Culture Representation: Taking place primarily in the Los Angeles area, the dramatic film “Knox Goes Away” features a predominantly white group of people (with some African American, Asians and Latinos) representing the working-class, middle-class and criminal underground.
Culture Clash: An assassin with dementia agrees to help his estranged adult son, who has murdered a man and wants to cover up the crime.
Culture Audience: “Knox Goes Away” will appeal primarily to people who are fans of the movie’s headliners and noir crime dramas, even if the movie has several plot holes and unanswered questions.
Michael Keaton in “Knox Goes Away” (Photo by Marshall Adams/Saban Films)
“Knox Goes Away” has the benefit of director/star Michael Keaton’s acting talent, but this movie about an assassin with dementia is dragged down by an uneven tone and a nonsensically convoluted screenplay with plot holes. Al Pacino has a completely useless and unnecessary role in the film. Any movie that wastes Pacino’s talent has got a lot of problems.
Directed by Keaton and written by Gregory Poirier, “Knox Goes Away” (which takes place mostly in the Los Angeles area, where the movie was filmed) tells the story of assassin John Knox (played by Keaton), who finds out early on in the story that he has Creutzfeldt-Jakob disease, which is a form of dementia. It’s a neurological disease that progresses quicker than Alzheimer’s disease. John is so paranoid about people finding out about his recent health issues, he travels by plane to San Francisco, where he meets with a medical professional named Dr. Burns (played by Paul Perri), who informs John that John has Creutzfeldt-Jakob disease. After getting this diagnosis, John is told that it will be only a matter of weeks before he loses his “normal” memory and cognitive abilities.
John (who is divorced and lives alone) is a hardened hit man who was planning to retire anyway. He now has to make arrangements to stay in an assisted living facility, since he has no family members who can take care of him. He keeps this diagnosis a secret from almost everyone he knows. For the people he does not want to tell, John says that he plans to “go away for a while.” John works for a mysterious boss named Jericho, who is never seen or heard in the movie, but Jericho’s name is mentioned several times. John agrees to do “one last job” before he retires, but he does not want to tell Jericho about this planned retirement.
It’s never stated how many years John has been a hit man, but it’s been long enough that it’s implied that it ruined John’s marriage to his ex-wife Ruby Knox (played by Marcia Gay Harden) and led to years of estrangement from their son Miles Knox (played by James Marsden), who both know about John’s past criminal activities and are aware that he’s still an assassin. John is the type of assassin who does not want to know any personal details about his targets. He frequently works with another assassin named Thomas “Tommy” Muncie (played by Ray McKinnon), who is judgmental about John’s cold detachment from their job. It’s an oddly self-righteous attitude for Thomas to have, considering that Thomas commits brutal murders for money too.
John’s “one last job” turns into a disaster. John and Thomas go to the home of their intended target: a man named Elian Zubiri (played by Edwin Garcia II), whom the assassins expect to be home alone. Thomas and John are surprised to see Elian taking a shower with a female companion, later identified as Annette Elmora (played by Nicole Reddinger), an innocent bystander who gets murdered along with Elian.
Because of John’s diminished cognitive abilites, he accidentally shoots and kills Thomas. John stages the crime scene to make the murders of Elian and Annette look like a murder-suicide committed by Elian. John then flees the scene and takes Thomas’ body with him. John later lies to Jericho by saying that Thomas never showed up for this hit job.
Shortly after that fiasco, Miles shows up unannounced at John’s home one night to confess that he has recently murdered a 32-year-old man named Andrew Palmer (played by Charles Bisset), who impregnated Miles’ 16-year-old daughter Kaylee (played by Morgan Bastin) in a sexual predator situation. Miles has a hand injury from this murder, which was committed by stabbing with a kitchen knife. Miles’ wife Cheryl Knox (played by Lela Loren) doesn’t know about this murder, and neither does anyone else at this point. What follows is a ridiculous plan that didn’t have to be as complex as it is in the movie.
Pacino has the role of John’s shady criminal friend named Xavier Crane, who is one of the few people who knows about John’s dementia. Xavier agrees to help John with a crime cover-up, but this character actually didn’t need to be in the movie at all, if John really wanted to keep his cover-up activities as secret as possible. Pacino just sort of shuffles along and mumbles in the drab and uninteresting role of Xavier.
The only other person who is close to John is a sex worker named Annie (played by Joanna Kulig), who has been meeting up with John for sessions at his home, every Tuesday for nearly four years. John is an avid book reader/collector, so he often lends books to Annie so that she can read them and tell him what she thinks about the books. It’s later mentioned in the movie that when John was in the U.S. Army, his Army buddies gave him the nickname Aristotle, because John is so intellectual and well-read. Annie and John are not in love, but they are fond of each other and have some emotional intimacy.
The “noir” tone of “Knox Goes Away” is often clumsily handled when it tries to inject some comedy, in order to make the investigating homicide police officers look idiotic. The lead investigator is Detective Emily Ikari (played by Suzy Nakamura), a jaded and sarcastic cop who always thinks she’s the smartest person in the room and spews some awkward jokes as a way to assert her authority. Nakamura is a scene stealer and has very good comedic timing, but the context in which she says these jokes are often unrealistic and cringeworthy.
For example, there’s a scene where Detective Ikari and some other cops are at the scene of a murder at the murder victim’s home. The murder victim’s body is still there. A crime scene investigation technician (played by Benita Krista Hall) tells Detective Ikari that the victim’s cell phone is locked and can only be unlocked by using facial recognition. Detective Ikari then makes a snide remark by telling the technician to do the obvious: Put the phone up to the victim’s face to unlock the phone. Making this technician look this stupid is the movie’s cheap and lazy setup to have Detective Ikari crack another “joke,” usually at the expense of a subordinate or co-worker.
“Knox Goes Away” also doesn’t do much to explain why John became an assassin. The main things that are revealed about John’s past are that he has a troubled history as a father; he used to be a deep reconnaissance officer in the U.S. Army; and he spent six years in prison for tax evasion. John is supposed to be highly intelligent (he has doctorate degrees in English literature and U.S. history), but he makes a lot of illogical decisions—and not just because of his dementia. It’s because of a weak screenplay that tries to look like it’s clever, but it’s really a long-winded excuse to show some mindless and muddled scheming that leads to a predictable ending.
Saban Films released “Knox Goes Away” in select U.S. cinemas on March 15, 2024. The movie will be released on digital and VOD on April 5, 2024.
Culture Representation: Taking place from 1978 to 1997, mostly in Italy and New York City, the dramatic film “House of Gucci” features a predominantly white cast of characters (with one Latina and a few Asians) representing the middle-class and wealthy.
Culture Clash: After middle-class Patrizia Reggiani marries into the wealthy Gucci family, family members start to battle over the Gucci empire of luxury goods, resulting in one of the family members getting murdered.
Culture Audience: “House of Gucci” will appeal primarily to fans of the movie’s star-studded cast, the Gucci brand and tawdry true crime movies.
Jeremy Irons in “House of Gucci” (Photo courtesy of Metro Goldwyn Mayer Pictures)
Just like a fake Gucci item, “House of Gucci” is a tacky sham that quickly falls apart. Don’t be fooled into thinking this is a high-quality movie, just because of the celebrity names and Oscar pedigrees of the movie’s headlining stars and director. The movie looks good, when it comes to production design, costume design, makeup and hairstyling. But the screenplay is atrocious, the acting is uneven, and director Ridley Scott helmed “House of Gucci” like it’s an idiotic melodrama made for mediocre television, but with a much higher budget than most TV-movies will ever have. (“House of Gucci” even has some laughably bad freeze-frame shots as lazy ways of putting emphasis on a particular emotion.)
It’s all the more reason for viewers to be disappointed that several Oscar winners and Oscar nominees have stepped into this “smoke and mirrors” cesspool of a movie. We all know that the fashion industry is all about image and how someone looks on the outside. That doesn’t mean that a movie about the Gucci empire’s biggest scandal needs to be shallow and superficial too.
The weakest link in “House of Gucci” is the screenplay, written by Becky Johnston and Roberto Bentivegna. They adapted the screenplay from Sara Gay Forden’s 2000 book “The House of Gucci: A Sensational Story of Murder, Madness, Glamour and Greed.” The “House of Gucci” movie is slipshod in certain details, by getting some basic facts wrong about this notorious murder case. And many parts of this movie are surprisingly dull. Don’t expect there to be any riveting scenes of a murder trial in “House of Gucci.” There aren’t any. There’s a poorly written, anti-climactic courtroom scene that’s rushed into the movie.
The Gucci murder case involved a complex group of real-life people, who are mostly reduced to caricatures in the movie. However, a few of the “House of Gucci” cast members make the film watchable because of their performances: Lady Gaga, Jeremy Irons and Jared Leto. They stand out for completely different reasons.
Lady Gaga is compelling to watch as the scheming Patrizia Reggiani, who was at the center of the Gucci scandal because Reggiani was convicted of masterminding a murder plot. The details of the Gucci murder case are well-documented, but in case anyone reading this review doesn’t know anything about the case before seeing the movie, this review won’t reveal who was murdered. (Although it’s pretty obvious, when you consider who would have to die for Reggiani to inherit a large share of the Gucci fortune.)
Lady Gaga’s performance as Patrizia Reggiani takes a deep dive into campiness, occasionally comes up for air in earnestness, and sometimes lounges around in limpness. Overall, Lady Gaga has the type of on-screen magnetism that even when Patrizia is doing awful things, it’s with the type of villainous charisma where you know this character is capable of convincing some people that she did very bad things for very good reasons.
A campy performance isn’t necessarily a problem if the rest of the actors are on the same wavelength. Unfortunately, “House of Gucci” director Scott failed to bring a cohesive tone to this movie. Other “House of Gucci” actors give performances that are not campy at all but come across as if they truly believe this is a serious, artsy drama worthy of the highest accolades in the movie industry in every top-level category.
That’s the kind of performance that Adam Driver gives in “House of Gucci,” where he portrays Patrizia’s beleagured husband Maurizio Gucci. Maurizio met Patrizia when he was a law student and had no intention of joining the family business. Driver’s portrayal of Maurizio has the type of personality transformation that actors usually relish.
Maurizio goes from being mild-mannered and easily manipulated when he meets Patrizia while he was in law school to becoming a ruthless and recklessly spending businessman who casts Patrizia aside when he decides to move in with his mistress Paola Franchi (played by Camille Cottin) and divorce Patrizia. Their divorce became final in 1994.
“House of Gucci” makes it look like Maurizio abandoned not only Patrizia but essentially neglected their daughter Alessandra after the divorce. The three actresses who portray Alessandra in “House of Gucci” are Nicole Bani Sarkute (Alessandra at 3 years old); Mia McGovern Zaini (Alessandra at 9 years old); and Clelia Rossi Marcelli (teenage Alessandra).
In reality, Patrizia and Maurizio had two children together: daughters Alessandra (born in 1976) and Allegra, born in 1981. The erasure of Allegra from the movie is just one of the many details that “House of Gucci” gets wrong. The movie also changes the timeline of when Patrizia and Maurizio met and got married. In the beginning of the movie, Patrizia meets Maurizio in 1978. In real life, Patrizia and Maurizio met in 1970 and got married in 1972.
In the “House of Gucci” movie version of Patrizia’s life in 1978, she was working as an office manager for her stepfather’s truck transportation business in Milan, Italy. Patrizia and Maurizio meet at a nightclub party of one of his friends. Maurizio is standing behind the bar, and Patrizia mistakes him for the bartender, so she asks him to fix her a drink. Maurizio thinks that she’s confident and sexy. He tells her that she reminds him of Elizabeth Taylor.
Patrizia seems much more interested in Maurizio when he mentions that his last name is Gucci. Patrizia asks Maurizio if he wants to dance. He says no. The scene then cuts to Patrizia and Maurizio dancing together on the dance floor. Patrizia’s persuasive personality sets the tone for much of their relationship.
It seems like the “House of Gucci” filmmakers decided to change this couple’s courtship to take place in the late 1970s solely for the purpose of having disco music in the movie’s scenes that depict the early years of their relationship. After all, Lady Gaga looks better twirling or slow dancing on a 1978 dance floor where there’s a disco ball and Studio 54-type of partiers, instead of a scene at a 1970 party that would probably have to be staged with a bunch of rich-looking hippies.
Therefore, the “House of Gucci” soundtrack serves up its share of disco music, such as Donna Summer’s “I Feel Love,” Donna Summer’s “Bad Girls,” Blondie’s “Heart of Glass” and Donna Summer’s “On the Radio.” Later, when the movie’s timeline goes into the 1980s, the soundtrack features songs such as the Eurythmics hits “Sweet Dreams (Are Made of This)” and “Here Comes the Rain Again.” The soundtrack songs often blare in “House of Gucci” in music-video-styled sequences that further cheapen the look of the movie.
The first sign that Patrizia is willing to do whatever it takes to get what she wants is when she stalks Maurizio on campus at his law school. She follows him into a library and pretends to “coincidentally” run into him again. This scene is like something right out of a Lifetime movie. Maurizio has no idea that he’s being targeted, so he goes along with Patrizia’s seduction and is eventually convinced that their relationship is true love.
Irons gives an understated and believable performance as Rodolfo Gucci, Maurizio’s widower father, who is the only Gucci family member who holds on to his dignity in this movie. Rodolfo is immediately suspicious of Patrizia and her intentions for his only child. Rodolfo doesn’t come right out and use the words “gold digger” when he warns Maurizio not to marry Patrizia, but Rodolfo expresses his concerns that Patrizia is not a woman of substance and that she seems to be latching on to Maurizio because of the Gucci family fortune.
Even though Rodolfo vehemently disapproves of Patrizia, it turns out that Rodolfo and Patrizia actually agree on something: They both think that Maurizio should go into the Gucci family business. However, Maurizio’s refusal to follow his father’s wishes leads to him being estranged from Rodolfo for a while.
Maurizio is kicked out of the family home and cut off from his family’s financial support. With nowhere else to go, Maurizio moves in with Patrizia and her parents. Maurizio gets a job working for Patrizia’s stepfather Fernando (played by Vincent Riotta), who’s depicted in the movie as someone who engages in shady business practices.
To put an emphasis on how much Maurizio is estranged from his former life, when Patrizia and Maurizio get married in a church, the movie makes a point of showing that the pews on the bride’s side of the aisle are filled with her family members and friends, while the pews on the groom’s side of the aisle are almost empty. George Michael’s 1987 song “Faith” is played in the movie’s soundtrack after Patrizia and Maurizio exchange vows and walk happily out of the church. This soundtrack choice is an example of more of the movie’s carelessness with details, because the wedding took place years before “Faith” was released and before Michael was even a pop star.
Meanwhile, Rodolfo’s older brother Aldo Gucci (played by Al Pacino, hamming it up in the type of moody roles he’s been doing recently) doesn’t trust Aldo’s dimwitted son Paolo (played by Leto) to be in charge of any part of the family business. Aldo reaches out to Maurizio to come back to the family fold, but Maurizio still hesitates. Patrizia eventually joins forces with Aldo to persuade Maurizio to reconcile with his family and become part of the Gucci business empire. Maurizio eventually agrees, because at this point in his life, he still wants to please Patrizia. For a while, Patrizia and Maurizio made their home base in New York City during Maurizio’s rise in the Gucci business.
More scheming and manipulations ensue, exactly like how you expect them to play out in a movie that is plagued with clumsy clichés. Patrizia and Maurizio are not shown having any meaningful conversations that are not about his family, money or business. In other words, the movie falls short of convincing viewers that Maurizio and Patrizia had a deep emotional love that would make him blind to her gold-digging ways.
Maurizio and Patrizia have a passionate sex life in the beginning of their relationship, so the movie implies that lust, not love, was what really brought this couple together. The sex scenes in “House of Gucci” aren’t very sexy because they look more like parodies of soap-opera-styled sex. Items on tables are shoved aside and crash on the floor to make room on the table for whatever sex act occurs. Any vigorous thrusting doesn’t look erotic but looks more like someone having a robotic workout routine at a gym. And the orgasms sound very fake.
It’s not much of a surprise that “House of Gucci” is a very “straight male gaze” movie where only women’s nude private parts are shown, not men’s nude private parts. And speaking of people in “House of Gucci” in various states of undress, this movie has a semi-obsession with Patrizia being seen in bathtubs or saunas. Apparently, the filmmakers want viewers to think that life is supposed to be more luxurious if you take baths instead of showers.
The supporting characters in “House of Gucci” are either over-the-top ridiculous (Salma Hayek as Giuseppina “Pina” Auriemma, a self-described psychic who befriends Patrizia), or bland as bland as can be (Jack Huston as Gucci financial advisor Domenico De Sole; Reeve Carney as fashion designer Tom Ford) with no intriguing personalities. Pina is a stereotypical con artist who gives vague predictions to Patrizia (“I see a big fortune coming your way”) and mystical-sounding advice, such as telling Patrizia that Patrizia should wear more red for “protection” and more green for “cleansing.”
The fashion industry is a mere backdrop to the betrayals and lies that usually originate from Patrizia and spread like a virus to other members of the Gucci family. For example, “House of Gucci” wastes an opportunity to give a fascinating insider’s look at the Gucci empire. Instead, the movie gives trite portrayals of the massive reinvention that the Gucci brand underwent from the 1970s to the 1990s. The movie serves up a fast-food version of what happened on the business side of the Gucci story.
“House of Gucci” unrealistically makes it look like it was only Patrizia who had the business sense to tell the family in the 1980s that it was devaluing the Gucci name by licensing the brand to cheap-quality merchandise, and that they needed to go back to Gucci being synonymous with luxury. The Gucci brand was then repositioned as “hip/trendy” (not old-fashioned) luxury. For all of her supposed business skills, Patrizia isn’t actually showing doing any real work as a so-called Gucci powerhouse. According to this movie, all she seems to be good at doing is telling people what to do.
The “House of Gucci” role of fashion designer Ford, a native of Texas who is credited with helping further reinvent the Gucci brand in the 1990s, is literally a walk-on role: The most memorable things that he does in the movie is give the traditional end-of-show designer stroll on a runway after showing a collection, and when Ford reads a newspaper article that praises him, he walks out of the room to say that he can’t wait to call his mother.
At no point in the movie is anyone in the Gucci empire shown having a strong relationship with Ford, even though he was a driving force at Gucci, where he worked from 1990 to 2004, with most of those years spent as Gucci’s creative director. There are some hints that De Sole had his own agendas and ambitions, but the character is written in a completely boring and hollow way. Unless you’re a fashion aficionado who knows about De Sole and his further ascent in the Gucci empire, you might have a hard time remembering his name after watching this movie.
“House of Gucci” is also problematic in how it portrays women, because the three female characters with the most prominent speaking roles are either villains (Patrizia and Pina) or a mistress (Paola). Vogue magazine editorial executive Anna Wintour (played by Catherine Walker), actress Sophia Loren (played by Mãdãlina Ghenea) and Paolo’s wife Jenny Gucci (played by Florence Andrews) have meaningless cameos in “House of Gucci.” Even back in the 1970s to 1990s, when this movie takes place, women were so much more important in the fashion industry than what “House of Gucci” makes it look like.
Out of all the portrayals of the Gucci men in “House of Gucci,” Leto’s performance as Paolo is the flashiest one. Much of the performance’s standout qualities have to do with the top-notch prosthetics that Leto wears to make him look like a completely different person who is heavier and older than Leto’s real physical appearance. However, Leto does show some actor panache by having an amusing Italian accent, and he plays Paolo’s buffoon role to the hilt, bringing some intentional comedic moments.
Leto’s performance is only marred by some silly-looking scenes, such as when Paolo does an awkward dance of jubilation with Patrizia when she deceives aspiring fashion designer Paolo into thinking that his horrendous fashions are fabulous and worthy of being part of the Gucci brand. It’s the type of scene that looks like something Steve Martin and Dan Aykroyd would’ve rejected for their Two Wild and Crazy Guys act on “Saturday Night Live.” Paolo’s words and actions get more cartoonish as the movie goes along. A low point is when Paolo urinates on a Gucci scarf in a fit of anger.
Unfortunately, the best performance efforts by the “House of Gucci” cast members can’t overcome the very cringeworthy screenplay that ruins this movie. In one scene, when Patrizia and Maurizio have an argument, she chokes up with tears and says: “I had no idea I married a monster.” He replies coldly, “You didn’t. You married a Gucci.” In another scene, Pina snarls at someone, “Don’t fuck this up, ’cause I’ll put a spell on you!” In another scene, Paolo says, “Never confuse shit with chocolate. They may look the same, but they’re very different. Trust me, I know!”
The Paolo character might want to warn people not to confuse defecation with chocolate, but viewers should be warned not to confuse “House of Gucci” with being a superb film. For a movie that’s supposed to be about a haute couture/luxury fashion brand, it wallows in the muck of cheap gimmicks, sloppy screenwriting and a lack of self-awareness about how horrendous the worst parts are. The end result is a tawdry mess. And you can’t erase the stink from that.
Metro Goldwyn Mayer Pictures will release “House of Gucci” in U.S. cinemas on November 24, 2021. “House of Gucci” is set for release on digital and VOD on February 1, 2022. The movie’s release date on Blu-ray and DVD is on February 22, 2022.
Al Pacino (left), winner of the Hollywood Supporting Actor Award, and “The Godfather” director Francis Ford Coppola at the 23rd Annual Hollywood Film Awards at the Beverly Hilton Hotel in Beverly Hills, California, on November 3, 2019. (Photo by Amy Sussman/Getty Images)
The following is a press release from Dick Clark Productions:
The 23rd Annual “Hollywood Film Awards” brought together Hollywood’s elite to honor the year’s most talked about and highly anticipated actors, actresses and films, and those who helped bring them to life. The awards ceremony, celebrating its 23rd anniversary as the official launch of the awards season, was hosted by actor and comedian Rob Riggle, and took place at The Beverly Hilton in Beverly Hills. In its 23-year history, over 340 of the world’s biggest stars and filmmakers have been highlighted at the “Hollywood Film Awards” and more than 140 of the honorees have gone on to garner Oscar nominations and/or wins.
Rob Riggle at the 23rd Annual Hollywood Film Awards at the 23rd Annual Hollywood Film Awards at the 23rd Annual Hollywood Film Awards at the Beverly Hilton Hotel in Beverly Hills, California, on November 3, 2019. (Photo by Kevin Winter/Getty Images for HFA)
Host Rob Riggle infused the ceremony with heart and humor, proving to be a steadfast guide through the evening’s many memorable moments. There was no shortage of standing ovations for both presenters and honorees alike, who included some of the most iconic members of the Hollywood community. Al Pacino took time to acknowledge many of his fellow honorees and friends in the room as he accepted the “Hollywood Supporting Actor Award.”
Martin Scorsese at the Beverly Hilton Hotel in Beverly Hills, California, on November 3, 2019. (Photo by Emma McIntyre/Getty Images for HFA)
After a presentation from her mentor Martin Scorsese, “Hollywood Producer Award” recipient Emma Tillinger Koskoff delivered an emotional speech, offering a tear-filled thank you to the legendary director and producer. “Hollywood Filmmaker Award” honoree Bong Joon Ho, spoke in his native tongue to deliver a universal message that “we use only one language of cinema.”
Nicole Kidman and Charlize Theron at the 23rd Annual Hollywood Film Awards at the Beverly Hilton Hotel in Beverly Hills, California, on November 3, 2019. (Photo by Kevin Winter/Getty Images for HFA)
In a touching moment between “Hollywood Career Achievement Award” presenter Nicole Kidman and this year’s honoree Charlize Theron, Kidman remarked that “we don’t get to choose our heroes, but through this journey, I got to work with one of mine!”
Antonio Banderas and Dakota Johnson at the Beverly Hilton Hotel in Beverly Hills, California, on November 3, 2019. (Photo by Amy Sussman/Getty Images)
Dakota Johnson took the stage to present Antonio Banderas with the “Hollywood Actor Award,” and reflected upon her realization that Banderas has become one of the most influential people in her life. He accepted by dedicating the award to Dakota, and his daughter Stella, who was in the room to share the night with him.
Cynthia Erivo at the 23rd Annual Hollywood Film Awards at the Beverly Hilton Hotel in Beverly Hills, California, on November 3, 2019. (Photo by Emma McIntyre/Getty Images for HFA)
Viola Davis presented Cynthia Erivo with the “Hollywood Breakout Actress Award,” calling her “fearlessness personified” as she takes on the role of Harriet Tubman. Ray Romano brought the laughs as he showered praise upon “Hollywood Breakout Actor” honoree Taron Egerton, pointing out how unfair it is that Egerton is not only endlessly talented, but funny as well.
Robert Downey Jr. and Shia LaBeouf at the 23rd Annual Hollywood Film Awards at the Beverly Hilton Hotel in Beverly Hills, California, on November 3, 2019 . (Photo by Frazer Harrison/Getty Images for HFA)
Christian Bale and Matt Damon turned up to honor their “Ford v Ferrari” director James Mangold, while Robert Downey Jr. was on hand to laud “Honey Boy” actor and screenwriter Shia LeBeouf with the “Hollywood Breakthrough Screenwriter Award.” Former co-stars Jennifer Garner and Olivia Wilde celebrated Wilde’s “Hollywood Breakthrough Director Award,” each sharing humorous tales of their adventures together on set.
Olivia Wilde at the 23rd Annual Hollywood Film Awards at the Beverly Hilton Hotel in Beverly Hills, California, on November 3, 2019. (Photo by Emma McIntyre/Getty Images for HFA)
Kevin Feige and Victoria Alonso joined together to accept the “Hollywood Blockbuster Award,” thanking their amazing writers, directors, and awe-inspiring cast, including presenter Mark Ruffalo. Alicia Keys began her tribute to “Hollywood Song Award” honoree Pharrell Williams by recognizing all of the love in the room, before Williams delivered a powerful speech focusing on the unparalleled contributions made by “The Black Godfather” subject, Clarence Avant. He said that he has opened doors when others would glue them shut and has consistently demanded equality throughout his career.
Finn Wittrock, Renée Zellweger and Jessie Buckley at the 23rd Annual Hollywood Film Awards at the Beverly Hilton Hotel in Beverly Hills, California, on November 3, 2019. (Photo by Amy Sussman/Getty Images)
“Judy” co-stars Finn Wittrock and Jessie Buckley were on hand to recognize their leading lady Renée Zellweger with the “Hollywood Actress Award.” She said that the experience of playing Judy Garland was “one of those rare opportunities that essentially make no sense at all, but becomes your greatest accomplishment!”
Laura Dern and Willem Dafoe at the 23rd Annual Hollywood Film Awards at the Beverly Hilton Hotel in Beverly Hills, California, on November 3, 2019. (Photo by Frazer Harrison/Getty Images for HFA)
After an earnest tribute from Jon Hamm, “Hollywood Screenwriter Award” honoree Anthony McCarten joked about finding success when he strayed from his teacher’s advice to write what he knows. He advised others to write what they want to know, that curiosity is what drove him to this project. Willem Dafoe presented his friend and colleague Laura Dern with the “Hollywood Supporting Actress Award,” praising the inspiring way in which she connects to audiences through her compassion.
This year’s award show honored the following:
“Hollywood Career Achievement Award” Charlize Theron, presented by Nicole Kidman
“Hollywood Actor Award” Antonio Banderas for Pain and Glory, presented by Dakota Johnson
“Hollywood Actress Award” Renée Zellweger for Judy, presented by Finn Wittrock & Jessie Buckley
“Hollywood Supporting Actor Award” Al Pacino for The Irishman, presented by Francis Ford Coppola
“Hollywood Supporting Actress Award” Laura Dern for Marriage Story, presented by Willem Dafoe
“Hollywood Producer Award” Emma Tillinger Koskoff for The Irishman, presented by Martin Scorsese
“Hollywood Director Award” James Mangold for Ford v Ferrari, presented by Christian Bale & Matt Damon
“Hollywood Filmmaker Award” Bong Joon Ho for Parasite, presented by Sienna Miller
“Hollywood Screenwriter Award” Anthony McCarten for The Two Popes, presented by Jon Hamm
“Hollywood Blockbuster Award” Avengers: Endgame, presented by Mark Ruffalo
“Hollywood Song Award” Pharrell Williams for Letter To My Godfather, presented by Alicia Keys
“Hollywood Breakout Actor Award” Taron Egerton for Rocketman, presented by Ray Romano
“Hollywood Breakout Actress Award” Cynthia Erivo for Harriet, presented by Viola Davis
“Hollywood Breakthrough Director Award” Olivia Wilde for Booksmart, presented by Jennifer Garner
“Hollywood Breakthrough Screenwriter Award” Shia LaBeouf for Honey Boy, presented by Robert Downey Jr.
“Hollywood Animation Award” Toy Story 4
“Hollywood Cinematography Award” Mihai Malaimare Jr. for Jojo Rabbit
“Hollywood Film Composer Award” Randy Newman for Marriage Story
“Hollywood Editor Award” Michael McCusker & Andrew Buckland for Ford v Ferrari
“Hollywood Visual Effects Award” Pablo Helman for The Irishman
“Hollywood Sound Award” Donald Sylvester, Paul Massey, David Giammarco, & Steven A. Morrow for Ford v Ferrari
“Hollywood Costume Design Award” Anna Mary Scott Robbins for Downton Abbey
“Hollywood Make-Up & Hair Styling Award” Lizzie Yianni-Georgiou, Tapio Salmi, & Barrie Gower for Rocketman
“Hollywood Production Design Award” Ra Vincent for Jojo Rabbit
Honoree Portraits are available on the show’s Twitter and Instagram pages. For all information and highlights, please visit the website for the Hollywood Film Awards.
For the latest news, follow the “Hollywood Film Awards” on social and join the conversation by using the official hashtag for the show, #HollywoodAwards.
About Dick Clark Productions
Dick Clark Productions (DCP) is the world’s largest producer and proprietor of televised live event entertainment programming with the “Academy of Country Music Awards,” “American Music Awards,” “Billboard Music Awards,” “Golden Globe Awards,” “Dick Clark’s New Year’s Rockin’ Eve with Ryan Seacrest” and the “Streamy Awards.” Weekly television programming includes “So You Think You Can Dance” from 19 Entertainment and DCP. DCP also owns one of the world’s most unique and extensive entertainment archive libraries with over 60 years of award-winning shows, historic programs, specials, performances and legendary programming. DCP is a division of Valence Media, a diversified and integrated media company with divisions and strategic investments in television, film, live entertainment, digital media and publishing. For additional information, visit www.dickclark.com.
About the Hollywood Film Awards
The Hollywood Film Awards, founded in 1997, were created to celebrate Hollywood and launch the awards season. The recipients of the awards are selected by an Advisory Team for their body of work and/or a film(s) that is to be released during the calendar year. For additional information, visit www.hollywoodawards.com.
Antonio Banderas in “Pain and Glory” (Photo courtesy of El Deseo)
The following is a press release from Dick Clark Productions:
The Hollywood Film Awards announced today that highly-acclaimed artists Antonio Banderas, Renée Zellweger, Al Pacino and Laura Dern will be honored at the 23rd Annual “Hollywood Film Awards.” Banderas will receive the “Hollywood Actor Award” for his poignant turn in Pedro Almodóvar’s 21st film, “Pain and Glory” and Zellweger will receive the “Hollywood Actress Award” for her powerful portrayal of the iconic Judy Garland in Rupert Goold’s “Judy.” Pacino will receive the “Hollywood Supporting Actor Award” for his brilliant depiction of the infamous Jimmy Hoffa in Martin Scorsese’s mob masterpiece “The Irishman,” and Dern will receive the “Hollywood Supporting Actress Award” for her commanding performance as a hard-hitting divorce attorney in Noah Baumbach’s “Marriage Story.” Actor and comedian Rob Riggle will host the ceremony, which will take place on Sunday, November 3, 2019 at The Beverly Hilton in Beverly Hills, CA.
ABOUT THE HONOREES
Since his introduction to American cinema, Antonio Banderas is irrefutably one of the leading international actors of his generation. He has received critical praise for his performances in film, television and theater, as well as behind the scenes as a feature film director. In 2005, he was honored with a Star on the Hollywood Walk of Fame. Recently Banderas won Best Actor at the 2019 Cannes Film Festival for his compelling portrayal of Salvador Mallo in Pedro Almodóvar’s autobiographical drama “Pain & Glory.” This is Antonio’s eighth film with Almodóvar in which he is receiving rave reviews from critics for his performance.
In 1982, Banderas was cast by writer/director Pedro Almodóvar in “Labyrinth of Passion.” It was the first of eight films Banderas would do with Almodóvar, the others being “Matador,” “Law of Desire,” “Women on the Verge of a Nervous Breakdown” and “Tie Me Up! Tie Me Down!”. The international success of these films introduced to him to Hollywood. Banderas can also be seen in “La Piel Que Habito” (“The Skin I Live In”) and “I’m So Excited,” also written and directed by Almodóvar.
Banderas has worked with some of Hollywood’s best directors and leading actors including Robert Rodriguez’s “Desperado” opposite Salma Hayek and the sequel “Once Upon a Time in Mexico” opposite Johnny Depp; “Original Sin” opposite Angelina Jolie; Alan Parker’s “Evita” opposite Madonna, in which he received his first Best Actor Golden Globe nomination; Martin Campbell’s “The Mask of Zorro” opposite Catherine Zeta-Jones, in which he received his second Best Actor Golden Globe nomination, and the sequel “The Legend of Zorro;” Neil Jordan’s “Interview with a Vampire” with Tom Cruise and Brad Pitt; Jonathan Demme’s “Philadelphia” opposite Tom Hanks and Denzel Washington; Bille August’s “House of the Spirits” with Meryl Streep and Glenn Close; and Brian de Palma’s “Femme Fatale.” He was nominated for his third Best Actor Golden Globe for his performance as the infamous Pancho Villa in HBO’s 2003 release of “And Starring Pancho Villa as Himself.”
Banderas can also be seen in National Geographic’s limited series “Genius: Picasso” for which he’s received a Primetime Emmy, Golden Globe, Critic’s Choice and SAG Award nominations for lead actor in a limited series. His upcoming projects include Steven Soderbergh’s “The Laundromat” starring opposite Meryl Streep and Gary Oldman, and “The Voyage of Doctor Dolittle” alongside Robert Downey Jr., Emma Thompson and Rami Malek.
This October, Banderas will co-direct and co-star in the Spanish language version of the classic musical “A CHORUS LINE” at his new theater Teatro del Soho Caixabank in Malaga.
Renée Zellweger is one of the most cherished and respected actors in modern cinema. Zellweger can currently be seen starring as the legendary Judy Garland in “Judy” for Pathé Films / Roadside Attractions. She is most notably known for her starring role as the seminal British everywoman in the film “Bridget Jones’s Diary” and its sequel “Bridget Jones: The Edge of Reason,” both opposite Hugh Grant and Colin Firth. In the first installment of the franchise, she earned her first Oscar® nomination, also earning Golden Globe, SAG and BAFTA nominations, among others. The sequel delivered her another Golden Globe nomination for Best Performance by an Actress in a Motion Picture – Comedy or Musical.
She earned her second Academy Award nomination as convicted killer Roxie Hart in “Chicago,” the Oscar-winning film version of the Tony-winning musical. Acting, singing and dancing alongside Catherine Zeta-Jones, who portrayed fellow death row inmate Velma Kelly, Zellweger took home a Golden Globe Award for Best Actress in a Motion Picture – Comedy or Musical and others including a SAG Award for Outstanding Performance by a Female Actor in a Leading Role. She later earned the Academy Award for Best Supporting Actress in Anthony Minghella’s “Cold Mountain,” the Civil War drama in which she jumped off the screen as feisty farm worker Ruby Thewes. For her work in “Cold Mountain,” Zellweger also garnered a Golden Globe Award and best supporting role honors from the Screen Actors Guild, BAFTA, and Broadcast Film Critics Association.
Zellweger most recently made her television debut in Netflix’s “What/If.” Her recent films include “Bridget Jones’s Baby,” alongside Colin Firth and Patrick Dempsey for Universal Pictures, the film adaptation of the book “Same Kind of Different as Me,” opposite Greg Kinnear and Djimon Hounsou, and “The Whole Truth,” opposite Keanu Reeves.
After graduating with an English degree from the University of Texas, Zellweger did some initial film and television work before making her feature debut in Richard Linklater’s seminal coming-of-age film “Dazed and Confused.” Other film roles quickly followed, including Ben Stiller’s “Reality Bites,” “Love and a .45,” “Texas Chainsaw Massacre: The Next Generation” and “My Boyfriend’s Back.” Zellweger soon after won the affection of audiences with her breakthrough role opposite Tom Cruise in Cameron Crowe’s “Jerry Maguire.” Subsequent film roles for Zellweger have included the acclaimed “One True Thing” with William Hurt and Meryl Streep, the dark comedy “Nurse Betty” opposite Chris Rock and Morgan Freeman, “Me, Myself & Irene” opposite Jim Carrey, the drama “White Oleander” with Robin Wright and Michelle Pfeiffer, Peyton Reed’s romantic comedy “Down with Love” opposite Ewan McGregor, and director Ron Howard’s Depression-era boxing drama “Cinderella Man” with Russell Crowe. She has also lent her voice to such animated features as DreamWorks’ “Shark Tale,” “Bee Movie “and “Monsters vs. Aliens.”
Al Pacino is an Oscar, Tony, and Emmy winner and one of the most revered actors of our time. In 1972, Francis Ford Coppola selected him to take on the breakthrough role of Michael Corleone in “The Godfather,” for which he was nominated for an Academy Award. Within the next six years he received another four Academy Award nominations for the films “Serpico,” “The Godfather Part II,” “Dog Day Afternoon” and “…And Justice For All.” Over a rich film career, he has followed with over 45 titles including “Scarface,” “Sea of Love,” “The Insider,” “Donnie Brasco,” “Heat” and “Any Given Sunday.” He garnered additional Academy Award nominations for his performances in “Dick Tracy” and “Glengarry Glen Ross”. In 1992 he won an Academy Award for Best Actor for his performance in “Scent of a Woman.”
This November, Pacino will portray true-life teamster Jimmy Hoffa in Martin Scorsese’s “The Irishman,” starring alongside Robert De Niro and Joe Pesci. The film premiered at the New York film Festival to high critical acclaim and will release theatrically on November 1st. “The Irishman” is an adaptation of the 2004 memoir “I Heard You Paint Houses” by Charles Brandt and follows organized crime in postwar American, as told by the infamous hitman Frank Sheeran (De Niro).
Pacino has been awarded the Golden Globe Cecil B. DeMille Award for Lifetime Achievement in Motion Pictures, the American Film Institute Life Achievement Award and in 2011 he was received the National Merit of Arts from President Obama. He received the Kennedy Center Honor in 2016.
Laura Dern has touched many audiences and critics alike with her moving and heartfelt performances. In addition to her two Oscar® nominations for “Rambling Rose” and “Wild,” Dern has garnered four Golden Globe Award®- wins, with seven nominations in total, as well as a Primetime Emmy Award®-win and seven nominations in total. In 2019, Dern once again portrayed Renata Klein in the second season of HBO’s “Big Little Lies;” she was also seen in Justin Kelly’s “JT Leroy” and Ed Zwick’s “Trial by Fire.” Later this year, Dern will next be seen in Noah Baumbach’s “Marriage Story” for Netflix, in theaters November 6th and streaming on December 6th, as well as “Little Women,” which was written for the screen and directed by Greta Gerwig and will be released by Sony Pictures on December 25th.
In addition to her extensive film and television credits, Dern has been prolific in her producing career. In 2017 she established Jaywalker Pictures, a Los Angeles-based production company founded with partner Jayme Lemons with emphasis on great storytelling in film and television.
In 2016, Dern was selected to serve on The Academy of Motion Pictures Arts and Sciences’ Board of Governors.
Banderas, Zellweger, Pacino and Dern join previously announced honorees: Shia LaBeouf will receive the “Hollywood Breakthrough Screenwriter Award,” Taron Egerton will receive the “Hollywood Breakout Actor Award,” Cynthia Erivo will receive the “Hollywood Breakout Actress Award,” Olivia Wilde will receive the “Hollywood Breakthrough Director Award,” “Avengers: Endgame” will receive the “Hollywood Blockbuster Award,” Pharrell Williams will receive the “Hollywood Song Award,” Bong Joon Ho will receive the “Hollywood Filmmaker Award,” Emma Tillinger Koskoff will receive the “Hollywood Producer Award,” James Mangold will receive the “Hollywood Director Award,” Anthony McCarten will receive the “Hollywood Screenwriter Award,” “Toy Story 4” will receive the “Hollywood Animation Award,” Mihai Malaimare Jr. will receive the “Hollywood Cinematography Award” for “Jojo Rabbit,” Randy Newman will receive the “Hollywood Film Composer Award” for “Marriage Story,” Michael McCusker & Andrew Buckland will receive the “Hollywood Editor Award” for “Ford v Ferrari,” Pablo Helman will receive the “Hollywood Visual Effects Award” for “The Irishman,” Donald Sylvester, Paul Massey, David Giammarco, & Steven A. Morrow will receive the “Hollywood Sound Award” for “Ford v Ferrari,” Anna Mary Scott Robbins will receive the “Hollywood Costume Design Award” for “Downton Abbey,” Lizzie Yianni-Georgiou, Tapio Salmi, & Barrie Gower will receive the “Hollywood Make-Up & Hair Styling Award” for “Rocketman” and Ra Vincent will receive the “Hollywood Production Design Award” for “Jojo Rabbit.”
Additional honorees for this year’s event will be announced in the coming weeks.
For the latest news, follow the “Hollywood Film Awards” on social and join the conversation by using the official hashtag for the show, #HollywoodAwards.
For the latest news, follow the “Hollywood Film Awards” on social and join the conversation by using the official hashtag for the show, #HollywoodAwards.
The Hollywood Film Awards announced today that Oscar-winning actress, producer, and activist Charlize Theron will receive the coveted “Hollywood Career Achievement Award” at the 23rd Annual “Hollywood Film Awards.” Considered a true artist, Theron has been known throughout her career to fully transform into the characters she portrays, impressing critics and audiences alike with her ability to honestly and authentically convey their stories with heart and integrity. She carries this same passion with her behind the camera and beyond, using her voice to speak for others, especially those in need in her home country of South Africa. As busy as ever, this year Theron returns to the screen for her starring role in the highly anticipated film “Bombshell” alongside Nicole Kidman and Margot Robbie, where she plays real life journalist Megyn Kelly. The “Hollywood Film Awards,” hosted by actor and comedian Rob Riggle, will take place on Sunday, November 3, 2019 at The Beverly Hilton in Beverly Hills, CA.
About the Honoree
South African born and Oscar-winning actress Charlize Theron is one of the most celebrated actresses of our time, captivating audiences with her ability to embody a range of characters. Over the years, Charlize has appeared in numerous films including “The Devil’s Advocate,” “The Cider House Rules,” the critically acclaimed “Monster” for which she earned an Academy Award, a Golden Globe, a Screen Actors Guild Award, and an Independent Spirit Award, “North Country,” for which she was nominated for an Academy Award, a Golden Globe, a Screen Actors Guild Award, and a Critics Choice Award, “Hancock,” “Young Adult,” for which she garnered a Golden Globe nomination, HBO’s “The Life and Death of Peter Sellers,” for which she received a Golden Globe, Screen Actors Guild, and Emmy nominations, “Snow White and the Huntsman,” “A Million Ways to Die in the West,” “Mad Max: Fury Road,” “Dark Places,” “Kubo and the Two Strings” and “The Fate of The Furious.”
In 2017, Theron produced (under her production company Denver and Delilah’s banner) and starred in the Universal film “Atomic Blonde,” alongside James McAvoy. Denver and Delilah also produced “Mindhunter,” the hit Netflix crime drama that same year. The show has since been renewed for a second season. Theron also produced Netflix’s “Hyperdrive,” which launched this August.
In 2018, Theron produced and starred in Amazon’s “Gringo” alongside Joel Edgerton and Amanda Seyfried. Theron reunited with Diablo Cody on the comedy “Tully” as both an actor and producer. She received a 2019 Golden Globe nomination for her work in the title role. In 2018, she also produced “A Private War,” a film based on the Vanity Fair article “Marie Colvin’s Private War.”
Theron most recently starred opposite Seth Rogen and produced the Lionsgate comedy “Long Shot,” which hit theaters early this May. Theron also voiced Morticia Addams in the animated revival of “The Addams Family,” which hit theaters this October. In December of this year, she will portray Megyn Kelly in Lionsgate’s “Bombshell,” which her production company is producing. Theron has recently wrapped filming on both “Fast & Furious 9” and “The Old Guard,” based on the comic book series by Greg Rucka and illustrator Leandro Fernández, which her production company is also producing.
In addition to Theron’s acting success and principal involvement with her production company Denver & Delilah, Charlize serves as a United Nations Messenger of Peace and founder of the Charlize Theron Africa Outreach Project (CTAOP). CTAOP’s mission is to help keep African youth safe from HIV through its support of on the ground, community-engaged organizations. CTAOP serves as a vehicle for communities to empower themselves and their youth in order to prevent the spread of HIV. Learn more about CTAOP at www.charlizeafricaoutreach.org.
Theron joins previously announced honorees: Antonio Banderas will receive the “Hollywood Actor Award,” Renée Zellweger will receive the “Hollywood Actress Award,” Al Pacino will receive the “Hollywood Supporting Actor Award,” Laura Dern will receive the “Hollywood Supporting Actress Award,” Shia LaBeouf will receive the “Hollywood Breakthrough Screenwriter Award,” Taron Egerton will receive the “Hollywood Breakout Actor Award,” Cynthia Erivo will receive the “Hollywood Breakout Actress Award,” Olivia Wilde will receive the “Hollywood Breakthrough Director Award,” “Avengers: Endgame” will receive the “Hollywood Blockbuster Award,” Pharrell Williams will receive the “Hollywood Song Award,” Bong Joon Ho will receive the “Hollywood Filmmaker Award,” Emma Tillinger Koskoff will receive the “Hollywood Producer Award,” James Mangold will receive the “Hollywood Director Award,” Anthony McCarten will receive the “Hollywood Screenwriter Award,” “Toy Story 4” will receive the “Hollywood Animation Award,” Mihai Malaimare Jr. will receive the “Hollywood Cinematography Award” for “Jojo Rabbit,” Randy Newman will receive the “Hollywood Film Composer Award” for “Marriage Story,” Michael McCusker & Andrew Buckland will receive the “Hollywood Editor Award” for “Ford v Ferrari,” Pablo Helman will receive the “Hollywood Visual Effects Award” for “The Irishman,” Donald Sylvester, Paul Massey, David Giammarco, & Steven A. Morrow will receive the “Hollywood Sound Award” for “Ford v Ferrari,” Anna Mary Scott Robbins will receive the “Hollywood Costume Design Award” for “Downton Abbey,” Lizzie Yianni-Georgiou, Tapio Salmi, & Barrie Gower will receive the “Hollywood Make-Up & Hair Styling Award” for “Rocketman” and Ra Vincent will receive the “Hollywood Production Design Award” for “Jojo Rabbit.”
For the latest news, follow the “Hollywood Film Awards” on social and join the conversation by using the official hashtag for the show, #HollywoodAwards.
About Dick Clark Productions
Dick Clark Productions (DCP) is the world’s largest producer and proprietor of televised live event entertainment programming with the “Academy of Country Music Awards,” “American Music Awards,” “Billboard Music Awards,” “Golden Globe Awards,” “Dick Clark’s New Year’s Rockin’ Eve with Ryan Seacrest” and the “Streamy Awards.” Weekly television programming includes “So You Think You Can Dance” from 19 Entertainment and DCP. DCP also owns one of the world’s most unique and extensive entertainment archive libraries with over 60 years of award-winning shows, historic programs, specials, performances and legendary programming. DCP is a division of Valence Media, a diversified and integrated media company with divisions and strategic investments in television, film, live entertainment, digital media and publishing. For additional information, visit www.dickclark.com.
About the Hollywood Film Awards
The Hollywood Film Awards, founded in 1997, were created to celebrate Hollywood and launch the awards season. The recipients of the awards are selected by an Advisory Team for their body of work and/or a film(s) that is to be released during the calendar year. For additional information, visit www.hollywoodawards.com.
Joe Pesci and Robert De Niro in “The Irishman” (Photo by Niko Tavernise/Netflix)
The following is a press release from the Film at Lincoln Center:
Film at Lincoln Center announces Martin Scorsese’s “The Irishman” as Opening Night of the 57th New York Film Festival (September 27 – October 13), making its World Premiere at Alice Tully Hall on Friday, September 27, 2019. “The Irishman” will be released in select theaters and on Netflix later this year.
“The Irishman” is a richly textured epic of American crime, a dense, complex story told with astonishing fluidity. Based on Charles Brandt’s nonfiction book “I Heard You Paint Houses,” it is a film about friendship and loyalty between men who commit unspeakable acts and turn on a dime against each other, and the possibility of redemption in a world where it seems as distant as the moon. The roster of talent behind and in front of the camera is astonishing, and at the core of “The Irishman” are four great artists collectively hitting a new peak: Joe Pesci as Pennsylvania mob boss Russell Bufalino, Al Pacino as Teamsters president Jimmy Hoffa, and Robert De Niro as their right-hand man, Frank Sheeran, each working in the closest harmony imaginable with the film’s incomparable creator, Martin Scorsese.
“’The Irishman’ is so many things: rich, funny, troubling, entertaining and, like all great movies, absolutely singular,” said New York Film Festival Director and Selection Committee Chair Kent Jones. “It’s the work of masters, made with a command of the art of cinema that I’ve seen very rarely in my lifetime, and it plays out at a level of subtlety and human intimacy that truly stunned me. All I can say is that the minute it was over my immediate reaction was that I wanted to watch it all over again.”
“It’s an incredible honor that ‘The Irishman’ has been selected as the Opening Night of the New York Film Festival. I greatly admire the bold and visionary selections that the festival presents to audiences year after year,” said Martin Scorsese. “The festival is critical to bringing awareness to cinema from around the world. I am grateful to have the opportunity to premiere my new picture in New York alongside my wonderful cast and crew.”
Campari is the exclusive spirits partner for the 57th New York Film Festival and the presenting partner of Opening Night, extending its long-standing commitment to the world of film and art.
Presented by Film at Lincoln Center, the 17-day New York Film Festival highlights the best in world cinema, featuring works from celebrated filmmakers as well as fresh new talent. The selection committee, chaired by Jones, also includes Dennis Lim, FLC Director of Programming, and Florence Almozini, FLC Associate Director of Programming.
Tickets for the 57th New York Film Festival will go on sale to the general public on September 8. Festival and VIP passes are on sale now and offer one of the earliest opportunities to purchase tickets and secure seats at some of the festival’s biggest events, including Opening Night. Support for Opening Night of the New York Film Festival benefits Film at Lincoln Center in its non-profit mission to support the art and craft of cinema.
New York Film Festival Opening Night Films
2018 The Favourite (Yorgos Lanthimos, Ireland/UK/US)
2017 Last Flag Flying (Richard Linklater, US)
2016 13TH (Ava DuVernay, US)
2015 The Walk (Robert Zemeckis, US)
2014 Gone Girl (David Fincher, US)
2013 Captain Phillips (Paul Greengrass, US)
2012 Life of Pi (Ang Lee, US)
2011 Carnage (Roman Polanski, France/Poland)
2010 The Social Network (David Fincher, US)
2009 Wild Grass (Alain Resnais, France)
2008 The Class (Laurent Cantet, France)
2007 The Darjeeling Limited (Wes Anderson, US)
2006 The Queen (Stephen Frears, UK)
2005 Good Night, and Good Luck. (George Clooney, US)
2004 Look at Me (Agnès Jaoui, France)
2003 Mystic River (Clint Eastwood, US)
2002 About Schmidt (Alexander Payne, US)
2001 Va savoir (Jacques Rivette, France)
2000 Dancer in the Dark (Lars von Trier, Denmark)
1999 All About My Mother (Pedro Almodóvar, Spain)
1998 Celebrity (Woody Allen, US)
1997 The Ice Storm (Ang Lee, US)
1996 Secrets & Lies (Mike Leigh, UK)
1995 Shanghai Triad (Zhang Yimou, China)
1994 Pulp Fiction (Quentin Tarantino, US)
1993 Short Cuts (Robert Altman, US)
1992 Olivier Olivier (Agnieszka Holland, France)
1991 The Double Life of Veronique (Krzysztof Kieslowski, Poland/France)
1990 Miller’s Crossing (Joel Coen, US)
1989 Too Beautiful for You (Bertrand Blier, France)
1988 Women on the Verge of a Nervous Breakdown (Pedro Almodóvar, Spain)
1987 Dark Eyes (Nikita Mikhalkov, Soviet Union)
1986 Down by Law (Jim Jarmusch, US)
1985 Ran (Akira Kurosawa, Japan)
1984 Country (Richard Pearce, US)
1983 The Big Chill (Lawrence Kasdan, US)
1982 Veronika Voss (Rainer Werner Fassbinder, West Germany)
1981 Chariots of Fire (Hugh Hudson, UK)
1980 Melvin and Howard (Jonathan Demme, US)
1979 Luna (Bernardo Bertolucci, Italy/US)
1978 A Wedding (Robert Altman, US)
1977 One Sings, the Other Doesn’t (Agnès Varda, France)
1976 Small Change (François Truffaut, France)
1975 Conversation Piece (Luchino Visconti, Italy)
1974 Don’t Cry with Your Mouth Full (Pascal Thomas, France)
1973 Day for Night (François Truffaut, France)
1972 Chloe in the Afternoon (Eric Rohmer, France)
1971 The Debut (Gleb Panfilov, Soviet Union)
1970 The Wild Child (François Truffaut, France)
1969 Bob & Carol & Ted & Alice (Paul Mazursky, US)
1968 Capricious Summer (Jiri Menzel, Czechoslovakia)
1967 The Battle of Algiers (Gillo Pontecorvo, Italy/Algeria)
1966 Loves of a Blonde (Milos Forman, Czechoslovakia)
1965 Alphaville (Jean-Luc Godard, France)
1964 Hamlet (Grigori Kozintsev, USSR)
1963 The Exterminating Angel (Luis Buñuel, Mexico)
FILM AT LINCOLN CENTER
Film at Lincoln Center is dedicated to supporting the art and elevating the craft of cinema and enriching film culture.
Film at Lincoln Center fulfills its mission through the programming of festivals, series, retrospectives, and new releases; the publication of Film Comment; the presentation of podcasts, talks, and special events; the creation and implementation of Artist Initiatives; and our Film in Education curriculum and screenings. Since its founding in 1969, this nonprofit organization has brought the celebration of American and international film to the world-renowned arts complex Lincoln Center, making the discussion and appreciation of cinema accessible to a broad audience, and ensuring that it remains an essential art form for years to come.
Support for the New York Film Festival is generously provided by Official Partners HBO, Campari, and The New York Times, Benefactor Partners Netflix, illy caffè, and Dolby, Supporting Partner Warby Parker, and Contributing Partners Hudson New York-an SBE Hotel and IMDbPro. JCDecaux, Variety, Deadline Hollywood, WNET New York Public Media and Shutterstock serve as Media Sponsors. American Airlines is the Official Airline of Film at Lincoln Center.
Film at Lincoln Center receives generous, year-round support from the National Endowment for the Arts and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature. For more information, visit www.filmlinc.org and follow @filmlinc on Twitter and Instagram.
