Looks like Dominic Toretto and his racing crew are officially headed to Cuba for Fast 8.
It’s been decades since a Hollywood studio shot on the island, but as U.S. relations with Cuba warm, Hollywood has begun to dip its toes in again and test the possibilities. Conan O’Brien journeyed there in March to make Conan the first late-night show to shoot on the island post-embargo.
In 2014, Bob Yari’s Papa: Hemingway in Cuba became the first Hollywood indie to do the same. And now, another milestone arrives as tweets confirm that Fast 8 will be the first Hollywood studio movie to film on the island post-embargo. On Wednesday night, the Fast and Furious Twitter account shared a warm welcome from some of the latest installment’s local extras.
So, does this make Vin Diesel the American studio-film industry’s ambassador to Cuba? Is he ready for that kind of responsibility? From the looks of things, he’s chill as ever. And given how things are going, why shouldn’t he be? In addition to the film’s historic achievement, the movie will bring Straight Outta Compton director F. Gary Gray into the mix.
On top of his recent critically and commercially successful biopic, Gray also directed 2003’s The Italian Job, which, on top of its awesome Mini Cooper chase scene, also starred Charlize Theron, who will also be starring in Fast 8. Following her recent turn as an action hero in Mad Max: Fury Road, Theron might be the most exciting element of the whole project—especially as she’s slated to play the villain.
In addition to Theron, Scott Eastwood will be the other new-coming actor to join all the returning alums when the movie comes out on April 14, 2017: Diesel, Dwayne Johnson, Jason Statham, Michelle Rodriguez, Tyrese Gibson, Ludacris, and Kurt Russell are all coming back. In an Instagram post, Diesel himself gave a hint about what’s to come in the new installment, saying, “We’re in Cuba, where the Torettos started. … It’s Dom Toretto, back in his homeland.” Welcome home, Toretto.
According to Merriam-Webster, “lazy” means not liking hard work or being active, as well as moving slowly.
If we think about it, “being lazy” then, is open to interpretation. Would you call a colleague who’s always on social media but manages to submit his reports on time lazy? How about a locksmith that over time, has mastered enough skill to fix locks in a matter of minutes? Is he lazy because he doesn’t spend hours on his work anymore?
It’s All in the Brain
One of the most energy-consuming activities humans do everyday is decision-making. From the second we wake up, we are instantly faced with a multitude of decisions: from what to eat for breakfast, how to get to work, what to wear – or whether to just forget it all and lie down in bed again. If you’re like millions of “lazy” people who need that extra five minutes before getting up, don’t feel bad. It’s all in your brain.
A recent study conducted by scientists at Oxford University found an interesting difference between “lazy” versus motivated people. The participants were instructed to complete certain tasks with different levels of reward, while an MRI machine scanned their brains. Surprisingly, they found that there’s an area in the brain of apathetic people that showed HIGHER activity when taking action.
Professor of Neurology and Cognitive Neuroscience, Masud Husain, explained that perhaps it is due to inefficient connections that’s why their brains ended up using more energy than usual. This means that if a certain decision requires more effort, “lazy” people would either pass on the chance OR feel totally exhausted afterwards.
It may seem as if apathetic individuals aren’t doing the hard work you expect – but that’s only because they approach work a bit differently.
They Work Smarter – Not Harder
“I choose a lazy person to do a hard job. Because a lazy person will find an easy way to do it.” – Bill Gates
Like mostly everyone you know, you were also probably brought up to believe that working hard is the only way to get what you want in life. Apparently, that’s not the rule that “lazy” people follow. Often, it’s not what you do but HOW you do it.
Back when Bill Gates and his team were working with IBM on developing MS-DOS, they had to beat a tough deadline of only a few months before upper management pulled the plug on the project. Instead of creating an operating system from scratch, Gates bought the rights to an OS made by another software company in Seattle and just built MS-DOS on it.
They Avoid Burnout by Taking Breaks
“It’s important to prepare for the demands of the everyday, but it’s equally as crucial to enjoy life.” – Richard Branson
One of the things that scare busy people – especially entrepreneurs – is taking a break. There’s something about NOT doing anything on a hectic Monday morning that gets a good number of people upset and illicit such responses as “you’re wasting time”. However, being swamped with work isn’t good either. In fact, being too busy may in fact, lead to burnout and less productivity.
That’s why businessman Richard Branson invests a lot on his vacations. In one of his blog entries on Virgin Australia, he encourages busy folks to stop, relax, and be inspired. According to Branson, his breaks have been crucial to his decision-making and they have helped him achieve a work-life balance.
They Focus on Quality – Not Quantity
“Innovation is saying no to 1,000 things.” – Steve Jobs
People often assume that someone is lazy when they see a person doing only one thing, as opposed to a million other tasks (i.e. multi-tasking). It’s built into our system to feel impressed when we see folks with a hundred tasks to cross off their to-do list. But the real question is: what kind of work are you really doing?
Wharton management professor, Matthew Bidwell, states that often, managers focus only quantitative aspects of work to measure productivity simply because well, they’re easier to calculate. But producing more doesn’t necessarily mean that you’re also doing better. Instead, why not just do better?
Steve Jobs made a similar statement after he talked with Nike CEO, Mark Parker. Jobs was blunt when he mentioned that while Nike produced a lot of cool products, they also made tons of bad stuff. To Jobs, productivity happens when people focus on only one thing. Focus on this single task, hone it, and improve on it – until you have something that a lot of folks would find hard to live without.
Lazy In Thought – Not In Action
Don’t feel bad if people think that you’re “lazy”. It could be your strongest point if you know how to act on it. Just because you’re not juggling 50 tasks today doesn’t mean you’re not doing something productive.
Whenever somebody points out your apathetic tendencies, just remind them of Bill Gates, Richard Branson, and Steve Jobs: all professional, successful, lazy people who rose in their fields thanks to how they patterned their actions. By working smarter, taking plenty of breaks, and focusing on only one task at a time, they were able to become more productive – not only in their careers, but also in life.
By now, it feels like we made our health and fitness New Year’s resolutions about a lifetime ago. While we may have slipped up and splurged on the occasional heaven-sent macaron, or ditched our workout for a Netflix marathon, we’re still committed to making 2014 our fittest year yet. Just like we have inspiration boards both on Pinterest and in real life, we’ve also taken to creating FIT-spiration ones to keep us on track.
Part of a good workout is having a good time, and some of our favorite celebrities know the most fun ways to keep in shape. Below, we’ve rounded up three celebrities who’ve revealed their fitness secrets so that we can all get a little more fun into our routines. Amanda Seyfried, Jessica Biel and Mila Kunis reveals fitness and workout secrets in achieving a stunning physique.
While many actresses follow a strict diet, Amanda confesses that she eats whatever she wants. But how does she maintain a healthy physique? She prefers to workout 45 minutes daily and her exercise includes pilates, cardio exercises and yoga. She is also fond of doing her workout doors like jogging,cycling and dancing.
For celebrities and Hollywood stars, it is not easy to get in shape especially in their busy schedule but they still managed to find time to get their body to work. Just like them, it is not impossible for you to achieve a gorgeous body. Make this celebrity fitness routines an inspiration and you can have an amazing body if you work hard enough and follow proper fitness training.
Jessica Biel is very strict when it comes to her fitness routine. When it comes in maintaining her gorgeous physique, she loves to do it outdoors where there is minimal equipment. Whether it is an outdoor run or walking her dog, Jessica make sure that her outdoor activities can help her stay fit. She is also fond of doing circuit training and to find balance she makes sure she does yoga for at least twice a week.
Mila Kunis fitness routine is much talked about. This 31-year old mom is known for its very extreme Black Swan fitness routine and diet to get her into her professional dancer shape. This famous routine led her to lose 20 pounds but it wasn’t without sacrifice. She was constantly exercising and dancing. That’s seven days a week and five hours a day. Now that she has a baby, she is balancing her life between her fiance, Ashton Kutcher, her baby and herself. She never forgets to have a time to relax, exercise and eat right.
Getting divorced is no walk in the park, especially if you’re a high-profile actress, but following Drew Barrymore’s announcement that she and husband Will Kopelman are splitting after four years of marriage, the actress seems to be doing just fine. “I’m so happy now, and I have such a good thing in my life with my kids and everything,” she told Us Weekly on Sunday at the Safe Kids Day event in Culver City, CA.
As if promoting the release of her new line of Rosé wine and spending time with friends wasn’t enough to keep her mind off of things, Drew has also been busy with her adorable daughters, Olive, 3, and Frankie, 2. “Yesterday, Olive got into my lipstick and it was a real scene,” she continued. “Let’s just say the whole face got covered, then the hands on the walls, everywhere… I was like, how did this happen in three minutes? It took over an hour to get it off of her. It was nuts.”
Drew also celebrated Frankie’s second birthday last Friday, saying the party was “so sweet and delicious,” and that Frankie’s Minnie Mouse cake was “the best thing ever.”
Minimum wage, minimum cammitment.
TEMPS is an indie romantic comedy that follows Jefferson, a loveable ski-bum temp worker, whose singular joy comes from an annual excursion to the slopes with fellow vagabond Curtis. But when Jefferson falls for fellow temp worker, Stephanie, an ambitious go-getter, he is forced to re-evaluate his priorities.
Jefferson (Grant Rosenmeyer) is a lovable ski-bum temp worker whose singular joy comes from an annual excursion to the slopes with fellow vagabond / best friend, Curtis (Reid Ewing). When Jefferson falls for fellow temp worker, Stephanie (Lindsey Shaw), an ambitious go-getter, he is forced to re-evaluate his minimum wage, minimum commitment lifestyle.
Eden Sher (The Middle) plays Stephanie’s witty best friend while Chris Bauer (True Blood) plays Jefferson’s slacker dad in this funny, heartfelt, workplace-romance from award winning director Ryan Sage (A Big Love Story), writer Tim Bennett-Huxtable and producer Jason Duplissea.
Film Review: Temps
If nothing else, Ryan Sage’s romantic comedy Temps illustrates how dating standards have changed over the years. In the past, things had gotten serious when people had sex, or decided to live together. Now the most important barometer is updating your “relationship status” on Facebook.
Unfortunately, despite such timely insights and the appealing performances of its two leads, Temps lives up to its name by disappearing from your memory moments after viewing. It depicts in all-too-familiar style the romance between temp workers Jefferson (Grant Rosenmeyer) and Stephanie (Lindsey Shaw), who, as one character in the film puts it, are “running the bases backwards” — in other words, getting to know each other and doing traditional “couple” things after already having had sex.
And as the pic make clear, they do have sex, and lots of it, with their infatuation depicted in a series of soft-core lovemaking scenes that, if nothing else, effectively convey the unbridled physical passion that often accompanies a new relationship. The performers go through their frequently athletic paces, often with comic gusto, making the segments refreshingly fun as compared to the coyness of so many rom-com sexual encounters.
But, as is often true of sex, the couplings eventually prove repetitive, and the story that surrounds them doesn’t add up to much. Jefferson is revealed as the sort of standard immature male commitment-phobe who freaks out when Stephanie makes the aforementioned change to her Facebook profile. Cue the inevitable relationship problems, which lead to the inevitable break-up, which lead to his inevitable breakdown (he acts out at the office and gets himself fired), which lead to his inevitable efforts to win her back to … well, you get the idea.
Tim Bennett-Huxtable’s screenplay uses such characters for comic relief as Curtis (Reid Ewing) Jefferson’s wacky roommate who dreams of being a dancer, and Lorelai (Alexa Giuffre), his obnoxiously needy co-worker at the sex shop where he begins working after losing his job. There’s also an attempt at drama in the form of Jefferson’s contentious relationship with his slacker father (Chris Bauer), who’s content to do nothing and live on a friend’s boat.
Most of the humor is of the predictable or ribald variety, such as when Stephanie begs off providing oral services because she has “lockjaw.” More problematically, her character is developed less than Jefferson’s, with the resulting imbalance proving detrimental to the film. It’s particularly noticeable since Shaw emerges as a funny, sexy comedienne whose character is far more appealing than her male counterpart, who sizes up potential mates by their opinion on Godzilla versus King Kong.
Directed by: Ryan Sage
Starring: Grant Rosenmeyer, Lindsey Shaw, Reid Ewing, Eden Sher, Chris Bauer, Alexa Giuffre, Corinne Chooey, Celia Finkelstein
Screenplay by: Timothy A. Bennett
Production Design by: Kerri Parker
Cinematography by: Stephen Sheridan
Film Editing by: Ryan Sage
Music by: John DeBorde
MPAA Rating: None.
Release Date: April 8, 2016
Beyoncé has knocked Prince off the top of the album chart with Lemonade, preventing the late singer from earning his sixth UK album number one.
On Monday it looked set to be a clean sweep for Prince after his death last week at the age of 57, as the artist held all positions in the Top 5 of the album charts.
But despite being unseated by Beyoncé, Prince still has three spots in the Top 5, with The Very Best Of at number two, Ultimate at number three, and Purple Rain at four.
In total there are 14 Prince albums in the Top 100, according to the Official Charts Company.
He also has six songs in the singles chart Top 100, including Purple Rain at number six and When Doves Cry at 26.
Lemonade was released on Saturday and has now racked up 73,000 chart sales, making it the second-fastest selling artist record of the year, behind David Bowie’s Blackstar.
It becomes Beyoncé’s third number one album in the UK, following Dangerously In Love (2003) and 4 (2011).
Six of the record’s tracks have also hit the Top 40 in the singles chart, with Hold Up at 17, Formation at 31, Sorry at 33, Don’t Hurt Yourself at 36, and Freedom at 40.
Beyoncé’s chart success comes as she begins her blockbuster Formation World Tour, which will bring her to the UK in June.
Topping the singles chart, Drake has smashed the Official Chart streaming record with One Dance, which was streamed 7.86 million times in one week.
This beats the previous record held by Adele’s Hello, which notched up 7.32 million streams in the week of its release in October.
With One Dance holding the number one for the third week running, Sia’s Cheap Thrills remains at two, followed by Mike Posner’s I Took A Pill in Ibiza. At Number four is DNCE’s Cake By The Ocean, with Fifth Harmony’s Work From Home at number five.
The conflict in Syria has taken a critical turn. Alawites, who have long rallied behind their co-religionist president, now want to execute his cousin for killing an Alawite army officer August 7 in an apparent road rage incident. It is rare for them to speak against the ruling regime publicly, but activists are now voicing their protest.
Since the beginning of the Syrian conflict in 2011, one-third of young Alawite men have died, mothers are hiding their sons and many men are fleeing the country. It seems that solidarity between Bashar Assad and the Alawites is weakening. Although Assad keeps the sectarian threat boiling, his fall would mean a hell for the Alawites by Sunni extremists, and many Alawites no longer doubt they are fighting a losing war.
With the Islamic State group advancing closer to the Alawite heartland, the next genocide will be of the Alawites, regardless of whether they stand with Assad. Their faith will bring them a worse nightmare than that of the Yazidis: Alawites are not only considered heretic, but also an enemy on the battlefield.
According to common understanding, Alawites became a Shia offshoot a thousand years ago. However, some scholars find this a problematic claim. A deeper understanding of the nature of this secretive faith will shed light on the complexity of the sectarian insecurity and manipulation that Assad has been using to sustain his power by the deaths of hundreds of thousands of Syrians since 2011.
The sect was originally called Nusayri, named after Muhammad ibn Nusayr (A.D. 859) who, after the death of the 11th Imam Hasan al-Askari, claimed he was the imam’s intimate messenger. The core of Nusayrism is the concept of God in triad, with God himself being manifested through Ali, cousin and son-in-law of the Prophet Muhammad. Nusayris believe that God is Ali in the flesh, who created Muhammad from his spirit, who in turn created Salman al-Farisi, a Persian companion and evangelist. These three form a triad — Mana (Meaning), Ism (Name/Veil) and Bab (Gate).
Nusayrism is also cyclical. Nusayris believe that there have been seven times that God manifested in seven different trinities. The first was of Abel, Adam and Gabriel; the last in Ali, Muhammad and Salman. In all, the meanings, or manifestations, of God seem to be subordinate figures while the name/veil appear to be superior ones: Jesus is the name but God manifestation is actually Simon Peter; Muhammad is the name but God is manifested through Ali.
With this trinity concept, it is tempting to conclude that Nusayrism derives from Christianity. Nusayriyya is similar to Nasara, which means “Christian” in Arabic. Some scholars and observers have even accused Alawism of being a secret Christian proclivity because Alawites celebrate some Christian holidays and honor many Christian saints. In 1903, Jesuit scholar Henri Lammens believed that Nusayris were actually lost Christians.
For Nusayris, salvation goes through a succession of divine emanations. This shows its root in Gnosticism’s cosmogonies, which pre-date Islam. The concepts of transmigration of the soul and reincarnation after death were most likely borrowed from Hinduism through Manichaeism. Greek influences can be seen in the way Nusayris believe each soul is a star, the sinful will be reincarnated as inferior beings through nine levels of human existence and nobility. This mysterious religious cocktail then added elements from Zoroastrianism, Phoenician paganism and Mazdakism, thrown in for good measure.
Nusayris’ religious duties are also interpreted on the basis of gnostic cosmogony. Because people sin, they are no longer splendid stars and must redeem themselves by knowing God through ma’rifa — inner knowledge from one’s own direct experience of reality, something not possible through books. Consequently, traditional ritual and literal reading of scripture are not essential and can even lead to perdition.
With “inner knowledge” as a goal, the pillars of Islam are radically reinterpreted with “inner meaning.” For example, the five daily prayers are understood to be five members of the holy family, including Fatima (Muhammad’s daughter), despite the paradox that Nusayris regard women to be inferior and therefore unable to be reincarnated. Ramadan is allegorized and applied to speech, such as taking a vow of silence rather than abstaining from food.
It is very likely that the Shia principle of taqiyya (religious dissimulation) was the base for this interpretation. For Nusayris, revealing religious secrets to outsiders can lead to severe punishment. Their holy books and rituals are restricted to a few people who pledge to keep the secrets of the faith (Kitman); they are called Khassah while the ignorant majority are Ammah. The syncretic and mythical belief is a secret, even to its own believers.
The Pressure is Rising, The Adrenaline is Rushing, The Clock is Ticking.
Lola receives a phone call from her boyfriend Manni. He lost 100,000 DM in a subway train that belongs to a very bad guy. Lola has 20 min to raise this amount and meet Manni. Otherwise, he will rob a store to get the money. Three different alternatives may happen some minor event along Lola’s run.
Run Lola Run (German: Lola rennt, literally “Lola runs” or “Lola is running”) is a 1998 German thriller film written and directed by Tom Tykwer and starring Franka Potente as Lola and Moritz Bleibtreu as Manni. The story follows a woman who needs to obtain 100,000 Deutsche Mark in twenty minutes to save her boyfriend’s life. The film’s three scenarios are reminiscent of the 1981 Krzysztof Kieślowski film Blind Chance; following Kieślowski’s death, Tykwer directed his planned film Heaven.
About the Story
The film begins with Lola (Franka Potente) receiving a phone call from her distraught boyfriend, Manni (Moritz Bleibtreu). Manni is a small-time criminal and, during an important job collecting 100,000 marks, he relied on Lola to take him and the money to his boss, Ronnie. Lola’s moped was stolen on her journey and Manni is forced to travel by subway but, startled by the sight of police, accidentally leaves the bag of money on the train. Spotting a homeless man examining his money bag as the train departed, Manni pursued the train, only to find the man and the money gone.
Calling from a phone booth, Manni explains he has 20 minutes to gather 100,000 marks before Ronnie arrives and kills him for not having the cash. Planning to rob a nearby supermarket, Manni is urged to wait by Lola, who promises to find the money. She decides to ask her father, “Papa” (Herbert Knaup), who is a bank manager, for help. The main part of the film is divided in three “runs”. Each run starts from the same situation but develops differently and has a different outcome. Each contains various flashback sequences, showing how the lives of the people that Lola bumps into develop after the encounter. In each run those people are affected in different ways.
Lola hangs up the phone and starts running (in a cartoon sequence) down the staircase of her apartment. She passes a man with a dog; the dog growls at her, causing her to sprint faster. Then she is seen running (back in real life, not in a cartoon) through the streets of Berlin towards her father’s bank and she collides with a woman pushing a baby carriage, who is shown to later steal a baby after having lost custody of her own.
Continuing, Lola runs alongside a cyclist who offers to sell her his bike, which she refuses; a flash-forward shows him being robbed on his bike, but later marrying a nurse from the hospital in which he recovered. Lola then causes a car crash, which involves her father’s colleague, Mr. Meyer, and Manni’s boss, Ronnie. As Lola arrives at the bank, she passes a banker shown later to be paralyzed in a car accident, then killing herself shortly after. Then Papa’s mistress reveals she is pregnant, causing Papa to dismiss Lola’s request for help; Papa reveals Lola isn’t his biological daughter, and announces he is leaving his family to elope with his mistress.
Meanwhile, Manni uses a blind lady’s phone card to request money from an apparent friend, only to fail. Lola keeps on running and ends up parallel to an ambulance that narrowly misses crashing into a glass pane carried by workmen. Lola runs on to meet Manni, she realises he has already began the robbery. She shouts his name trying to stop him, but he is unable to hear her calls and proceeds to rob the store. Lola decides to help him. Once they obtain the money, they flee on foot but find themselves surrounded by police. Manni throws the bag with money up in the air, causing a nervous police officer to accidentally shoot Lola in the chest.
Fatally wounded, Lola recalls a conversation with Manni about their love. The movie returns to dying Lola, who is struggling to tell Manni she wants to leave him. She doesn’t want to die, and the film then reverts to their phone call at the beginning.
Lola hangs up the phone and starts running, only to be tripped by the man with the dog; falling down the stairs, Lola injures her leg, which makes her limp. Running to the bank, she collides with the woman pushing a baby carriage, who would later win a lottery. Passing the cyclist, she accuses him of stealing the bike he is selling; a flash forward shows this will lead him to become homeless. Manni, again borrowing the blind lady’s phone card, unsuccessfully tries to borrow money.
After causing another car accident between Mr. Meyer and Ronnie, Lola arrives at the bank moments later; the delay due to her limp allows Papa’s mistress to explain he isn’t the child’s father. Lola hears more of the argument this time and becomes infuriated. Taking a security officer’s gun, Lola robs the bank and, in the process, passes the banker; a flash forward shows her falling in love with one of her colleagues.
Lola escapes because the police mistake her for a fleeing hostage. Passing the ambulance, Lola asks to ride in the vehicle, distracting the driver and causing it to hit the carried pane of glass. Still late for the rendezvous with Manni by moments, Lola calls his name, only this time he hears her call. Manni holsters his gun and walks to Lola, only to be hit by the ambulance, which makes him fatally wounded.
Manni recalls asking Lola how she would cope with his death. The film briefly returns to the present day and shows Manni refusing to die before restarting once again at the beginning of Lola’s run.
Lola hangs up the phone and starts running and leaps over the punk and his dog. Running to the bank, she avoids the woman with the baby carriage, who in a flash forward joins the church and devotes herself to God. Lola also narrowly misses the cyclist; the cyclist instead offers his bike to the homeless man, who uses Manni’s money to buy it. Further ahead in this timeline Lola is nearly hit by Mr. Meyer’s car, preventing his collision with Ronnie.
After avoiding Ronnie’s car, Mr. Meyer proceeds to pick up Papa. Since Lola can no longer speak to Papa, she heads straight for Manni, only to stop at a casino. Betting 100 marks on a roulette table, she wins two consecutive bets, raising 126,000 marks. Approaching the ambulance from behind, Lola climbs inside as it avoids the carried pane of glass. Recognizing the patient inside as a security guard from her father’s bank, Lola realizes he has suffered a heart attack, and holds his hand to help calm him.
Meanwhile, the blind lady from whom Manni borrows a phone card leads Manni to notice the homeless man with his money, who passes on the cyclist’s bike. Manni chases him, inadvertently causing a car crash between Ronnie, Mr. Meyer, and the man who stole Lola’s moped. Manni manages to retrieve his money, trading it for his gun.
Lola reaches the supermarket, but cannot find Manni. A car then pulls up with Manni and Ronnie inside, who shake hands. Manni, no longer in need of the 100,000 marks, asks Lola what is in the bag she is carrying, only for the film to end in a freeze-frame on Lola’s reaction in an elliptical instant before a possible flash-forward.
Run Lola Run
Directed by: Tom Tykwer
Starring: Franka Potente, Moritz Bleibtreu, Herbert Knaup, Nina Petri, Armin Rohde, Heino Ferch, Suzanne von Borsody
Screenplay by: Tom Tykwer
Production Design by: Alexander Manasse
Cinematography by: Frank Griebe
Film Editing by: Mathilde Bonnefoy
Costume Design by: Monika Jacobs
Set Decoration by: Irene Otterpohl
Art Direction by: Attila Saygel
Music by: Reinhold Heil, Johnny Klimek, Tom Tykwer
MPAA Rating: R for some violence and language.
Studio: Prokino Filmverleih
Release Date: August 20, 1998
Seven additions made to Official Selection, including Blood Father starring Mel Gibson, the new feature from Starred Up director David Mackenzie and a Joseph Kony documentary.
Iranian director Asghar Farhadi is to compete for the Palme d’Or with his latest feature, The Salesman, following several additions to Cannes Film Festival’s Official Selection.
The addition of the Farsi-language project, which racked up sales for Memento Films International at Berlin in February, takes the total number of films in Competition to 21.
The Salesman revolves around a couple whose relationship turns violent due to societal pressures. Long-time Farhadi collaborators Taraneh Alidoosti, who played the epnymous role in About Elly, and Shahab Hosseini, who appeared in Farhadi’s Golden Bear and Oscar-winning A Separation, co-star as the central couple.
Farhadi was last in Competition at Cannes in 2013 with his previous film, The Past, which won the Ecumenical Jury prize.
Un Certain Regard
Cannes also announced that extremist drama Clash, from Egyptian director Mohamed Diab, would open the section.
Set against the backdrop of violent demonstrations in Cairo that erupted at the end of former president Mohamed Morsi’s reign, Diab explores extremism through an intense drama in which two groups of opposing protestors find themselves in the same police van as fighting rages around them. It is Diab’s second feature after 678. Pyramide International is selling.
A further addition to the strand is Hell Or High Water, from David Mackenzie, the British director of prison drama Starred Up.
The film, starring Chris Pine, Ben Foster and Jeff Bridges, was written by Taylor Sheridan, who previously wrote Denis Villeneuve’s Cannes 2015 Competition title Sicario.
The story centres on a divorced father and his ex-con brother who resort to a desperate scheme in order to save their family farm in Texas. The film, formerly titled Comancheria, is sold by Sierra/Affinity with CBS Films handling US release.
Midnight / Special Screenings
Mel Gibson may return to the Croisette to accompany his starring role in Blood Father, which has been added to the Midnight Screening strand.
Directed by Mesrine filmmaker Jean-François Richet, Gibson stars as an ex-con who reunites with his estranged wayward 16-year old daughter to protect her from drug dealers who are trying to kill her.
The festival has also added a hat-trick of titles to its Special Screenings strand. Wrong Elements is Jonathan Littell’s documentary about Joseph Kony, the leader of the Lord’s Resistance Army (LRA) in Uganda, while Chouf is a Marseille-set drug cartel drama from Tunisian-born French director Karim Dridi, who won Cannes’ Youth Award back in 1995 with Bye-Bye.
Multiple Cesar Award-nominated actor Grégoire Leprince-Ringuet makes his feature directorial debut with romantic drama Fool Moon (La Foret de Quinconces), in which he also stars.
Cannes Film Festival 2016
The Salesman, Asghar Farhadi (Iran)
Un Certain Regard
Clash (Eshtebak), Mohamed Diab (Egypt) opening film
Hell Or High Water, David Mackenzie (UK)
Blood Father, Jean-François Richet (France)
Wrong Elements, Jonathan Littell (US)
Fool Moon (La Foret de Quinconces), Grégoire Leprince-Ringuet (France)
Chouf, Karim Dridi (France / Tunisia)