Beyond: Celebs Rumors

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Mip London Won’t Be a ‘Rival Event’ to London TV Screenings, Says Director Lucy Smith, Teasing ‘More Content, More Deals and More Networking’

Marta Balaga Mip London won’t be a “rival” event to the London TV Screenings, assured Lucy Smith, Director of Mipcom Cannes and upcoming Mip London. “We will be very respectful of what they’ve already planned. They have grown a great event,” she said, promising “intelligent scheduling” on Mip London’s part to “make sure we won’t be fully in competition with some other major events.” “It’s not a rival event.
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‘Restore Point’ Review: Impressively Slick Czech Sci-Fi Thriller Is Ready For the Big Time
Guy Lodge Film Critic You have to admire the moxie of authors and filmmakers who set their science-fiction spectaculars in the very near future, essentially confronting viewers with what may seem a pretty outlandish forecast for their own lives. Those that pull it off present us with possibilities resonant enough to ponder, even when they’re too far-fetched to actively fear: So it proves in “Restore Point,” a sharp, high-shine sci-fi outing from the Czech Republic, in which earthly life after death is routine, a cellular rather than spiritual matter. Set in an unspecified (though Czech-speaking) central Europe in the year 2041, director Robert Hloz’s whopper of a calling-card debut may offer a more credibly subdued, budget-constrained visual of the mid-21st century than the lavishly built “Blade Runner 2049” — unless we’re in for a drastic design (r)evolution over the course of the 2040s — but its ideas are sky-high in concept. Marrying glossy mainstream genre aesthetics to probing, elaborately conceived speculative storytelling, this is a notably ambitious and auspiciously well-realized first feature for Hloz: the kind that appears to be flaunting his capabilities for even bigger international and Hollywood assignments.
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‘The King Who Never Was’ Director on Reconstructing the Murder Investigation Involving Italy’s Last Heir — and Her Connection to the Case
Nick Vivarelli International Correspondent Unlike in the U.K., Spain and Sweden — where kings and queens are still formally heads of state — Italy’s royal family, the House of Savoy, no longer rules. The last heir to the Italian throne, Vittorio Emanuele of Savoy and his family were forced into exile in 1946, when the prince was 9. That year, the Italian people voted in a referendum about whether the monarchy should continue. They chose to create a republic and punished the royals for failing to save their country from Mussolini’s fascist regime. The Savoys were allowed to return in 2003 after 57 years of exile. In 1978, Vittorio Emanuele – the king who never was – got into trouble while he and his wife and kids were living on the island of Cavallo, on the south coast of Corsica, France. As reconstructed from eyewitness interviews in a new Netflix documentary, on a hot August night he became enraged when some loud “shitty Italians” “borrowed” the dinghy off his yacht and tied it to another nearby boat. Fuming, he took a rifle, went to one of their boats and, after shots from his rifle rang out – that were just meant to scare – someone got hurt. Dirk Hamer, a 19-year-old sleeping on another boat nearby, died of gunshot injuries in early December. Though it was never legally proven that Vittorio Emanuele killed Hamer, this incident had a big impact on the prince’s life.
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