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TIFF announces the World Premiere of Xavier Dolan’s The Death and Life of John...

radiofacts.com The Toronto International Film Festival® today revealed Xavier Dolan’s The Death and Life of John F. Donovan will have its World Premiere at the Festival this September. The surprise announcement was made at TIFF’s Canadian press conference, held at the Fairmont Royal York Hotel in Toronto. The Death and Life of John F. Donovan follows the story of a young actor (Jacob Tremblay) as he reminisces on the letters he once shared with an American TV star (Kit Harington), who passed away a decade earlier, and the impact those letters had on both their lives. The film also stars Natalie Portman, Ben Schnetzer, Susan Sarandon, Jared Keeso, Kathy Bates, Thandie Newton, Emily Hampshire, and former TIFF Rising Star Sarah Gadon. “In only a few short years, Xavier Dolan has drawn film lovers all over the world into his personal vision,” said Cameron Bailey, Artistic Director of TIFF. “That vision and his remarkable skill as a filmmaker are on full display in his English-language debut. We are honoured to premiere it in Toronto." The Death and Life of John F. Donovan will screen as part of the Special Presentations programme. The 43rd Toronto International Film Festival runs from September 6 to 16, 2018.

TIFF Announces First Slate of 2018 Film Premieres


Claire Denis, Steve McQueen, Alfonso Cuarón, Barry Jenkins, Nicole Holofcener,Patricia Rozema, Damien Chazelle, Elizabeth Chomko, Zhang Yimou, Bradley Cooper, Nadine Labaki, Anurag Kashyap, Amma Asante, Matteo Garrone, Eva Husson, Jason Reitman, Lee Chang-dong, Keith Behrman, George Tillman, Jr., Olivier Assayas, and Jiang Wen to present their films in Toronto

radiofacts.com Piers Handling, CEO and Director of TIFF, and Cameron Bailey, Artistic Director of TIFF, today unveiled the first round of titles premiering in the Gala and Special Presentation programmes of the 43rd Toronto International Film Festival ® . Of the 17 Galas and 30 Special Presentations, this first announcement includes 21 World Premieres, 7 International Premieres, 8 North American Premieres and 11 Canadian Premieres.  The selection announced today includes 13 features directed by women. “We have an exceptional selection of films this year that will excite Festival audiences from all walks of life,” said Handling. “Today’s lineup showcases beloved auteurs alongside fresh voices in filmmaking, including numerous female powerhouses. The sweeping range in cinematic storytelling from around the world is a testament to the uniqueness of the films that are being made.” “Every September we invite the whole film world to Toronto, one of the most diverse, movie-mad cities in the world. I'm thrilled that we've been able to put together a lineup of Galas and Special Presentations that reflects Toronto's spirit of inclusive, passionate engagement with film. We can't wait to unveil these films for our audience.” The 43rd Toronto International Film Festival runs from September 6 to 16, 2018. GALAS 2018 Beautiful Boy Felix van Groeningen, USA World Premiere Everybody Knows Asghar Farhadi, Spain/France/Italy North American Premiere First Man Damien Chazelle, USA Canadian Premiere Galveston Mélanie Laurent, USA Canadian Premiere The Hate U Give George Tillman, Jr., USA World Premiere Hidden Man Jiang Wen, China International Premiere High Life Claire Denis, Germany/France/Poland/United Kingdom World Premiere Husband Material Anurag Kashyap, India World Premiere The Kindergarten Teacher Sara Colangelo, USA Canadian Premiere The Land of Steady Habits Nicole Holofcener, USA World Premiere Life Itself Dan Fogelman, USA World Premiere The Public Emilio Estevez, USA World Premiere Red Joan Sir Trevor Nunn, United Kingdom World Premiere Shadow Zhang Yimou, China North American Premiere A Star is Born Bradley Cooper, USA North American Premiere What They Had Elizabeth Chomko, USA International Premiere Widows Steve M c Queen, United Kingdom/USA World Premiere SPECIAL PRESENTATIONS 2018 Ben is Back Peter Hedges, USA World Premiere Burning Lee Chang-dong, South Korea North American Premiere Can You Ever Forgive Me? Marielle Heller, USA International Premiere Capernaum Nadine Labaki, Lebanon North American Premiere Cold War Paweł Pawlikowski, Poland/United Kingdom/France Canadian Premiere Colette Wash Westmoreland, United Kingdom Canadian Premiere Dogman Matteo Garrone, Italy/France Canadian Premiere The Front Runner Jason Reitman, USA International Premiere Giant Little Ones Keith Behrman, Canada World Premiere Girls of the Sun Eva Husson, France International Premiere Hotel Mumbai Anthony Maras, Australia World Premiere The Hummingbird Project Kim Nguyen, Canada World Premiere If Beale Street Could Talk Barry Jenkins, USA World Premiere Manto Nandita Das, India North American Premiere Maya Mia Hansen-Løve, France World Premiere Monsters and Men Reinaldo Marcus Green, USA Canadian Premiere *Special Presentations Opening Film* MOUTHPIECE Patricia Rozema, Canada World Premiere Non-Fiction Olivier Assayas, France Canadian Premiere The Old Man & The Gun David Lowery, USA International Premiere Papi Chulo John Butler, Ireland World Premiere Roma Alfonso Cuarón, Mexico/USA Canadian Premiere *Special Presentations Closing Film* Shoplifters Hirokazu Kore-eda, Japan Canadian Premiere The Sisters Brothers Jacques Audiard, USA/France/Romania/Spain North American Premiere Sunset László Nemes, Hungary/France North American Premiere Through Black Spruce Don McKellar, Canada World Premiere The Wedding Guest Michael Winterbottom, United Kingdom World Premiere The Weekend Stella Meghie, USA World Premiere Where Hands Touch Amma Asante, United Kingdom World Premiere White Boy Rick Yann Demange, USA International Premiere Wildlife Paul Dano, USA Canadian Premiere
Gary Indiana Welcomes the Michael Jackson "King of Pop" Tribute Festival of the Arts





30 May, 2018, Los Angeles, CA - Today, the Estate of Michael Jackson filed a federal lawsuit in Los Angeles against The Walt Disney Company and ABC for their willful and intentional infringements of dozens of copyrights owned by the Estate that were used, without permission, in the ABC prime time special “The Last Days of Michael Jackson” broadcast last week. “Disney and ABC committed willful and intentional copyright infringement when they used the Estate’s copyrighted materials without the Estate’s permission. Disney’s conduct here was particularly surprising given that it has no tolerance for anyone using its copyrighted material in even the most trivial of manners. Disney and ABC’s conduct is also contrary to law and industry practice, and despite several cautionary letters from the Estate to Disney and ABC attorneys. Disney and ABC never sought the Jackson Estate’s permission to use any of the material owned by the Estate in the broadcast. Can you imagine using Disney’s intellectual property – like Mickey Mouse, Cinderella, Star Wars, The Avengers, Toy Story, and so many other works – without asking Disney’s permission or getting a license? The Estate has no choice but to vigorously protect its intellectual property, which is the lifeblood of its business,” said Howard Weitzman of Kinsella Weitzman Iser Kump & Aldisert LLP, who, with his partner Jonathan Steinsapir, filed the lawsuit for the Jackson Estate. Among other Estate copyrighted materials used, without permission by ABC and Disney, are: (1) significant and repeated excerpts of Michael Jackson’s most valuable songs and recordings, like “Billie Jean”, “Beat It”, “Don’t Stop ‘Til You Get Enough”, “Bad”, “Leave Me Alone” and many others; (2) substantial portions of Michael Jackson’s ground-breaking music videos like “Thriller”, “Black or White”, “Bad” and almost a dozen others; (3) large swaths of footage from Michael Jackson’s iconic live performances, including extensive footage from the “Triumph” tour with his brothers (owned by the Estate) and classic performances embodied in the video specials “Michael Jackson: Live in Bucharest” and “Michael Jackson: Live at Wembley”; (4) a key moment from the Estate’s 2016 Spike Lee directed documentary, Michael Jackson’s Journey from Motown to Off the Wall; and (5) unique footage from the Estate’s 2009 critically-acclaimed feature film, Michael Jackson’s This Is It (by far, the highest grossing music documentary of all time). About The Estate of Michael Jackson Following in Michael's footsteps, the co-executors of the Estate of Michael Jackson, John Branca and John McClain, continue to produce artistically exceptional and enormously successful ventures resulting in, as reported on 60 Minutes, “the most remarkable financial and image resurrection in pop-culture history.” Upon release, Michael Jackson's This is It became the highest grossing music documentary of all time. A history making touring show produced in partnership with Cirque du Soleil, Michael Jackson THE IMMORTAL World Tour, played four continents, 157 cities, was seen by 3.7 million fans and became the #8 top grossing tour of all time. The second venture between the Estate and Cirque du Soleil, the critically acclaimed Michael Jackson ONE, a permanent show at Mandalay Bay Las Vegas, gave Cirque its biggest opening ever in Las Vegas and continues to be one of the top shows in the city. In 2015, Thriller became the first album in RIAA Gold & Platinum Program history to be certified 30X multi-Platinum for U.S. sales, continuing The King of Pop's reign as the biggest selling artist of all time with worldwide sales of over 103 million for Thriller and 1 billion overall. In 2016, the Estate released the documentary MICHAEL JACKSON's Journey From Motown To Off The Wall, directed by Spike Lee. The documentary made its world premiere at the Sundance Film Festival on January 24, 2016, and its subsequent broadcast on SHOWTIME® became the channel's highest rated music documentary of all time. Last year the Estate premiered Thriller 3D at the Venice Film Festival and in October its animated special Michael Jackson’s Halloween made its debut on the CBS Television Network.

Mirimax and Roadside Attractions Presents “WHITNEY”

radiofacts.com *WHITNEY will have its world premiere at the 2018 Cannes Film Festival on May 16, 2018 **Miramax and Roadside Attractions will release WHITNEY in theaters July 6, 2018** WHITNEY - Directed by Kevin Macdonald Produced by Simon Chinn, Jonathan Chinn, and Lisa Erspamer Executive Produced by Nicole David, Pat Houston,Will Clarke, Andy Mayson, Mike Runagall, Zanne Devine, Rosanne Korenberg and Joe Patrick - Featuring Whitney Houston, friends & family Whitney Houston broke more music industry records than any other female singer in history. With over 200 million album sales worldwide, she was the only artist to chart seven consecutive U.S. No. 1 singles. She also starred in several blockbuster movies before her brilliant career gave way to erratic behavior, scandals and death at age 48. The documentary feature Whitney is an intimate, unflinching portrait of Houston and her family that probes beyond familiar tabloid headlines and sheds new light on the spellbinding trajectory of Houston's life. Using never-before-seen archival footage, exclusive demo recordings, rare performances, audio archives and original interviews with the people who knew her best, Oscar®-winning filmmaker Kevin Macdonald unravels the mystery behind "The Voice," who thrilled millions even as she struggled to make peace with her own troubled past.

Grace Jones “Bloodlight and Bami” Documentary Review


Grace Jones "Bloodlight and Bami"

Distributed by: Kino Lorber CAST: Grace Jones, Jean Paul Goude, Sly Dunbar, Robbie Shakespeare Directed and Edited by: Sophie Fiennes Writer: Leonie Gombrich Producers: Katie Holly, Sophie Fiennes, Beverly Jones, Shani Hinton Executive Producers: Christine Langan, Joe Oppenheimer, Lizzie Francke, Keith Potter, Francesca Von Habsburg, Danielle Ryan, Alan Maher, James Wilson, Émilie Blézat Editor: Sophie Fiennes Cinematographer: Remko Schnorr Musical Director: Ivor Guest World Premiere, Toronto International Film Festival 2017 Time: 115 min. UK/Ireland The new documentary Grace Jones "Bloodlight and Bami" shows that Jones is just as interesting off-stage as she is onstage. The new Grace Jones biopic "Bloodlight and Bami" dives into the singer/performance artist's personal life in a way that has rarely been seen. Grace's mother Margerie, who recently died, is in the film and Grace was very close to her considering the severe abuse her and her five siblings experienced when they were left behind as children in Spanishtown Jamaica while their parents moved to Syracuse, New York to set up a life for the family. During the film, she briefly talks about being there when her father died yet she rarely addresses what some have said was a distance he developed with her as an artist since he was a minister. This past summer, I just so happened to be at my first Toronto Film Festival and literally walked past Grace as she was signing autographs before the premiere of the movie unaware it was her. She had on a long wig. The movie was funny and interesting and there were certain parts of it that reminded me of Paris is Burning which was a very depressing and tragic film but Bloodlight was more uplifting and very matter of fact. Grace Jones "Bloodlight and Bami" Grace goes back home in the film to Spanishtown Jamaica returning effortlessly to her incredibly humble beginnings. The home where she and her other five siblings had to stay while her parents moved to Syracuse was a very small and basic hut. It was very dark and cluttered and there were live chickens running around the backyard. This view of the icon's life is a far cry from the 5-star hotels and stretch limos she has often been seen in. This was a part of what was missing in the film, Grace's thoughts on what it was like to make it in show business despite her background. She does sit with a female relative and talks about being abused by the woman's' much younger husband named Mas P. Apparently, he married the woman when she was an older single lady and he did not expect children, to say the least, five of them. Grace's brother the Minister Noel Jones appears in the film and talks about the abuse and how odd Grace was even as a child. One of the most powerful points she makes in the film is about how powerful it is to be an artist like her and lonely at the same time as well as fascinating. One could imagine that to be true considering Grace was such a far cry from most black female singers in the history of music excusing singers like Josephine Baker and Eartha Kitt, who were also largely astray from black audiences. I would have also liked to hear more about her history in the industry as a recording artist. What it was like to have a top 5 hit with 1981's Pull Up to the Bumper" and how she felt about being largly rejected by the black audience or if it even mattered. Grace also doesn't discuss her status as a gay icon or being a huge part of the disco era in the late 70s then being one of the few survivors as a new wave artist shortly thereafter. Grace was always ahead of her time and right on time at the same time which is what makes her so interesting. She does address her masculine side and makes an interesting statement during the film about it. She admits the stark feminine contrast on stage is the character of a psychological experience she was not aware of, a therapist pointed out that her performance like this onstage is actually her imitating the abuser in her childhood Mas P. He was very militant and he had a stare that looked right through you, one of Grace's other bothers describes in the film. Grace Jones "Bloodlight and Bami" Grace has a great sense of humor about her current career status as she takes on a couple of smaller gigs from her hardcore fanbase during the film to help pay for her new self-produced album. There is a scene where she lip sinks to "La Vie En Rose," the original version from the 70s. She was not aware of the set and let the production company use their vision for it, since they are paying, and when she gets there, she is surprised to see that there are girls dancing around her sensually in lingerie during the song. Grace has on a black suit with an odd hat and complains to the producer of the video that she feels like a lesbian pimp with all those girls dancing around her like that and says "Do you have any male dancers?" Since it's a documentary I don't want to give too much more away except that she eats oysters during the entire film like most people chew gum. Her son Paulo, who should be close to 40, appears in the movie briefly but he doesn't say much. He tours with her as a drummer in her band and he is also a model. Bloodlight and Bami, in a nutshell, is a good lesson about celebrity and legacy. In the days when Grace was on the charts, many singers did not write their own songs which today is the standard. After a few hits, this can create a lifetime of residuals. There could have been a bit more coverage from her family and even a couple of close friends. There wasn't a lot of coverage on how Grace got started in the industry and there could have been more wisdom and lesson's learned over the years discussed. Grace is still performing and considered an icon but she was often ignored by the mainstream. Perhaps that was her, no pun intended, saving Grace, not being steered during her career to be who she was not which has often led to severe drug and alcohol abuse by more mainstream stars. She's been a performer for more than 40 years. It's great that Grace doesn't take herself to seriously but she does get pissed off in a couple of scenes when her money is not ready. She refuses to perform on any stage unless she is paid in advance. Overall it was a fairly good movie but it could have dug a bit deeper.