'Antebellum': Film Review

Nick Vivarelli International CorrespondentChiara Bellosi, whose first work, “Ordinary Justice,” launched from Berlin’s Generation 14plus section in 2020, is back with “Swing Ride” (“Calcinculo”) about an overweight 15-year-old named Benedetta pining for attention in an Italian province where she falls in love with the skinny non-binary Amanda.A key difference between the two films is that while “Ordinary Justice,” which examined the lives of two families on opposite sides of a murder case, originated from a deeply researched screenplay that Bellosi wrote, “Swing Ride” — premiering in Panorama on Feb. 13 — stems from a prizewinning script proposed to her by Carlo Cresto Dina, her producer, who also discovered Alice Rohrwacher (“Happy as Lazzaro”) and is known for nurturing the cream of Italy’s new cinematic crop.   “It’s a very different process; it was the first time that I had to start from a world that didn’t germinate from me,” said Bellosi about working from the script penned by Maria Teresa Venditti and Luca De Bei that won Italy’s prestigious Solinas prize in 2018.It was like moving into a new house that she had to make her own, she said.“I worked with the writers; I wanted to make a few tweaks and we did that together,” she added, noting that initially “it was a leap into the void.” But directing from their screenplay actually ended up giving her “more freedom” than her previous pic because “the container is already there; but you can go pretty wild with the rest.”This freedom also made it more fun.

Elsa Keslassy International CorrespondentMK2 Films, the banner behind Joachim Trier’s “The Worst Person in the World,” has boarded “Love Life,” the anticipated next film of laureled Japanese director Koji Fukada. Fukada’s credits include the 2016 movie “Harmonium” which won the jury prize at Cannes’ Un Certain Regard, as well as “A Girl Missing” which played at Toronto. His latest film, “The Real Thing” was part of Cannes 2020’s Official Selection.

K.J. Yossman Fresh from appearing in Netflix hit Adam McKay’s “Don’t Look Up,” Mark Rylance’s latest big screen outing is “The Outfit,” in which he stars as Leonard, a 1950s tailor. It is a role that could not be more dissimilar to the fictional megalomaniac billionaire Peter Isherwell, whom Rylance plays in McKay’s disaster movie.Written and directed by Graham Moore, the Oscar-winning scribe behind “The Imitation Game,” “The Outfit” sees Rylance star as a Savile Row tailor who has fled across the Atlantic to escape his tragic past.

Elsa Keslassy International CorrespondentTrustNordisk has closed a flurry of sales on a pair of 3D-animated family features, “Little Allan — The Human Antenna” and “The Super,” underscoring the market appeal of independent youth-skewing movies.“Little Allan – The Human Antenna” marks Danish film Amalie Naesby Fick’s follow up to her commercially successful debut “The Incredible Story of The Giant Pear,” which premiered in the the Generation Kplus section at Berlin in 2018. This year, the helmer has her daring drama series “Sex” selected for the Berlinale Series.The film takes place during summer vacation, when introverted, 11-year old Allan starts acting as a human antenna for his old neighbor, who thinks a huge invasion fleet from the outer space is on its way.

Leo Barraclough International Features EditorAhead of Sunday’s world premiere of documentary “1341 Frames of Love and War,” which plays in Berlinale Special, Variety spoke to Israeli writer/director Ran Tal about the film and its subject, Israeli war photographer Micha Bar-Am.In some ways “Frames” continues Tal’s interest in Israeli history evident in his previous work, “What If? Ehud Barak on War and Peace,” which centered on the former prime minister of Israel. Bar-Am was born in Berlin in 1930, but grew up in what became Israel, and across a five decade-long career as a photographer he documented many of the major episodes – in particular the wars – in the life of the young country, founded in 1948.

Nick Vivarelli International CorrespondentRAI Com is launching sales at the online EFM on Giuseppe Piccioni’s Fascist-era drama ‘L’Ombra del giorno,” starring Italian A-lister Riccardo Scamarcio (“Three Floors”) and Benedetta Porcaroli (“Baby,” “The Catholic School”).Pic, which Scamarcio produced, is a love story with a thriller twist set in 1938, two years before Italy entered World War II. It unfolds entirely in the central Italian town of Ascoli Piceno, a hidden gem with gorgeous medieval monuments, churches and piazzas.The film’s title translates as “The Shadow of the Day,” a reference to the darkness of Fascism.Luciano (Scamarcio), a wounded World War I veteran and a sympathizer of Fascism like most Italians at the time, runs a classy restaurant overlooking the town’s ancient square.

John Hopewell Chief International CorrespondentAdding to its notable lineup in Latin American movies, Paris-based sales agent MPM Premium has taken international sales rights to “Fogaréu,” from writer-director Flávia Neves, part of Brazil’s new wave of female filmmakers, which is one of the most exciting developments the country’s cinema currently has going for it.MPM Premium is introducing the film at this week’s Berlin Festival, where it world premieres in Panorama on Feb. 15.First glimpsed at 2020’s Ventana Sur project market, “Fogaréu” shares a sense of attitude and a feminist agenda and a visual verve with fellow Brazilian Ventana Sur titles “The Pink Cloud,” Iuli Gerbase’s a sci-fi character-driven thriller, and “The Joy of Things,” Thais Fujinaga’s portrait of motherhood, also playing at the same market.

Darius Rucker's favorite Super Bowl Sunday tradition involves spending time with his son. The country music star opened up about having the opportunity to attend Super Bowls with his son Jack in a new interview with Fox News Digital. "I've been going a lot in the past few years and taking my son, so that's kind of our thing," Rucker explained.

It’s been nearly 30 years since Kristy Swanson slayed a vampire – but these days, she’s happily finding her footing on a ranch. The actress stars in Pure Flix’s streaming series "Sons of Thunder: Redemption." It tells the tale of a former biker gang member (Rocky Myers) who decides to seek forgiveness from his ex-fiancee at her California horse ranch that is about to close down.The ranch owner (Swanson) decides to host a fundraising rodeo, but trouble isn’t far behind.The show also stars Lorenzo Lamas of "Falcon Crest" and "Renegade" fame. Kristy Swanson attends the 2017 Monster Mania Con on March 10, 2017, in Cherry Hill, New Jersey.

Jason Momoa is enjoying a day out with a friend.

Super Bow LVI pitting the Los Angeles Rams against the Cincinnati Bengals kicks off at 6:30 p.m. ET/3:30 p.m. PT from SoFi Stadium in Inglewood, the Rams’ home field. The game will air live on NBC as well as for the first time on the Peacock streaming service and Spanish-language network Telemundo.

Zachary Quinto and Lukas Gage are hitting the red carpet!

Scarlett Johansson and Colin Jost are about to be on everyone’s television screens thanks to their Super Bowl commercial.

It was yet another disappointing day for Manchester United as they once again took the lead in a match but didn't come away the winners.

Doja Cat is bringing the heat to a Super Bowl party!

Naman Ramachandran Acclaimed Bangladeshi director Rubaiyat Hossain, known for her powerful women-centric films, has a new project participating in the Berlinale Co-Production Market and is launching a female filmmaker grant.Her Berlinale co-production market project, “The Difficult Bride,” follows Novera, a bride-to-be in present-day Dhaka who is in love with the groom and the idea of a fairytale wedding, but secretly struggles with her body, which does not seem to comply with the wedding rituals. She makes continuous trips to the beauty salon and uses home remedies to “cure” her body.

Christopher Vourlias Germany’s Sola Media has closed a wave of international sales for the animated feature “Finnick,” produced by Riki Group, which will be released by Sony Pictures Russia in Russia and CIS on March 24.The CGI-animated comedy follows the adventures of 13-year-old Christine, who befriends the young prankster Finnick – one of the furry and usually invisible beings known as Finns. The odd couple has to team up as detectives to solve the mysterious events happening in their city.The Stuttgart-based sales agency has inked deals with Eagle Pictures (Italy), Independent Films (Benelux), Koch Films (German/Austria/Switzerland), Vertigo Releasing (U.K.), Tanweer (Greece), Selmer Media (Scandinavia), Myndform (Iceland), Rialto (Australia and New Zealand), and Black Sheep Films (South Africa), and holds exclusive distribution rights in multiple additional territories.

Celtic boss Ange Postecoglou used to watch Scottish Cup Finals from the other side of the world.

Gordon Smith feared Rangers were booked for trouble with Craig Whyte when learning he’d dodged paying the club’s pre-season hotel.

An Ayrshire nursing home which was previously told to improve its infection control practices has been given the thumbs up by an official watchdog.

Chapelhall FC will kick their first league ball during the summer, having been borne of a hunger for the game in the village but, more importantly, to help struggling players with their mental health battles.

Calum Gallagher says Airdrie can't focus on Cove Rangers, and must take care of their own business.

Manori Ravindran International EditorMia Wasikowska will take on the lead role in “Little Joe” director Jessica Hausner’s cult thriller “Club Zero,” Variety can reveal.The Australian actor will portray an unusual schoolteacher in Hausner’s second English-language film, which begins shooting in the U.K. and Austria in July.Wasikowska was most recently seen in Mia Hansen-Løve’s Cannes-premiering film “Bergman Island.”In “Club Zero,” Wasikowska’s teacher takes a job at an elite school and forms a strong bond with five students — a relationship that eventually takes a dangerous turn.Discussing the film at the Doha Film Institute’s Qumra event last year, Hausner described the film as “a lot about eating,” relating to eating disorders and “eating behaviors.” This will be Hausner’s sixth feature.

Nick Vivarelli International CorrespondentItalian director Roberta Torre, known for campy Mafia musical “Tano to Die For” and other anarchic pics, is making “Le Favolose,” about a group of transgender women who reunite after 20 years to commemorate a dead friend and do right by her after her identity has been violated.“Le Favolose,” which translates as “The Fabulous Ones,” is being produced by Donatella Palermo, who is at the Berlinale with auteur Paolo Taviani’s competition entry “Leonora Addio.”Palermo, who has a longstanding rapport with Torre, is the Italian producer behind two Berlin Golden Bear winners: the Taviani brothers’ “Caesar Must Die” and Gianfranco Rosi’s “Fire at Sea.” “When a person decides to face the [gender] transition from man to woman it can be a very painful process in several different ways: social, physical, etc.,” said Palermo, who notes that “when a trans dies, most of the time their body is returned to their families.” Torre’s new pic is based on a real-life story of Antonia, one of the “Fabulous Ones,” who is buried by her family dressed as a man under her original name, Giampaolo, amid the indifference of most.

Leo Barraclough International Features EditorArna Media, the Russian distribution company run by Nadezda Motina, has secured the rights to “Brother and Sister,” “The Tank,” “Little Allan – The Human Antenna” and “The Colors of Fire” for its theatrical pipeline. Arnaud Desplechin’s family-drama “Brother and Sister” stars Marion Cotillard, Melvil Poupaud and Golshifteh Farahani. Cotillard and Poupaud play the titular siblings who, following the death of their parents, reunite after decades of silence.

Jamie Lang After a banner 2021 for high-end genre films, industry vets are hopeful that the fantastic can resurrect the corpse of pre-COVID theatrical distribution.As bolts of lightning reanimated the body of Frankenstein’s monster, Julia Ducournau’s “Titane,” which turned heads when it took the Palme d’Or at Cannes, and Sundance Grand Jury prize-winner “Nanny,” a supernatural tale from director Nikyatu Jusu, have revitalized the festival scene.While “Nanny” may have been the jewel in the genre crown at Sundance, the influence that genre cinema held over 2022’s first major festival was wide-ranging and undeniable. Chloe Okuno’s psychological thriller “Watcher” impressed — segueing into several sales deals — as did Hanna Bergholm’s psycho-horror feature “Hatching,” sold by Wild Bunch and Charades-sold Spanish standout “Piggy,” the follow-up to Carlota Pereda’s 2019 Spanish Academy Award-winner “Cerdita.” Among genre titles at Berlin this year are Dario Argento’s serial killer thriller “Dark Glasses” in the Berlinale Special section, while Bertrand Bonello’s subconscious voyage “Coma” and Peter Strickland’s gory “Flux Gourmet” (pictured above) feature in Encounters.

Amidst family drama piled miles high, Travis Scott looks as chilled out as ever; but then again, maybe it’s just new dad exhaustion! In the first photos of the rapper since the birth of his second child with wife Kylie Jenner, the rapper wore a comfortable outfit and statement hoodie as he arrived at the Fanatic Super Bowl party on Feb. 12. Travis and Kylie welcomed a son, Wolf Webster, on Feb. 2nd.

Luke Shaw has told Jadon Sancho to keep his head high after emerging as a shining light during Manchester United's difficult run of form.

"I’ve played with Katie Zelem since I was 12 years old. I’m not going to sit here and say I don’t want her to do well. She’s one of my best friends and always will be," Keira Walsh explains.

How does the historical nightmare of slavery inhabit the present day? “Antebellum,” the feature-length debut of directing duo Gerard Bush and Christopher Renz, tackles this question, once explored with originality and nuance by Jordan Peele’s “Get Out,” with shallow simplicity. For all its ideas—the existential threat to white supremacy posed by Black success, the lingering effects of intergenerational trauma, and the insidious romanticization of the Confederacy— “Antebellum” contains symbols rather than people and intrigue without meaningful discovery.