Inside Pictures 2018 Lineup, ‘A Fantastic Woman’ Wins Five Platinos, Charlie Chaplin Doc For Showtime – Global Briefs

Read on: Deadline.

The lineup is set for this year’s Inside Pictures, the business training and development programme for international and U.S. film execs. This year’s lineup comprises:
Alison Meese – Head of UK Acquisitions, StudioCanal, United Kingdo…

Chile’s ‘A Fantastic Woman’ Hooks Nine Premios Platino Nominations

Read on: Variety.

GUADALAJARA, Mexico — Four years after the inaugural Premios Platino, where he took home the best picture award with “Gloria,” Chile’s Sebastian Lelio may again snag some top prizes with nine Platino nominations for his foreign language Oscar-winning “A Fantastic Woman.” It’s the first Ibero-American film to win a coveted Oscar since the awards, celebrating […]

Indie Box Office: ‘Shape of Water’ Adds $2.4 Million After Best Picture Win

Read on: TheWrapTheWrap.

After winning the top prize at the Oscars last week, Fox Searchlight’s “The Shape of Water” returned to 1,555 screens this weekend and made $2.4 million, bringing its domestic total to $61 million. It will cross $150 million worldwide in the coming week.

It’s a solid result for Guillermo del Toro’s big winner, up 63 percent from the $1.4 million it made on Oscar weekend. It is also just a hair above what “Moonlight” made after its Best Picture win last year, with $2.3 million. In total, “The Shape of Water” has made $3.5 million since Oscar Sunday, and was the only Best Picture nominee to make over $1 million this weekend.

Also Read: ‘A Wrinkle in Time’ Disappoints as ‘Black Panther’ Pounces to 4th Straight Box Office Win

Meanwhile, indie studios are starting to return in full force to arthouse cinemas with the Oscars in the rear view mirror. Leading the way is IFC’s “The Death of Stalin,” which has set the early bar for highest per screen average of 2018. Opening on four screens in L.A. and New York, the film made $181,000 for a per screen average of $45,250.

Written and directed by “Veep” creator Armando Iannucci, the film stars Steve Buscemi as Nikita Khrushchev in a darkly satirical take on the power struggle in the Soviet Union following Joseph Stalin’s death in 1953. While it was banned in Russia and other former Soviet countries, the film has earned critical acclaim with a 96 percent Rotten Tomatoes score.

Focus Features has their own dark satire, Cory Finley’s “Thoroughbreds,” on 549 screens. Starring Anya Taylor-Joy as a rich girl who plans to kill her loathsome stepfather with the help of her unfeeling best friend (Olivia Cooke), the film had a tepid start with $1.22 million for a PSA of $2,229. The film was received well with an 84 percent start on Rotten Tomatoes.

Also Read: Oscars Box Office Review: Awards Season Revenue Hits 6-Year Low

Sony Pictures Classics also entered theaters with “The Leisure Seeker,” which stars Helen Mirren and Donald Sutherland as a couple traveling in an RV to Ernest Hemingway’s home in Key West. The film made $119,573 from 28 screens for a PSA of $4,270. Directed by Paolo Virzi, the film has been received poorly with a 32 percent RT score.

SPC got brighter news for “A Fantastic Woman,” which won the Best Foreign Language category at the Oscars last week. After expanding slightly to 166 screens, the film picked up $287,000 for its best weekend in American theaters, pushing its total above $1 million to $1.17 million

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‘A Fantastic Woman’ Scores Chile’s First Foreign Language Oscar Win

Read on: Deadline.

UPDATED with speech video: Fresh off of his Independent Spirit Award for Best International Film last night, Sebastian Lelio scooped the Best Foreign Language Film Oscar for A Fantastic Woman tonight. This is a first Academy Award win for Chile and was the country’s second ever nomination. In a nice dovetail, the only other nomination belongs to A Fantastic Woman producer Pablo Larrain and his 2012 No.
A Fantastic Woman stars Daniela Vega as Marina, a young transgender…

‘A Fantastic Woman’ Star Daniela Vega Creates History

Read on: Variety.

In casting Daniela Vega in “A Fantastic Woman,” helmer Sebastian Lelio knew he was taking a risk. “I knew I could pay a price for making Daniela the focal point of the film, but if it succeeded, then we would gain something precious,” he says. “Her physical presence carries the story in a way no […]

Oscar Foreign-Language Race Is a Puzzle as Front-Runners Fall

Read on: Variety.

Some years, the foreign-language film Oscar race revolves consistently around an early frontrunner; others, like this one, remain a guessing game throughout. This year’s contest proved its volatility at the December shortlist stage, when such critical faves as France’s “BPM (Beats Per Minute)” and Cambodia’s Angelina Jolie-directed “First They Killed My Father” failed to make […]

‘Shape of Water,’ ‘Three Billboards’ Push Fox Searchlight to Biggest Screen Count in Studio History

Read on: TheWrapTheWrap.

Fox Searchlight has set a new studio record as its Oscar contenders, “The Shape of Water” and “Three Billboards Outside Ebbing, Missouri,” expanded to a combined 4,067 screens, the first time ever that Searchlight has had its films screen in more than 4,000 locations on a single weekend. “The Shape of Water,” which earned the top prize for Guillermo del Toro at Saturday’s Directors Guild Awards, added $4.5 million from 2,341 screens for a $44.5 million total, while “Three Billboards” added $3 million from 1,726 locations for a $42 million total.

Meanwhile, after earning an Oscar nomination for the Best Foreign Language film, Sebastian Lelio’s “A Fantastic Woman” entered the awards box office with a five screen release by Sony Pictures Classics in New York and Los Angeles. The Chilean drama earned just under $71,000 in its opening for a per screen average of $14,196.

Also Read: ‘Jumanji’ Edges Out ‘Maze Runner’ to Reclaim Box Office Crown

“A Fantastic Woman” stars Daniela Vega as Marina, a transgender Chilean woman whose life takes a hard turn when her 57-year-old soulmate Orlando (Francisco Reyes) suddenly dies of an aneurysm. Her struggle to cope with his loss is compounded by a brewing conflict with Orlando’s family, who refuse to let her attend the funeral since she is transgender. The film currently has an 88 percent rating on Rotten Tomatoes.

NEON/30West’s “I, Tonya” continues to enjoy a solid Oscar bump, adding $2.6 million after getting its biggest expansion so far to 1,450 screens. The Tonya Harding biopic now has a running total of $22.6 million.

Also Read: Awards Box Office: ‘Shape of Water’ Gets Big Bump From 13 Oscar Nominations

Focus Features added a small amount of screens for “Darkest Hour” and “Phantom Thread,” as the former crossed the $100 million global mark with $2.4 million from 1,486 screens this weekend, bringing its domestic total to $48.8 million. “Phantom Thread,” meanwhile, added $2.1 million from 1,186 screens to bring its total to $14.1 million.

A24’s “Lady Bird” added $1.3 million from 1,109 screens for a total of $43.7 million, while SPC’s “Call Me by Your Name” added $1 million for a $12.9 million total. Finally, Best Animated Feature frontrunner “Coco” will pass $700 million worldwide today, ranking it seventh among all Pixar films at the box office.

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Oscar Nominee ‘A Fantastic Woman’ Solid In Debut, ‘Padmaavat’ Climbs, But Holdovers Dominate: Specialty Box Office

Read on: Deadline.

Sony ClassicsA Fantastic Woman opened with a solid start in the wake of a qualifying run last year.
The Chilean feature, which is nominated for an Oscar in the foreign language category, handily beat other limited-release debuts this weekend. The top specialty gross overall, though, went to Vertical Entertainment’s animated feature Bilal: A New Breed of Hero. It bowed in three hundred locations Friday, taking in $278,500.
Janus Films opened Abbas Kiarostami’s final…

Oscar Nominee ‘A Fantastic Woman’, Superhero Pic ‘Bilal’ Head For Theaters – Specialty B.O. Preview

Read on: Deadline.

Following a short qualifying run for other categories late in 2017, Sony Pictures Classics’ foreign-language nominee A Fantastic Woman by Sebastián Lelio is heading to theaters this weekend. The Chilean filmmaker had a seven-figure success in the U.S. with his 2014 feature Gloria, which opened via Roadside Attractions.
Other limited release titles will seek some of the box office from Oscar nominees still dominating the Specialty space. Vertical Entertainment will take…

‘A Fantastic Woman’ Film Review: Chile’s Oscar Entry Tells Powerful Trans Tale

Read on: TheWrapTheWrap.

Who gets to grieve? At the core of that question is who we consider fellow human beings, and who we think of as less than. The transphobia in “A Fantastic Woman,” Chile’s worthy nominee for the Best Foreign Language Film Oscar, takes the form of denying sorrow to a trans woman, because the relatives of her deceased older boyfriend are incapable of believing that she could love or be loved.

In their few scenes together, pretty much the only thing we see between Marina (Daniela Vega) and Orlando’s (Francisco Reyes) is their gentle but lusty affection for each other. Marina’s dehumanization — by doctors and police officers in addition to Orlando’s ex-wife Sonia (Aline Küppenheim) and grown son Bruno (Nicolás Saavedra) — is gradually followed by her reclamation of her dignity. It’s a toe-tingling triumph.

Before being cast as Marina, Vega served as director Sebastián Lelio’s consultant on transgender issues for the script. “A Fantastic Woman” is only Vega’s second time in front of the camera, but she’s a natural screen presence, exuding warmth, caution, and determination. Lelio, who previously helmed “Gloria” and “The Year of the Tiger,” co-wrote the screenplay with Gonzalo Maza and later customized it to showcase his leading lady’s talents, like her opera background. Vega’s spellbinding musical performances bookend the film, and her masterful rendition exemplifies the argument for why trans characters should be played by trans performers.

Also Read: Oscars Gender Gap: Docs, Foreign Language Films Still Way More Likely to Have Female Directors

In the days after Orlando’s death, Marina is stoic, or perhaps simply in shock. The drama’s first half is a compassionate if somewhat clinical study of how stereotypes, especially in accretion, can wear a person down. A doctor suspects Marina of battering Orlando; in a twist, a police officer won’t take her word that she was never Orlando’s victim.

Orlando’s brother (Luis Gnecco) understands Marina’s important role in her lover’s life. But the dead man’s immediate family members quickly come after his car, the apartment that the couple shared, even the dog that Orlando gifted Marina. A conversation in a parking garage between Marina and Sonia (who won’t allow the trans woman into her home, or even above ground) grows increasingly heartbreaking as Orlando’s ex-wife sheds her layers of courtesy and decency, ultimately reducing Marina to a “complication” and a “perversion.”

Also Read: Dave Chappelle Fan Who Complained About Trans Jokes Rips ‘Equanimity’: ‘Regressive and Cruel’

The more Marina accommodates, the more Orlando’s relatives take. Marina’s patience isn’t superhuman — we regularly see her punching a boxing target at the end of a long day — but, in a canny move, Lelio largely hides his protagonist’s frustration from us so we’ll grow indignant on her behalf.

Eventually, Marina begins to assert herself and her right to grieve in the film’s more dynamic, fleshed-out latter half. While tracking down the locations of the wake and the funeral (from which she’s been barred by Sonia), Marina searches for the site of a locker that holds “evidence” that her boyfriend truly loved her. Her earlier compromises give way to a raw outrage and poignant touches of surrealism that underscore the unreal circumstances of her loss. Marina continues to see Orlando wherever she turns, and performs for his apparition a spangle-filled dance sequence in the club where she seeks a night’s escape from her melancholy.

Also Read: ‘Gloria’ Review: Paulina Garcia Shines in Heavy-Handed Middle-Aged Romance

But the best surprise in “A Fantastic Woman” might be how lived-in Marina’s existence feels despite the tenuousness of her housing, her romantic fulfillment, and her legal rights. (One of the film’s most wrenching moments is a medical examination that an ostensibly sympathetic cop blackmails Marina into.) The rosiest her relationship with Orlando is presumed to be by outsiders is a “Pretty Woman” scenario, but Marina enjoys friendships, ambitions, and skills they can’t possibly imagine for her.

It should be obvious to all by now, but “A Fantastic Woman” declares it with empathy and resonance: No woman is merely a scandal.

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