Abbott) from Staten Island and a younger filmmaker (Jay Will). Shot digitally and in 35mm by lots of its members on shake telephones and confessional Zooms.
Venice 2024 Premieres
“Harvest” (Competitors – Fiction)
Athina Rachel Tsangari’s drama (tailored from the James Crace novel) is ready in England in the course of the Center Ages and issues three strangers who the native villagers scapegoat throughout a time of financial turmoil. Shot by Sean Worth Williams in 16mm.
“April” (Competitors – Fiction)
Georgian director Dea Kulumbegashvili tackles the drama a couple of feminine obstetrician in rural Georgia who’s investigated for performing unlawful abortions. Shot in 35mm by cinematographer Arseni Khachaturan.
“I’m Nonetheless Right here” (Competitors – Fiction)
The Brazilian drama from Walter Salles is an adaptation of “Ainda Estou Aqui” by Marcelo Rubens Paiva a couple of mom and activist looking for her lacking congressman husband in the course of the Brazilian Navy Dictatorship. Shot by Adrian Teijido in 35mm.
“Pavements” (Orizzonti Horizons Competitors)
Alex Ross Perry’s experimental movie about ’90s indie rock band Pavement incorporates scripted scenes, tour footage, and a musical stage play utilizing D.A. Pennebaker’s “Don’t Look Again” as a reference. Shot half digital and in 35mm and tremendous 16mm by Robert Kolodny and Lance Bangs.
“Diciannove” (Orizzonti Horizons Competitors)
The Italian drama, directed by Tortorici (“We Are Who We Are”) and produced by Luca Guadagnino, is shot in 35mm by Massimiliano Kuveiller.