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Students from the University of Southern California have been named recipients of four Student Academy Awards for 2018, the Academy of Motion Picture Arts and Sciences announced on Wednesday.

The four USC wins make it the only school to take more than one award. The school was recognized by one nomination in the animation category, one in the documentary category and two in the narrative category.

The other American films schools that won awards were Florida State, CalArts, Ringling College of Art and Design, NYU, the University of California at Berkeley and Chapman University.

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In the four international categories, the winners came from schools in the U.K., France, Hungary, Switzerland and Sweden.

While the Academy announced the winners on Wednesday, it will not reveal the medal that each film has won until the Student Academy Awards ceremony on Thursday, Oct. 11 at the Academy’s Samuel Goldwyn Theater in Beverly Hills. While the three levels of prize — gold, siver and bronze — carry different cash awards, all winners are now qualified for the 2018 Academy Awards in the short-film categories.

Past winners of Student Academy Awards include Spike Lee, Robert Zemeckis, John Lasseter, Cary Fukunaga, Trey Parker and Pete Docter.

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The winners:

Alternative (Domestic Film Schools)
Shae Demandt, “Reanimated,” Florida State University

Animation (Domestic Film Schools)
Yu Yu, “Daisy,” University of Southern California
Hanna Kim, “Raccoon and the Light,” California Institute of the Arts
Eaza Shukla, “Re-Gifted,” Ringling College of Art and Design

Animation (International Film Schools)
Pierre Perveyrie, Maximilien Bougeois, Marine Goalard, Irina Nguyen-Duc and Quentin Dubois, “The Green Bird,” MOPA

Documentary (Domestic Film Schools)
Mathieu Faure, “An Edited Life,” New York University
Lauren Schwartzman, “Dust Rising,” University of California, Berkeley
Yiying Li, “Love & Loss,” University of Southern California

Documentary (International Film Schools)
Mart Bira, “Nomadic Doctor,” University of Hertfordshire

Narrative (Domestic Film Schools)
Brian Robau, “Esta Es Tu Cuba”/”This Is Your Cuba,” Chapman University
Kelley Kali, “Lalo’s House,” University of Southern California
Hua Tong, “Spring Flower,” University of Southern California

Narrative (International Film Schools)
István Kovács, “A Siege,” University of Theatre and Film Arts, Budapest
Lisa Gertsch, “Almost Everything,” Zurich University of the Arts
Jonatan Etzler, “Get Ready with Me,” Stockholm Academy of the Arts | 9/12/18

Legendary actress Cecily Tyson and Lucasfilm president Kathleen Kennedy are among this year’s Honorary Oscar winners, the film academy announced Wednesday.

Tyson (“Fried Green Tomatoes,” “The Help”), who is 93, will receive the AMPAS prize along with publicist Marvin Levy and composer Lalo Schifrin.  Prolific film producers and husband-and-wife team Kennedy and Frank Marshall will receive the Irving G. Thalberg Memorial Award.

For the 10th year, the Academy governors will hold the honorary ceremony prior to the official Oscars telecast, this year on Nov. 18 at Hollywood and Highland’s Dolby Ballroom.

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The award, an Oscar statuette, is given “to honor extraordinary distinction in lifetime achievement, exceptional contributions to the state of motion picture arts and sciences, or for outstanding service to the Academy,” an announcement said.

The Irving G. Thalberg Memorial Award, which is not an Oscar statue but a bust of the motion picture executive, is presented to creative producers “whose body of work reflects a consistently high quality of motion picture production.”

Read career highlights for this year’s honorees:

Levy began his career in publicity working for MGM in New York City before joining Columbia Pictures in Hollywood, where he guided the advertising for films including “The Deep” and “Kramer vs. Kramer.” His work for the 1977 film “Close Encounters of the Third Kind” marked the beginning of a four-decade-long partnership with Steven Spielberg. Levy has held positions at Amblin Entertainment, DreamWorks Studios and Amblin Partners, and has worked on publicity campaigns for such films as “E.T. The Extra Terrestrial,” “Back to the Future,” “Who Framed Roger Rabbit,” “Schindler’s List,” “Saving Private Ryan,” “American Beauty,” “Gladiator” and “Lincoln.” Levy is the first publicist to receive an honorary Oscar.

Born and raised in Argentina, Schifrin studied classical music and jazz in France before beginning to compose for film in Buenos Aires in the mid-1950s. He has written scores for more than 100 films, including “The Cincinnati Kid,” “Bullitt,” “Dirty Harry,” “Enter the Dragon” and “Rush Hour.” His memorable theme for the television series “Mission: Impossible” has been a hallmark of the recent film series. He has received six Oscar® nominations, for the original scores for “Cool Hand Luke” (1967), “The Fox” (1968), “Voyage of the Damned” (1976) and “The Amityville Horror” (1979), the original song “People Alone” from “The Competition” (1980) and the adaptation score for “The Sting II” (1983).

Raised in Harlem, Tyson began her career as a model and a theater actress, appearing both on Broadway and Off-Broadway. After playing small roles in feature films and television, she was cast as Portia in “The Heart Is a Lonely Hunter” in 1968. Four years later, she received an Academy Award® nomination for her leading performance in “Sounder.” Her other notable film credits include “The River Niger,” “Fried Green Tomatoes,” “Diary of a Mad Black Woman,” “The Help,” “Alex Cross” and “Last Flag Flying.”

The Kennedy/Marshall producing partnership, formed in 1991, has generated Best Picture nominations for “The Sixth Sense” (1999), “Seabiscuit” (2003), “Munich” (2005) and “The Curious Case of Benjamin Button” (2008). Kennedy/Marshall Company productions also include “Congo,” all five “Bourne” films, and “The Diving Bell and the Butterfly.” Prior to forming Kennedy/Marshall, the duo co-founded Amblin Productions with Steven Spielberg, sharing a Best Picture nomination for “The Color Purple” (1985). Additionally, Marshall received a Best Picture nomination for “Raiders of the Lost Ark” (1981), while Kennedy was nominated in the same category for “E.T. The Extra-Terrestrial” (1982), “War Horse” (2011) and “Lincoln” (2012). Kennedy is the first woman to receive the Thalberg Award.

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It’s difficult to ask hard questions about change and technology and progress — particularly to consider whether “progress” is actually progress or not — without sounding like a cranky old man, but writer-director Olivier Assayas has now done it twice. 2008’s “Summer Hours” contemplated a world in which new generations seemed uninterested in preserving art history and cultural treasures of the past, and now a decade later, with “Non-Fiction,” he asks similarly pointed questions about the future of books and literature in the internet age.

That he does so with a minimum of breast-beating and a surfeit of sparkling wit no doubt helps the message go down, particularly since it’s clear that he’s not offering answers but instead merely asking the questions.

The film introduces us to a group of friends, lovers and colleagues, all of whom engage in spirited conversations about the state of writing, acting and politics, areas that have been forever changed by online habits. Alain (Guillaume Canet, “Tell No One”) runs a venerable publishing house, trying to weigh the benefits and consequences of pivoting to digital. He’s having an affair with Laure (Christa Théret), the woman running that digital transformation, even though she has extreme ideas about what counts as literature (she equates tweets with haiku) and about the extinction of books and libraries.

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Alain’s actress wife Selena (Juliette Binoche), spinning her wheels on a police drama, knows he’s cheating and rekindles a fling with author Léonard (Vincent Macaigne, “The Innocents”), whose latest manuscript Alain does not want to publish. Léonard is infamous for writing novels that are merely thinly-veiled accounts of his own life and love affairs — he insists it’s “auto-fiction” — and Selena lobbies for the publication of his book even though she inspired one of the characters. (It’s telling that Alain seemingly never notices this.)

“Non-Fiction” is Assayas’ talkiest film to date, but it’s also probably his funniest. (There’s a running gag about a movie-theater sex act and Michael Haneke’s “The White Ribbon” that keeps paying off brilliantly.) Assayas seems to be channeling the spirit of Éric Rohmer and his marathon dialogue-fests, but this is smart, insightful talk, delivered by an exemplary ensemble of performers (which also includes Nora Hamzawi as Léonard’s girlfriend, who works for an idealistic politician).

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Assayas is undoubtedly snobby about popular culture — the bit we see of Selena’s cop show looks as dreadful as the superhero movie that Binoche goes to see in “Clouds of Sils Maria” — but he’s never overly precious about the topic at hand.

Books are, of course, wonderful things, but when Laure and other characters make a case for cheaper, more accessible e-books, the movie doesn’t necessarily disagree. “Non-Fiction” makes just as many barbs at the current state of the book industry, where authors sell books via controversy caused by writing barely-concealed roman à clefs about their real lovers and enemies.

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Unlike Rohmer, who favored long takes and frequently locked down his camera, Assayas keeps these many conversations vibrant with the help of editor Simon Jacquet, who keeps each scene vibrant without ever overplaying his hand, as well as cinematographer Yorick Le Saux (“A Bigger Splash”), who captures the warmth of the characters’ bourgeois surroundings but also clearly had a blast faking that cop show.

As with “Summer Hours,” “Non-Fiction” traffics in ideas and concerns without handing out leaflets; first and foremost, this is an empathetic and charming character piece, featuring top-notch actors (Binoche revels in a rare opportunity to be funny) enjoying richly clever dialogue. And if it encourages viewers to support their local indie bookstore afterward, then so much the better.

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A version of this story on Lynn Novick first appeared in the Down to the Wire issue of TheWrap’s Emmy magazine.

Lynn Novick has worked with Ken Burns on a series of celebrated, epic-length documentaries: “Baseball” in 1994, “Jazz” in 2001 and “Prohibition” in 2011 among them.

Their latest collaboration is “The Vietnam War,” a 10-part examination of the war in Southeast Asia that took a decade to make and includes interviews with 79 different witnesses from all sides of the conflict.

The show’s four nominations include one for Novick and Burns for directing Episode 8, which deals with the stormy period in 1969 and 1970 when opposition to the war intensified in the U.S. and protests on college campuses were met with violence.

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What was the biggest challenge of the series?
On some level, I would say the biggest challenge was that it’s unsettled history — controversial, divisive, untested and traumatic, both for us and for Vietnam. The second biggest challenge was working as hard as we could to go beyond an American perspective, to represent a variety of Vietnamese perspectives despite language and culture barriers.

If the history is still traumatic, how do you get people, particularly in Vietnam, to open up and talk about it honestly?
Clearly, anyone who didn’t want to didn’t talk to us. So anyone who met with us already knew why they were meeting with us. But it’s one thing to meet, it’s another thing to discuss extremely painful and difficult experiences.

It seemed clear, the more times we went there, that there was a hunger for talking about a subject that is difficult to talk about there, which is what the war was really like. The price they paid and the internal conflict. It was a war of liberation as a civil war.

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When you started working on the series, did you realize it would be in 10 parts over more than 17 hours?
I suspect it might be shocking how unformed a project like this at first. At the beginning, it really is a paragraph, which is, “We’re going to make a film about the Vietnam War from as many points of view as possible. We’re not going to interview boldface names. We’re going to try to understand the politics in the U.S., Saigon and Hanoi. We have to start somewhere, so let’s say it’s going to be 12 hours long.”

And as we collect the material, we start to shape it. The narrative of the people and their stories happens in the edit room. I think we originally said it will be six or seven shows, somebody said eight or nine, and by the end we had 10.

Why should we learn about Vietnam now?
When Ken and I started working on this film in 2007, we couldn’t have imagined the situation we find ourselves in now. But we did have a sense of how polarized our society is, and we asked ourselves, “What lies underneath it?” A lot of the culture wars and divisiveness and cynicism and mistrust came forth in a violent way during Vietnam, and we’ve never gotten past it. It’s been there just below the surface, and it’s definitely present in what’s happening now. We hear so much conversation these days about who’s a patriot, who’s a hero, what does it mean to love your country and what our leaders are capable of, good and bad.

It seems as if Vietnam was the war where we started to ask a question that we’ve asked in every subsequent conflict: “What are we fighting for?”
Yes. Exactly. I suppose people did ask that question during the First World War, the answer being, “I’m not sure.” That obviously had an effect on our reluctance to get involved in World War II, and World War II had an effect on our willingness to get involved in Vietnam.

It was extremely healthy for our democracy and extremely inspiring to see the American public challenging the government and saying, “Just because you’re in charge doesn’t mean you know what you’re doing.”

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This year’s Emmys have 40 male directing nominees and only four women. What’s wrong with that picture?
I think there’s more opportunity for women in the documentary world than in the scripted world. But even in the doc world, there are structural problems in who gets to be in charge, who gets to speak, who’s deemed to have the authority to tell a story. If you’re a director, you’re telling other people what to do, and you have to assert a certain kind of authority and purpose. And I fear that in our unconscious bias, we tend to accord that responsibility more readily to men.

I think we’re seeing more awareness of that, but going from awareness of a problem to opening up opportunities to different kinds of people is a slow process — way too slow.

To read more of TheWrap’s Down to the Wire issue, click here.

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If the MTV Video Music Awards have ever been about the awards themselves, that era is long past. The most unpredictable and frequently over-the-top awards show remains one of the last-standing watercooler TV events by delivering iconic moments year after year. Here are a few of the most legendary from the show’s nearly 35 year life.

Madonna performed her single “Like a Virgin” at the very first VMAs in 1984, donning a wedding dress for a performance that looks downright tame by modern standards but raised a few eyebrows in its day.

Looking to top her last performance when she returned to the VMAs stage in 1990, Madonna went for an elaborate 18th Century France-inspired aesthetic for her rendition of Video of the Year nominee “Vogue.”

Michael Jackson and then-wife Lisa Marie Presley shocked the audience when they locked lips for an awkwardly long and stilted kiss while introducing the 1994 VMAs.

In 1995, Courtney Love crashed Madonna’s live post-VMAs interview by throwing makeup at the pop star and screaming across the room. “Courtney Love is in dire need of attention right now,” Madonna deadpanned before being forced to cede her airtime to the Hole singer’s antics.

In hindsight, the idea of Fiona Apple appearing at the VMAs seems like an odd fit, but one gets the sense it never made less sense to anyone than to Apple herself, who famously proclaimed “This world is bulls—” while on stage to collect her Best New Artist award.

Lil Kim’s racy outfit at the 1999 VMAs grabbed the attention of many a red carpet photographer, but the rapper’s one bare breast also captured the imagination of her co-presenter Diana Ross, who couldn’t resist giving Kim’s chest a gentle onstage tap.

Upset about his band’s loss to Limp Bizkit, Rage Against the Machine bassist Tim Commerford bum rushed the VMAs stage in 2000, attempting to bring the entire night to a literal crashing halt by scaling the background. He failed and spent the night in jail.

Former Disney star Britney Spears had no shortage of moments marking her new persona as an adult pop star, but none more iconic than her 2001 performance of “I’m a Slave 4 U” with an albino burmese python named Banana wrapped around her shoulders.

In 2002, Britney Spears presented Michael Jackson with a lifetime achievement trophy in honor of his birthday, but her use of the phrase “artist of the millennium” seemed to capture Jackson’s imagination, leading him to deliver a speech accepting an award definitely does not exist.

For decades Madonna stood as the biggest provocateur at the VMAs, and inviting Britney Spears and Christina Aguilera to join her on stage in a re-creation of her iconic “Like a Virgin” performance was meant to be something of a torch-passing. What no one was expecting was for the three performers to up the ante by making out on stage.

Britney Spears has had many ups and downs throughout her decades-long career, but her glassy-eyed performance of “Gimme More” at the 2007 VMAs stands as one of her most public fumbles, a warning sign of the rocky road ahead.

With four now-legendary words — “I’mma let you finish” — Kanye West ensured that Taylor Swift’s career would be inextricably tied to his own. Whether its a feud between stars, a troubled friendship or a media narrative from which one party would like to be excluded, the story of Kanye and Taylor has transcended debate about whether or not Beyonce made the best music video of all time.

Lil Mama effectively tanked her career when the spirit of Jay-Z and Alicia Keys’s “Empire State of Mind” carried her out of her seat in the audience and onto the VMAs stage. Confused viewers may have at first believed the stunt was intentional, but by the time Jay-Z attempted to shoo her off like a dirty New York pigeon, her fate was sealed.

Despite a long career in New York and two giant singles in “Just Dance” and “Poker Face,” Lady Gaga was still far off from the mainstay pop star she is now when she performed “Paparazzi” in 2009. A self-consciously arty and borderline-manic performance that ended with her bloodied body being lifted into the air, Gaga’s VMAs debut was a bold statement by an artist looking to stake her position in the pop landscape.

A year after the interruption heard round the world, West returned to the VMAs to debut “Runaway,” a haunting toast to “douchebags” and “assholes” that’s widely regarded as one of the best and most self-reflective singles in the rapper’s catalogue.

If there’s an image from the 2010 VMAs that will endure the test of time, it’s Lady Gaga, who showed up wearing a dress made out of raw meat, accepting her Moonman from Cher, wearing a re-creation of one of her most iconic ’80s costumes.

Blue Ivy Carter made her television debut at the 2011 VMAs, when Beyonce took the stage to perform the immaculate throwback single “Love on Top.” “I want you to feel the love that’s growing inside of me,” she told the audience, nailing every dance step and key change before surprising the crowd by unveiling her baby bump.

The VMAs have come to be defined by flashy costumes, big energy and even bigger stunts, but in 2011 Adele showed everyone up by slowing it down. Accompanied by just a piano and a spotlight, the British songstress brought the house down with her world-conquering ballad “Someone Like You.”

Rihanna opening the 2012 VMAs with a medley of her hits “Cockiness” and “We Found Love” isn’t often the first performance that people remember, which is a shame because the seamless shift between the DGAF attitude that would later become her trademark and the party-starting pop star persona that defined her early career was so skillfully executed.

If Miley Cyrus twerking on Robin Thicke at the 2013 VMAs didn’t launch the thinkpiece industry, it certainly sent it into high-gear. Conversations about race and culture online have since become commonplace, but for many, it was Cyrus’s wagging tongue that led them to first encounter the phrase “cultural appropriation.”

When Beyonce accepted her Video Vanguard Award in 2014 with a 15-minute medley of the songs from her groundbreaking self-titled visual album, it was the fact that she stood in front of the word “feminist” that caught people’s attention. But looking back, it’s the other parts that are most notable — the effortless stylistic shifts and confident swagger that would later be honed and refined into her staggering, two-hour performance at Coachella years later.

Ahead of the 2015 VMAs, much of the conversation revolved around a social media spat between Nicki Minaj and Taylor Swift over well-deserved criticism of the lily white list of nominees. That feud was publicly put to bed by the two artists when they opened the show together, but before the night was over, Minaj had trained her sights on a different target. Firing off a warning shot from the stage in the direction of the night’s host, Minaj spat, “Miley, what’s good?”

Kanye West’s public statements have gotten him more attention than his music in recent years, a phenomenon which dates back to at least 2015, when he was awarded the Video Vanguard Award and opted out of a performance in favor of a long, rambling speech. To this day, it remains unclear whether or not he was serious when he threatened to make a bid for the White House in 2020.

Without a host, the 2016 VMAs had an erratic energy that felt liable to unspool at any moment, but thankfully Beyonce was there to salvage the show. Performing the hits from her 2016 album “Lemonade” with commitment and ferocity, she held the entire night together through sheer force of talent.

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This story about “Queer Eye” first appeared in the Down to the Wire issue of TheWrap’s Emmy magazine.

When rebooted “Queer Eye” was first getting off the ground at Netflix, showrunner Jennifer Lane knew it was going to live or die on its cast. The new Fab Five — the five gay men who would serve as personal lifestyle advisers and spiritual guides — would not only have to live up to the cast of the original cult-favorite Bravo series, they’d also have to stand on their own.

“We were almost overly cautious,” Lane said. “It was really important to us that our Fab Five remember the original Fab Five and be excited to take their place. But we knew the whole time we had something special with these guys.”

The new quintet — Bobby Berk, design; Karamo Brown, culture; Tan France, fashion; Antoni Porowski, food and wine; and Jonathan Van Ness, grooming — popped off the screen from the jump. Overflowing with charisma and an easy chemistry, the cast turned what could’ve been just another stop on the way to the bottom of the TV reboot barrel into a phenomenon.

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Fans latched onto them too, creating memes out of things like Brown’s many bomber jackets or conspiracies about Porowski’s cooking ability. So did the participants (“heroes,” in show parlance) who at first often seemed overwhelmed by opening up their homes and their lives to five exuberant strangers, but quickly found themselves changed for the better by the experience.

Lane observed the phenomenon from the first episode. “It was so special in that last scene where you can see that he’s really sorry to see them go,” she said. “You realize that they’ve really made a difference in his life, even though it was only four days.

“This wasn’t just bulls— — so long as we treated our heroes with respect, we could really make a difference in their lives.”

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The Academy of Motion Picture Arts and Sciences sent out a call for five-word movie summaries on Twitter on Tuesday afternoon. And thousands of people responded — including “Terminator” star and former California governor Arnold Schwarzenegger.

Share the plot of your favorite movie in five words.

— The Academy (@TheAcademy) July 31, 2018

It’s a refreshingly off-brand idea from the Academy, being a hell of a lot more succinct than the typical Oscar acceptance speech, and the responses have been pretty fun and often very clever. For instance, Schwarzenegger, who not surprisingly picked the plot of his career-defining hits “The Terminator” and “Terminator 2.”

Machine sent back to save.

— Arnold (@Schwarzenegger) July 31, 2018

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CNN anchor Bill Weir picked Roman Polanski’s 1974 neo-noir “Chinatown,” though his contribution is less a summary of the plot and more just a recitation of the film’s second most famous line.

Forget it Jake, it’s Chinatown

— Bill Weir (@BillWeirCNN) July 31, 2018

Our personal favorite comes from Twitter user John Bousfield, who offered up this perfect summary of the plot of Christopher Nolan’s 2001 film debut “Memento”:

Wife my killed who discovering.

— John Bousfield (@Abusefield) July 31, 2018

(For those of you who might have forgotten, Memento plays out in reverse chronological order to simulate the experience of the main character, played by Guy Pearce, who is unable to form short-term memories.)

User Alex Benjamin had this pithy take on 2004’s Tina Fey-written dramedy “Mean Girls”:

There’s four girls. They’re mean.

— alex benjamin (@alexfatwombat) July 31, 2018

Jessie McFadden meanwhile had this to say about John Hughes’ 1985 coming-of-age classic “The Breakfast Club”:

Five teens who got Detention.

— Jessie McFadden (@JessTheBud) July 31, 2018

Christopher Buehlman got a Matt Damon threefer with this sum up of the plots of “Interstellar” (where Damon plays an astronaut who must be rescued in space), “Saving Private Ryan” (where Damon plays a soldier who must be extricated from World War II France), and “The Martian” (where Damon plays an astronaut stranded on Mars):

Massive Matt Damon rescue mission.#TheMartian#SavingPrivateRyan#Interstellar

— Christopher Buehlman (@Buehlmeister) July 31, 2018

Here’s Pixar’s “Up”:

The saddest opening montage ever

— kim powrie (@radgirl08) July 31, 2018

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Brave girl soldier saves China

— Maritza Moulite (@MaritzaMoulite) July 31, 2018

A certain 1994 British romantic comedy:

Four weddings and a funeral.

— Andrea Mann (@AndreaMann) July 31, 2018

Re-litigating the final scene of that one Leonardo DiCaprio and Kate Winslet movie:

Rich woman lets man die

— Oli Pettigrew (@Oli_Pettigrew) July 31, 2018

Steven Spielberg’s 1982 classic “E.T. The Extra-Terrestrial”:

Alien charms kids, phones home

— Marc Duvoisin (@MarcDuvoisin) July 31, 2018

And speaking of Spielberg, people have opinions about how best to sum up “Jurassic Park.”


— Colton Butcher (@cltnbutcher) July 31, 2018

Shouldn’t have brought back dinosaurs.

— Ryan Isaacs (@frutescent_) July 31, 2018

People fuck with dinosaurs. Again.

— Robert Wuhl (@RobertWuhl) July 31, 2018

And quite a few “The Big Lebowski” stans showed up.

Yeah, well – the Dude abides.

— Sean A (@SeanKDLA) July 31, 2018

It tied the room together

— Josh Campbell (@joshscampbell) July 31, 2018

they pee'd on my rug!

— justreadingdontaddme (@justreadingdon1) July 31, 2018

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For someone so smart, how can Mark Zuckerberg be so very, very dumb?

Maybe it’s a lack of what we used to call a “liberal arts” education — a foundation in basic philosophy, history, ethics — although they used to teach that stuff at Harvard. Maybe it’s the moral confusion we sometimes see in very leftie liberals who are afraid to offend anyone at any time.

Zuckerberg clearly does not understand that free speech is the bedrock of a democratic society, but that it has its limits. This confusion is very concerning in someone who controls as large a platform as Facebook.

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For example: Holocaust denial, which is banned in both Germany and France because of the evident danger to free society posed by spreading poisonous lies. Denying the Holocaust is not an academic point of view or the result of random confusion — it is a deliberate tactic used to sustain and justify anti-Semitism. Those kinds of lies once led to the near-extinction of Zuckerberg’s own ancestral group, European Jews.

But bizarrely, Zuckerberg this week used Holocaust denial as the example of free speech that he would not want to suppress on Facebook.

In an interview with Recode’s  Kara Swisher (one of the only journalists whom he seems to grant interviews), Zuckerberg said when asked about regulating speech on Facebook:

Zuckerberg: I’m Jewish, and there’s a set of people who deny that the Holocaust happened.

Swisher: Yes, there’s a lot.

Zuckerberg: I find that deeply offensive. But at the end of the day, I don’t believe that our platform should take that down because I think there are things that different people get wrong. I don’t think that they’re intentionally getting it wrong, but I think–

Here Swisher correctly interjects that this is probably not the case.

Swisher: In the case of the Holocaust deniers, they might be, but go ahead.

Zuckerberg plows on:

Zuckerberg: It’s hard to impugn intent and to understand the intent. I just think, as abhorrent as some of those examples are, I think the reality is also that I get things wrong when I speak publicly. I’m sure you do. I’m sure a lot of leaders and public figures we respect do too, and I just don’t think that it is the right thing to say, “We’re going to take someone off the platform if they get things wrong, even multiple times.” What we will do is we’ll say, “OK, you have your page, and if you’re not trying to organize harm against someone, or attacking someone, then you can put up that content on your page, even if people might disagree with it or find it offensive.” But that doesn’t mean that we have a responsibility to make it widely distributed in News Feed. I think we, actually, to the contrary–

That was a lot of words, and none of them very eloquent. Did Zuckerberg just compare Holocaust deniers to himself when he misspeaks in public?

For the record, Holocaust denial is usually the textbook example of why you sometimes need to regulate speech. (Yelling “Fire!” in a crowded theater is another one.) Instead, Zuckerberg is using it as an example of why Facebook prefers to let everyone hash it out in public.

Also Read: Mark Zuckerberg Faces Hostility Over Facebook Plan to Rank News Orgs

After thoughtful people criticized him on Wednesday, Zuckerberg followed up with a note to Swisher saying he was misunderstood — “I personally find Holocaust denial deeply offensive, and I absolutely didn’t intend to defend the intent of people who deny that.” But that explanation still did not reflect an understanding that this is not a subject of debate among people of good will or that Facebook should have a position on this.

Yesterday, Simon Wiesenthal Center Associate Dean Abraham Cooper said that Facebook officials told the Simon Wiesenthal Center in 2009 that Holocaust denial content would be removed from the platform.

“Holocaust denial is the quintessential ‘fake news,'” Cooper said in a statement. “The Nazi Holocaust is the most documented atrocity in history, allowing the canard of Holocaust denial to be posted on Facebook, or any other social media platform cannot be justified in the name of  ‘free exchange of ideas’ when the idea itself is based on a falsehood.”

Get it, Mark? People who control mass communication platforms have a responsibility to think about the intent of the people using the platform. Uncomfortable as it may be, Facebook morally and ethically must make judgement calls about the content being posted. Those of us in news organizations do it every day.

Also Read: Facebook Faces 'Challenges' in Recruiting Black and Hispanic Execs

The same goes for denying that the Sandy Hook massacre ever happened. It is immoral for Facebook to exercise no judgement around this content, aimed at spreading misinformation.

And yes, it’s complicated and sticky and a lot harder than coding Xs and Os.

The reality is that Zuckerbeg is winging it when it comes to making value judgements about the vast array of content on his platform. He doesn’t want to have to make decisions, dammit, that’s not why he started the thing.

Zuckerberg has demonstrated before his extreme discomfort with monitoring content, and his unwillingness to step in and make judgement calls. This moral abdication — this doing nothing — dovetails with Facebook’s profitable but questionable practice of mining the data of his users and then selling it to third parties even when he said he wasn’t doing so.

So now we can add Holocaust Denial to the list of things that the man who controls a communications platform with 2 billion-plus users does not understand.

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Facebook Faces 'Challenges' in Recruiting Black and Hispanic Execs | 7/19/18
CAN YOU BELIEVE these cuties?? Jonathan Van Ness (grooming), Bobby Berk (interior design), Karamo Brown (culture), Tan France (fashion), and Antoni Porowski (food and wine) have taken 2018 by storm with their Netflix reboot! And NOW they've been nominated for FOUR Emmys! Wow! While each of the Fab 5 are special in their own way, everyone has a [...] | 7/12/18

Keira Knightley challenges the patriarchy and flirts up a storm — with both sexes — in the first trailer for Wash Westmoreland’s indie biopic “Colette” about the early-20th-century French novelist best known in the U.S. for the novella “Gigi.”

Knightley could be gunning for her third Oscar nomination for the showy role as Sidonie-Gabrielle Colette, who is transplanted from her childhood home in rural France to the intellectual and artistic splendor of Paris when she marries a successful writer known commonly as “Willy” (Dominic West).

Soon after, Willy convinces Colette to ghostwrite for him. She pens a semi-autobiographical novel about a witty and brazen country girl named Claudine, sparking a best-seller and a cultural sensation.

Also Read: Keira Knightley's 'Colette' Sells to Bleecker Street and 30West

After its success, Colette and Willy become the talk of Paris and their adventures inspire additional Claudine novels. Colette’s fight over creative ownership and gender roles drives her to overcome societal constraints, revolutionizing literature, fashion and sexual expression.

The cast also includes Eleanor Tomlinson, Elaine Gough and Fiona Shaw.

In addition to directing, Westmoreland wrote the script with Richard Glatzer and Rebecca Lenkiewicz.

Bleecker Street is planning a September 21 release.

Watch the trailer above. | 7/11/18

Radu Jude’s “I Do Not Care If We Go Down in History as Barbarians” won the Grand Prix Crystal Globe, the top jury prize at the 2018 Karlovy Vary Film Festival.

The international competition winner tells of an artist who reenacts a real-life ethnic cleansing perpetrated by the Romanian army in 1941, this time as an artistic installation.

The movie is a coproduction of six countries, led by Romania. In 2015, Jude won Berlin’s Silver Bear for best director for his film “Aferim!”

Also Read: Belarus to Enter Oscar Race After 22 Years With Indie Gem 'Crystal Swan'

The festival at Karlovy Vary, nestled in a spa town outside Prague, Czech Republic, also awarded a special jury prize to Ana Katz’s “Sueño Florianópolis,” and awarded a best director prize to Olmo Omerzu for “Winter Flies.” Mercedes Morán (“Sueño Florianópolis”) and Moshe Folkenflik (“Redemption”) won best actress and best actor, respectively.

Vitaly Mansky’s “Putin’s Witnesses,” which featured a trove of unaired, potentially damning footage from the early days of the Russian president’s rule, took best documentary. The jury also gave special mention to Ivan I. Tverdovskiy’s “Jumpman,” about a peculiar orphan who can’t feel physical pain until his estranged mother resurfaces.

Actor and director Tim Robbins joined a long line of American stars like Robert De Niro and Casey Affleck in receiving a special prize for his contributions to world cinema, TheWrap previously reported.

“Good Time” star Robert Pattinson was also handed this year’ President’s Award.

Read the complete list of winners:

The financial award is shared equally by the director and producer of the award-winning film.

“I Do Not Care If We Go Down in History as Barbarians” 
Directed by: Radu Jude
Romania, Czech Republic, France, Bulgaria, Germany, 2018

The financial award is shared equally by the director and producer of the award-winning film.

“Sueño Florianópolis”
Directed by: Ana Katz
Argentina, Brasil, France, 2018


Olmo Omerzu for the film “Winter Flies”
Czech Republic, Slovenia, Poland, Slovakia, 2018

Also Read: 'Cielo' Film Review: A Poet's Guide to the Galaxy Via Time-Lapse Views of the Chilean Sky


Mercedes Morán for her role in the film “Sueño Florianópolis”
Directed by: Ana Katz
Argentina, Brasil, France, 2018


Moshe Folkenflik for his role in the film “Redemption”
Directed by: Joseph Madmony, Boaz Yehonatan Yacov
Israel, 2018


Directed by: Ivan I. Tverdovskiy
Russia, Lithuania, Ireland, France, 2018


“History of Love”
Directed by: Sonja Prosenc
Slovenia, Italy, Norway, 2018



“Suleiman Mountain”
Directed by: Elizaveta Stishova
Kyrgyzstan, Russia, 2017


“Blossom Valley”

Directed by: László Csuja
Hungary, 2018


Raúl Camargo, Chile
M. Siam, Egypt
Diana Tabakov, Czech Republic

The financial award goes to the director of the award-winning film.

“Putin’s Witnesses”
Directed by: Vitaly Mansky
Latvia, Switzerland, Czech Republic, 2018


Directed by: Daniel Zimmermann
Switzerland, Austria, 2018

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[RFI] French President Emmanuel Macron received a rock-star welcome at Nigeria's New Afrika Shrine nightclub in Lagos on Tuesday. The venue, founded by Afrobeat star Fela Kuti, provided him the backdrop to launch his new African Cultural Season, which he hopes will change France's perception of African culture. | 7/4/18

“Black Panther” and its star Chadwick Boseman won Best Movie and Best Actor at the 2018 BET Awards Sunday night, and Tiffany Haddish emerged as Best Actress for her breakout roles in multiple films, including “Girls Trip.”

Kendrick Lamar emerged as a big winner on the music front, winning Best Male Hip-Hop Artist and Best Album for “DAMN.”

Jamie Foxx hosted the ceremony at Los Angeles’ Microsoft Theater, with Anita Baker earning a lifetime achievement award, and Nicki Minaj (above) delivering a memorable musical performance.

Also Read: Jamie Foxx Denies Accusation He Slapped a Woman With His Penis in 2002

Here’s the complete list of winners.

Best Female R&B / Pop Artist Award
Beyoncé *WINNER*

Best Male R&B / Pop Artist Award
Bruno Mars *WINNER*
Chris Brown
The Weeknd
Daniel Caesar

Best Group Award
Migos *WINNER*
A Tribe Called Quest
Rae Sremmurd
Chloe X Halle

Best Male Hip Hop Artist Award
Kendrick Lamar *WINNER*
DJ Khaled
J. Cole

Best Female Hip Hop Artist Award
Cardi B *WINNER*
Nicki Minaj
Remy Ma
DeJ Loaf

Also Read: Even a Dictionary Clowned DJ Khaled Over His Comments About His Sex Life

Video of the Year Award
Drake – “God’s Plan” *WINNER*
Cardi B – “Bodak Yellow”
Bruno Mars feat. Cardi B – “Finesse (Remix)”
DJ Khaled feat. Rihanna & Bryson Tiller – “Wild Thoughts”
Kendrick Lamar – “HUMBLE.”
Migos feat. Drake – “Walk It Talk It”

Video Director of the Year Award
Benny Boom
Director X
Ava DuVernay *WINNER*
Chris Brown
Dave Meyers

Best New Artist Award
Daniel Caesar
A Boogie Wit Da Hoodie

Best Collaboration Award
Bruno Mars feat. Cardi B – “Finesse (Remix)”
DJ Khaled feat. Rihanna & Bryson Tiller – “Wild Thoughts” *WINNER*
DJ Khaled feat. Jay-Z, Future & Beyonce – “Top Off”
Cardi B feat. 21 Savage – “Bartier Cardi”
French Montana feat. Swae Lee – “Unforgettable”
Kendrick Lamar feat. Rihanna – “LOYALTY.”

Best Actress Award
Tiffany Haddish *WINNER*
Lupita Nyong’o
Issa Rae
Angela Bassett
Letitia Wright
Taraji P. Henson

Best Actor Award
Chadwick Boseman *WINNER*
Michael B. Jordan
Donald Glover
Sterling K. Brown
Denzel Washington
Daniel Kaluuya

Also Read: Evan Rachel Wood, Gina Rodriguez and Other Stars Take Aim at TV's Patriarchy: 'There's No Going Back'

Young Stars Award
Yara Shahidi *WINNER*
Ashton Tyler
Caleb McLaughlin
Lonnie Chavis
Marsai Martin
Miles Brown

Best Movie Award
“Black Panther” *WINNER*
“Girls Trip”
“A Wrinkle in Time”

Sportswoman of the Year Award
Serena Williams *WINNER*
Venus Williams
Skylar Diggins-Smith
Candace Parker
Elana Meyers Taylor

Sportsman of the Year Award
Stephen Curry
LeBron James *WINNER*
Kevin Durant
Dwyane Wade
Odell Beckham Jr.

Also Read: Kendrick Lamar Is Hip-Hop's First Pulitzer Prize Winner

Album of the Year Award
“DAMN.” – Kendrick Lamar
“Ctrl” – SZA
“4:44” – Jay-Z
“Culture II” – Migos
“Black Panther: The Album” – Kendrick Lamar & Various Artists
“Grateful” – DJ Khaled

BET Her Award
Janelle Monae – “Django Jane”
Lizzo – “Water Me”
Mary J. Blige – “Strength of a Woman” *WINNER*
Remy Ma feat. Chris Brown – “Melanin Magic (Pretty Brown)”
Chloe X Halle – “The Kids Are Alright”
Leikeli47 – “2nd Fiddle”

Coca-Cola Viewers’ Choice Award
SZA feat. Travis Scott – “Love Galore”
Cardi B – “Bodak Yellow” *WINNER*
Kendrick Lamar – “HUMBLE.”
Drake – “God’s Plan”
Migos feat. Cardi B & Nicki Minaj – “Motor Sport”
DJ Khaled feat. Rihanna & Bryson Tiller – “Wild Thoughts”

Dr. Bobby Jones Best Gospel/Inspirational Award
Lecrae feat. Tori Kelly – “I’ll Find You” *WINNER*
Snoop Dogg feat. B. Slade – “Words Are Few”
Ledisi & Kirk Franklin – “If You Don’t Mind”
Marvin Sapp – “Close”
Tasha Cobbs Leonard feat. Nicki Minaj – “I’m Getting Ready”

The Best International Act Award
Booba (France)
Cassper Nyovest (South Africa)
Dadju (France)
Davido (Nigeria)? *WINNER*
Distruction Boyz (South Africa)
Fally Ipupa (Congo)
J Hus (U.K.)
Niska (France)
Tiwa Savage (Nigeria)
Stefflon Don (U.K.)
Stormzy (U.K.)

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Queer Eye‘s Fab Five have become fast friends with a few celebrities, including Gigi Hadid, Justin Theroux and Emma Stone, as well as newly engaged couple Pete Davidson and Ariana Grande.

“Couldn’t be happier for them,” Tan France told PEOPLE Now about the pair’s engagement after just a few weeks of dating.

“Super happy,” Antoni Porowski added as Jonathan Van Ness said, “And what’s crazy, what’s not crazy, everything’s crazy these days.”

When asked if any of the Fab Five could see themselves getting engaged as quickly as Davidson and Grande, both 24, did, Tan revealed his relationship history with husband Rob.

“I did, and I’ve been together with my husband for 10 years. We decided we would get married after five dates, and we’ve been together for 10 years. So it could work, you guys!” the fashion expert said.

“If it was right, I think I could,” grooming guru Van Ness shared.

“Cultural norms tell us that we have to wait a certain amount of time, but loves has no time limit, if you know now, go for it,” connoisseur of culture Karamo Brown advised.

The Saturday Night Live star finally confirmed he is engaged to Grande during Wednesday’s Tonight Show Starring Jimmy Fallon, telling the late-night host, “I feel like I won a contest, so sick. It’s f—ing lit, Jimmy. It’s so lit.”

RELATED: Queer Eye‘s Season 2 Features First Female and Transgender Subjects — and a Proposal!

While neither Davidson nor Grande has yet to reveal any wedding plans, Tan did share that the groom-to-be has requested his assistance.

“He has asked if I would give him a hand, and I will happily give him a hand,” the Netflix star said. “He’s a friend. We love him very much. He’s one of the best people I’ve met in a long time.”

PEOPLE confirmed Davidson and Grande’s whirlwind engagement on June 11, just weeks after they began dating in May. The comedian proposed with a dazzling 3-carat engagement ring from Manhattan-based jeweler Greg Yuna, whom he paid a jaw-dropping $93,000 in May.

“It’s a recent engagement. They’re just two people who found love quickly and make each other happy all the time. They both started talking about it this past weekend. It’s nothing they’ve been hiding,” a source close to the couple previously said.

Season 2 of Queer Eye is streaming now. | 6/21/18

Beyoncé didn’t need to go to the Met Gala this year — she and JAY-Z own the Louvre!

Along with a new nine-track album Everything Is Love, the couple dropped a new video this weekend. From its opening on a faux gargoyle to the slow reveal of Bey and Jay in front of the Mona Lisa, the Carter’s “Apes—” visuals are a tour de force.

The Ricky Saiz-directed video is also a tour de Louvre, showing off some of the museum’s beautiful locations and priceless works. Shot in two consecutive nights during their time in Paris for tour rehearsals in May, it’s a work of art involving several dozen masterpieces.

Here’s a culture lover’s guide to all of the fine art references in the video.

After a few teasing intro shots, including the gargoyle dancer in the Cour Napoleon and a brief glimpse of Delacroix’s Apollo Slays Python, music’s most famous couple appear in a slow tracking reveal in front of the world’s most enigmatic smile.

The Mona Lisa

The Mona Lisa (or La Joconde) was painted by Leonardo Di Vinci in the early 14th century. It’s not known precisely when the Louvre’s example was painted, but the museum’s copy is the best known of several versions. Interestingly, the model for the iconic image may have actually been a man posing! The hallmark of the museum, the painting went missing in 1911 for two years after it was stolen by an employee.

The Winged Victory of Samothrace and the Sphinx

The video features a series of shots showing the couple seated in front of the museum’s celebrated Grande Galerie. The Winged Victory of Samothrace statue sits midway in its main stairwell, as does and the Sphinx (circa 2000 BC) — whose crypt guards the museum’s collection of Egyptology.

The Coronation of Napoleon and the work of Jacques-Louis David

Bey and Jay clearly have a thing for French neo-classicists. Their dancers work out in front of Jacques-Louis David’s epic Coronation of Napoleon (painted 1806-1807) and another painting by the master, The Intervention of the Sabine Women, also makes an appearance.

David’s celebrated portrait of Madame Récamier, a banker’s wife commissioned in 1800 can be seen (at 2:15) as well.

Francesca da Rimini and Paolo Malatesta Appraised by Dante and Virgil

At 2:37, the Louvre’s version of Francesca da Rimini and Paolo Malatesta Appraised by Dante and Virgil, created by Dutch romantic painter Ary Scheffer, is seen in striking detail. The example is one of five known versions known to exist in the world — if you can’t make Paris, London or Hamburg, you can appreciate it in Cleveland and Pittsburgh.

Raft of the Medusa

JAY-Z steps briefly in front of Théodore Géricault’s extraordinary Raft of the Medusa (1818-1819) a painting based on the true events of a shipwreck involving sharks and cannibalism. By “sampling” earlier works of John Singleton Copley and Francisco Goya, Géricault — who researched the work by interviewing survivors — created one of the earliest known “social media” events, showing the work in Paris and London while newspaper accounts of the tragedy were fresh in the public mind. The artist’s earlier 1812 painting The Charging Officer turns up at 3:23.

The Venus de Milo

Moving outside for courtyard shots in front of architect I.M. Pei’s brilliant pyramid structure, which has been the museum’s main entrance since 1989, we’re treated to the couple before the Venus de Milo. Uncovered by a farmer on the Greek island of Milos in 1820 and scurried back to France by a marine officer, she is rather modestly posed on a low pedestal down a stairwell.

Portrait d’une Femme Noire

Following a flash of Paolo Veronese’s Wedding at Cana, the clip comes to its most arresting image and perhaps, most significant reference: Portrait d’une Femme Noire (Portrait of a Black Woman). First shown at the Salon of 1800, it’s a striking work, quietly beautiful and hypnotic. It showcases extreme simplicity by an acknowledged master of the period — Marie-Guillemine Benoist, a woman. | 6/21/18

A version of this story about Tahar Rahim first appeared in the Miniseries/Movies issue of TheWrap’s Emmy magazine.

When Tahar Rahim first met Ali Soufan, the real-life former FBI agent he plays in Hulu’s gripping limited series “The Looming Tower,” Soufan hit him with a pointed parting shot.

“He said, ‘And if you don’t accept this role, you will never again have the right to complain that you only get offers to play terrorists,'” Rahim said, laughing.

In fact, Rahim had complained about exactly that in the past. Although the French actor with Algerian ancestry had made a name for himself in such notable European films as Jacques Audiard’s “A Prophet” and Asghar Farhadi’s “The Past,” he had spent fruitless years trying to land acceptable English-language projects.

Also Read: 'The Looming Tower' Author Warns Political Division That Led to 9/11 Flourishes Now

“I always like to work with foreign directors, and I don’t want to be an actor of just one country,” he said. “My vision of cinema is that we can do this all over the world. And as long as you can speak another language, you should try.

“So I came to America and spent two years trying to get work. Maybe 50 percent of the parts I was offered were terrorists, and the others were stereotypical people. So I said to myself, ‘I’m done with this — maybe I’ll go to Asia and see if I can make movies there.'”

But then he landed the part of Judas Iscariot in Garth Davis’ “Mary Magdalene,” followed by the role in “The Looming Tower” as one of the few FBI agents who spoke Arabic in the years leading up to the 9/11 attack.

The limited series, executive produced by Dan Futterman and Alex Gibney, is full of powerhouse acting performances — Jeff Daniels, Bill Camp, Peter Sarsgaard and Michael Stuhlbarg are among the stars — but Rahim is in many ways its heart as a Muslim agent who is sick at the way his religion has been perverted.

He’s one of the few men who might have been able to prevent 9/11 if the government around him hadn’t been so inept.

Also Read: Jeff Daniels Tries to Stop Al-Qaeda in Hulu's 'The Looming Tower' Trailer (Video)

With only a third of the miniseries’ scripts finished when he was offered the part, Rahim wouldn’t accept the role until he’d had a chance to speak to Soufan and hear what happened from the man who lived it. “After he told me the rest of his story, I was like, ‘OK, I’ve got to do this,'” he said.

His preparation, he added, was simple. “When I met Ali, I was full of questions, like a good student who did his homework,” he said. “But when I started to talk to him, I felt stupid asking questions. I understood that the right thing to do was to just talk to the guy, to try to know him. What is his spirit, his soul? That’s more important than what he has for breakfast or what kind of soda he drinks. I wanted to spend my energy in knowing him rather than imitating him.”

In the aftermath of “The Looming Tower,” Rahim said he feels a change in his opportunities in the U.S. film industry. “”I started acting in 2008 and didn’t work in America until 2017, but I think it’s changing,” he said. “I played Judas, and then Ali Soufan, and I just finished a movie with Lone Scherfig where I play someone named Mark who runs a restaurant.

“I don’t want to stop working in France or Europe, but you have more cinema history in America. You’ve got types of movies and characters that we don’t have. I want to play a cowboy one day, I want to be in a Western. And if I want to be in a Western, I have to be in America.”

Read more of TheWrap’s Miniseries/Movies Emmy issue here.

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ANNECY, France— Annecy’s Brazil tribute looks like “the strongest showcase of the Brazilian animation sector at any festival ever,” says Brazilian Culture Minister Sergio Sá Leitão. Here’s a drill down on some – but just some – key titles. ‘ANGELI THE KILLER’ Coala Filmes A TV series in competition with the episode “A Crazy Love’s Delirium,” directed by Cesar Cabral, […] | 6/13/18

Anthony Bourdain traveled the world in search of indigenous food and untold stories but struggled with profound loneliness. In this week’s cover story, we honor the food rebel’s final days, and his unconventional rise to fame that would touch the lives of millions.

Bourdain died of an apparent suicide inside his hotel room in Kaysersberg, a small village in the Alsace region of France, where he was filming an episode of Parts Unknown, the CNN series that chronicled the travel host’s quest for culture and cuisine. He was 61. 

Those around him in the weeks before his death noticed a lighter mood, especially since the release of the June 3 Hong Kong episode of Parts Unknown, which his girlfriend Asia Argento directed.

“When I was working with him last week, he was giddy,” says CNN publicist Karen Reynolds. “He was texting me and e-mailing me, which he doesn’t normally do.”

RELATED: ‘I Like Being a Father — No, I Love Being a Father,’ and Everything Else Anthony Bourdain Has Said About Daughter Ariane

But spending some 250 days of the year on the road also took its toll. “Travel can be a struggle, because sometimes it’s easier to think of the place you’d rather be,” says Bourdain’s longtime photographer David Holloway. “He would rave about Rome, where his girlfriend lived. He would say it’s an amazing city to fall in love in.”

RELATED: Our Decision to Put the National Suicide Prevention Lifeline Number on This Week’s PEOPLE Cover

Raised with his brother Christopher in Leonia, N.J., by Gladys, an editor for The New York Times, and his late father, Pierre, a music industry executive, Bourdain had what he described as a “pretty normal” family: “We all ate together. I found it kind of oppressive, actually,” he told People in 2016. “I envied the broken homes of my friends because they were left alone to misbehave unsupervised.”

After two years at Vassar College, he dropped out to attend the Culinary Institute of America and eventually work as a chef where he would find the trouble he was looking for. In the 1980s Bourdain bounced from job to job at restaurants in New York City while struggling with a serious drug addiction.

RELATED: Don’t Order Fish on Mondays, Plus 9 More Dining Out Tips We Learned from Anthony Bourdain

He eventually got clean in the early ’90s, and while working as the executive chef at French brasserie Les Halles in 1999, Bourdain solidified his role as a cook and a talented writer when his essay “Don’t Eat Before Reading This” was published in The New Yorker. He later expanded the article in his tell-all bestselling memoir Kitchen Confidential, which would make him famous.

For PEOPLE’s tribute to two icons: Talent & Tragedy, pick up this week’s issue, on newsstands Friday.

He landed his first television show—A Cook’s Tour on the Food Network—at age 44 and in 2005 began hosting No Reservations on the Travel Channel. In 2013—by then wed to Ottavia Busia and a father—he launched Parts Unknown. It was a career he cherished. “I have the best job in the world,” he told People. “I decide where we go. If I’m not having a good time, it’s nobody’s fault, it’s a failure of the imagination.”

In 17 years on the road, Bourdain visited nearly 100 countries and left an unparalleled mark on the food industry—and the world.

“Tony’s thoughts connected with people,” says photographer Holloway. “Everyone has a picture and a story. These are real moments, because Tony was honest. People feel an honest loss.”

If you or someone you know is considering suicide, please contact the National Suicide Prevention Lifeline at 1-800-273-TALK (8255), text “help” to the Crisis Text Line at 741-741 or go to | 6/13/18

Your best friends are back!

Netflix’s heartwarming “Queer Eye” reboot is back with Season 2, and the new trailer is here to make us teary-eyed already.

In Season 2, we’ll see a beard “that is out of order and out of date,” the Fab 5’s first female makeover, lots of tears, and… drumroll… a proposal! Honestly, we don’t know if our little hearts can take all of these warm and fuzzies.

Also Read: 'Queer Eye' Fab Five Give Netflix IT Department a Facelift: 'We Love Nerds' (Video)

Antoni Porowski (Food & Wine), Bobby Berk (Interior Design), Karamo Brown (Culture), Jonathan Van Ness (Grooming) and Tan France (Fashion) return to Georgia for the next round of makeovers, and will continue to forge relationships with people of different backgrounds to discuss faith, self-love, and homemade poke bowls.

“Queer Eye For the Straight Guy” creator David Collins executive produces the Netflix series, as well as his producing partners Michael Williams and Rob Eric. David Eilenberg, Adam Sher, Jennifer Lane and Jordana Hochman also executive produce in association with ITV Entertainment.

“Queer Eye” Season 2 premieres June 15 on Netflix.

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Franchises find a way. With three weeks to go until the release of “Jurassic World: Fallen Kingdom,” the sequel to the 2015 dinosaur megahit is looking at an opening weekend of $130-$150 million.

“Jurassic World” became one of the biggest box office hits of all-time three years ago, standing as one of only six films to ever post an opening weekend of more than $200 million with its $208 million launch. It’s also one of only seven films to gross $1 billion outside the U.S. And with a global total of $1.67 billion, it held the record for the highest grossing summer release ever until “Avengers: Infinity War” passed it earlier this month.

Also Read: 'Jurassic World' Ride to Swap in for 'Jurassic Park' One at Universal Studios (Video)

However, as today’s tracking shows, “Fallen Kingdom” isn’t expected to match the results of its predecessor. Similar to “Star Wars: The Force Awakens,” “Jurassic World” had the anticipation that comes with being the first installment in its franchise in more than a decade.

“Fallen Kingdom” won’t have that advantage, though there will still be hopes for the film to reach $1 billion worldwide. Domestically, an opening weekend 30 percent down from “Jurassic World”‘s opening — in other worlds, in the $140 million range — would be a strong result for the sequel. “Fallen Kingdom” is on course to hit that target based on this first round of tracking, though current estimates could change substantially as the release date nears.

Also Read: Colin Trevorrow Returns to Direct 'Jurassic World 3,' Steven Spielberg Says

To get to $1 billion, Universal will start rolling out the film overseas this coming Wednesday in 48 countries, two weeks before the film’s U.S. release. Among those countries are France, Germany, Korea, Netherlands, Russia, Spain, U.K., and UAE.

This early release is being done to give the film a week in theaters before the start of the FIFA World Cup, which traditionally weighs down overseas releases as audiences eschew the cinema in favor of watching the tournament. China, which contributed $228 million to the overseas totals for “Jurassic World,” will get “Fallen Kingdom” on June 15; while the U.S. will open day-and-date with Australia, Mexico, and South American markets.

Also Read: Final 'Jurassic World: Fallen Kingdom' Trailer Unleashes 'Most Dangerous Creature That Ever Walked the Earth' (Video)

The sequel sees Chris Pratt and Bryce Dallas Howard return as the survivors of the Jurassic World massacre, Owen Grady and Claire Dearing. The dinosaurs have been living alone on Isla Nublar for three years, but when Claire discovers that a volcano eruption will soon kill them all, she persuades Owen to help her rescue them. Unfortunately, the pair are blindsided by an organization who plans to capture the dinosaurs for their own evil ends.

James Cromwell also stars in the film, with original “Jurassic Park” stars B.D. Wong and Jeff Goldblum returning as scientists Henry Wu and Ian Malcolm in cameo roles. J.A. Bayona (“A Monster Calls”) directed the film, with Colin Trevorrow returning as executive producer and writer for the film, sharing script credit with writing partner Derek Connolly. Steven Spielberg is also attached as executive producer.

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The new Fab Five are coming back to Netflix really, really soon.

The streaming service announced Thursday that it has set a June 15 premiere date for “Queer Eye” Season 2, just two months after the reboot was renewed for a second installment.

The new “Queer Eye” hit Netflix earlier this year, introducing us to the new Fab Five: Antoni Porowski (Food & Wine), Bobby Berk (Interior Design), Karamo Brown (Culture), Jonathan Van Ness (Grooming) and Tan France (Fashion).

Also Read: 'Queer Eye' Reboot Renewed for Season 2 at Netflix

Here’s the official logline for the next batch of episodes: This season, the Queer Eye Fab Five return to the Georgia heartland, forging connections with communities from a wide array of backgrounds and beliefs often contrary to their own, touching on everything from self-love and faith, to immigration and how to make the perfect homemade poke bowls and more!

“These series are indicative of what we’re trying to accomplish for Netflix unscripted: working with world-class producers to create the best unscripted shows on television,” said Bela Bajaria, vice president of content for Netflix when the show was renewed, along with several other series, in March. “These series elevate the genre with innovative takes on familiar formats. They deliver immersive and nuanced stories. They elicit so many emotions from viewers, from tears of laughter to tears of joy – and that’s just Queer Eye.”

“Queer Eye for the Straight Guy” creator David Collins executive produces the series under the Scout Productions banner, along with producing partners Michael Williams and Rob Eric. David Eilenberg, Adam Sher, Jennifer Lane and Jordana Hochman also executive produce for ITV Entertainment.

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'Queer Eye' Original Fab 5: Where Are They Now? (Photos) | 5/24/18

Long before the red carpet was unrolled or a single film had screened, many in the press circled in on a narrative: The Cannes Film Festival, it was decided, was a festival in decline.

And the vast majority of those pieces had another thing in common: They were written outside of France. The disparity between views has never been clearer than it has this year.

While many in the international press groused about a festival in decline, their French counterparts once again seized upon the Riviera, covering Cannes with the same intensity of interest and breathless focus as others covered the Royal Wedding (if not more — Harry and Megs are over and done in a day, while this party lasted 12 days).

Also Read: 'Shoplifters' Wins Palme d'Or at 2018 Cannes Film Festival

While many in the press — TheWrap included, admittedly — longed for sizzle, there was the cast of “Sink or Swim” flashing their pearly whites up and down the Croisette.

Broadly appealing, chalk full of stars and likely to make a splash at the French box office, the film was exactly the kind of attention-grabbing title many in the press wished had an American counterpart at this year’s festival.

The middle-aged dramedy about a bunch of sad sacks who form a synchronized swim team has a real murderer’s row of bankable local talent, including arthouse leading man Mathieu Amalric (“Ismael’s Ghosts,” “The Diving Bell and the Butterfly”), comic star Virginie Efira (“Elle”) and heartthrob Guillaume Canet (who, alongside wife Marion Cotillard, makes up the country’s biggest celebrity couple)… and you’d better believe that all of them showed up.

Though the amiable crowd-pleaser won no points for originality, it offered the festival something of even greater importance: a dazzling red carpet, well-documented in the local press. While it offered critics little to chew on, it gave the French marketers the chance to plaster the Cannes logo upon the film’s poster, reinforcing the festival’s local prestige.

Also Read: Surprise! PETA Backs Lars von Trier's Animal Mutilation Scene in 'The House That Jack Built'

Don’t you forget: This festival is very much a product of its native country. The French government actually created it back in the 1940s, and it remains by far the largest cultural event in a land that defines itself by culture — and devotes a substantial part of its GDP to such pursuits.

Cannes occupies an almost mythic place in the French imagination, in turn receiving private and public subsidies commensurate to that heft. Despite what gets reported back, that is its primary identity.

So many of this year’s major trends stem from that. Those who remember last year’s go-round can attest that festival heads Thierry Fremaux and Pierre Lescure made Netflix feel very welcome in town. The impasse that led to this year’s blackout was not because the two honchos suddenly changed their minds. No, their hands were more or less tied by the country’s powerful exhibitor and distributor interests, many of whom sit on the festival’s board of directors.

Also Read: 'Go, Grease Lightning!' John Travolta Joins 50 Cent on Stage During 'Just a Lil Bit' Performance (Video)

Of course, Cannes has a powerful hand in shaping the film year — and years — to come. Think of it as the arthouse heavyweight championship, where promising new voices come to emerge as brand-name auteurs, and brand-name auteurs return to retain their title.

Some might not have heard of Nadine Labaki’s “Capharnaum” before its Thursday premiere, but heaven knows we’ll all get plenty of opportunities to misspell that title once the awards race gets into full swing. Spike Lee’s “BlackKklansman” was the most open of questions only one short week ago. Now it has ironclad critical support and a Cannes Grand Prize to its name. No account of the 2018 film year will be complete without it.

And Lee’s Grand Prize arrives, in a sense, at the expense of his “She’s Gotta Have It” partners at Netflix. Because if the festival wants to continue shaping the film year, it also has to let itself be shaped by larger local forces. Like letting French bigwigs call some shots. Like, say, programming “Sink or Swim,” and letting its glow of prestige shine down upon a film that will no doubt make exhibitors happy once it hits wide-release at the end of the year.

And hey, the film isn’t half bad! It has a fun hook and likeable stars. It’s the kind of project you can absolutely see the studios remaking in a couple years’ time.

But unless something changes soon, don’t expect to see the remake in Cannes.

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Netflix has acquired Cannes Film Festival award winners “Happy as Lazzaro” and “Girl.”

Just ahead of Cannes, the streaming service had closed a $30 million worldwide deal for the animated film “Next Gen.”

Below are the official descriptions and all of the relevant details for Netflix’s newest acquisitions and the latest Cannes sales.

Also Read: 'Shoplifters' Wins Palme d'Or at 2018 Cannes Film Festival

“Happy as Lazzaro” (pictured above)

  • Alice Rohrwacher was awarded Best Screenplay for “Happy as Lazzaro” (in a tie with Nader Saeivar for ‘3 Faces”)

  • Synopsis: This is the tale of a meeting between Lazzaro, a young peasant so good that he is often mistaken for simple-minded, and Tancredi, a young nobleman cursed  by his imagination. Life in their isolated pastoral village Inviolata is dominated by the terrible ­Marchesa­ Alfonsina de Luna, the queen of cigarettes. A loyal bond is sealed when Tancredi asks Lazzaro to help him orchestrate his own kidnapping. This strange and improbable alliance is a revelation for Lazzaro. A friendship so precious that it will travel in time and transport Lazzaro in search of Tancredi. His first time in the big city, Lazzaro is like a fragment of the past lost in the modern world.

  • Writer & Director: Alice Rohrwacher

  • Cast: Adriano Tardiolo, Luca Chikovani, Alba Rohrwacher, Agnese Graziani, Tommaso Ragno, Sergi Lopez, Natalino Balasso, Gala Othero Winter, David Bennent, Nicoletta Braschi

  • Producer: Carlo Cresto-Dina

  • Co-producers: Tiziana Soudani, Alexandra Henochsberg, Grégory Gajos, Arthur Hallereau, Pierre-François Piet, Michel Merkt, Michael Weber, Viola Fügen

  • Production Companies: A Tempesta production with Rai Cinema in co-production with Amka Films Prods., Ad Vitam Production, KNM, Pola Pandora, RSI Radiotelevisione Svizzera, ARTE France Cinéma, ZDF/ARTE

  • International Sales: The Match Factory

Also Read: Critics' Groups Give Top Cannes Awards to Korean Drama 'Burning'


  • The Camera d’Or, for best first film, was awarded to “Girl”

  • Vincent Polster won the Best Actor Prize for Un Certain Regard for his performance in “Girl”

  • Lukas Dhont’s Un Certain Regard entry “Girl” was awarded this year’s Queer Palm award. (The Queer Palm launched in 2010 and selects its winner from all LGBTQ-themed films across the official selection of the Cannes film festival, Un Certain Regard, Directors’ Fortnight, Critics’ Week and the unofficial ACID section.)

  • Synopsis: Determined 15-year-old Lara is committed to becoming a professional ballerina. With the support of her father, she throws herself into this quest for the absolute at a new school. Lara’s adolescent frustrations and impatience are heightened as she realizes her body does not bend so easily to the strict discipline because she was born a boy.

  • Director: Lukas Dhont

  • Cast: Victor Polster, Arieh Worthalter, Oliver Bodart, Tijmen Govaerts, Katelijne Damen, Valentijn Dhaenens, Magali Elali, Alice de Broqueville

  • Screenwriters: Lukas Dhont, Angelo Tijssens

  • Producer: Dirk Impens

  • Production companies: Menuet, Frakas Productions, Topkapi Films

  • International Sales: The Match Factory

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After shocking the crowd in France, Gasper Noe has come away with the top prize at the Directors’ Fortnight in Cannes, as his LSD-fueled odyssey “Climax” was awarded the Art Cinema Award by the International Confederation of Art Cinemas (CICAE).

Sold and co-produced by Wild Bunch, with A24 picking up the North American distribution rights earlier this week, “Climax” follows a dance troupe led by Sofia Boutella as they go through a physically demanding rehearsal, only to suffer the worst trip imaginable after unknowingly drinking sangria laced with LSD. Orgies, self-mutiliation and elaborate choreography to Daft Punk is included.

??”?Art Cinéma Award: Climax Gaspar Noé

- Quinzaine des Réal. (@Quinzaine) May 17, 2018

“The acid hits, the bottom falls out, and we’re off to the races, never looking back,” Ben Croll wrote in his review of the film for TheWrap. “The film’s style matches the various phases of the trip, with director of photography Benoit Debie’s fluid camera moving in lockstep with the legion of feral performers, tracking their bodies in unceasing motion as they dance through paranoia, ecstasy and delirium.”

Directors’ Fortnight is a sidebar run independently of the Cannes Film Festival and is officially a noncompetitive section. But several sponsors of the program hand out their own awards to films in the Fortnight.

Also winning was Gianni Zanasi’s “Lucia’s Grace,” which received the Europa Cinemas Label for the best European film at the Fortnight. Pierre Salvatore’s romantic comedy “The Trouble With You” won the SACD Prize for best French-language film. Ivete Lucas and Patrick Bresnan’s short film “Skip Day” won the Illy Award.

“Lucia’s Grace” stars Alba Rohrwacher as a weary single-mother who is struggling with both personal and professional relationships. But her life is completely changed when she starts getting visions of a surly Virgin Mary who asks her to build a church where they first met.

“The Trouble With You” stars Adele Haenel as a detective on the French Riviera that gets entangled in an investigation as she discovers that her late husband, a supposedly heroic police officer, was actually a crooked cop deep in corruption.

“Skip Day” follows a group of high-school seniors in an industrial section of the Florida Everglades.

??”?Film primé SACD: En liberté ! Pierre Salvadori (co-écrit par / written by Pierre Salvadori, Benoit Graffin & Benjamin Charbit)

- Quinzaine des Réal. (@Quinzaine) May 17, 2018

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John Travolta was honored with Variety’s first Cinema Icon Award at a party on Tuesday night at the Hotel du Cap in Cap d’Antibes in Southern France, following the world premiere in Cannes of his new mob biopic “Gotti.” Arriving alongside wife and co-star Kelly Preston, daughter and “Gotti” actress Ella Bleu Travolta, director Kevin […] | 5/16/18

It’s been almost a week dodging raindrops and “No Selfies on the Red Carpet” warnings at the Cannes Film Festival, where all cylinders seem to be firing for filmmakers, sales agents and news-making stars in town.

The banished-ish Lars von Trier (“Melancholia,” “Antichrist”) returns to the festival after a seven year absence over a press conference blunder where the director said he had some sympathy for Adolf Hitler.

His latest, “The House That Jack Built,” has a first look trailer — and, as social media tells it, has festival organizers preparing for extreme reactions from the crowd.

Also Read: Annapurna Wins Nicole Kidman Thriller 'Destroyer' in Cannes Bidding War

Elsewhere, the conversation about former Cannes stalwart Harvey Weinstein continues, as embedded festival media reflect on his absence. In diametric opposition, the gender parity conversation moves from the red carpet to the big screen as films shine light on a world fighting the patriarchy.

Here’s what’s shaking in the South of France today:

Lars and His New “House” 

Much has been made of von Trier’s return after being declared persona non grata by the festival in 2011, but little has been shared about what he’s bringing to the table in “The House That Jack Built.”

Ahead of his Monday night premiere, IFC Films dropped a teaser trailer for the Matt Dillon film, and it’s a doozy. The ’80s heartthrob appears to be a haphazard serial killer in the throws of an existential crisis. Uma Thurman and Riley Keough make Hitchcockian blonde cameos as von Trier seems to be commenting on his own body of work through Dillon’s character.

“Some people think that the atrocities we commit in our fiction are those inner desires we cannot commit in our controlled civilization,” Dillon’s character muses in between bashing Thurman in the face with a car jack, imprisoning Keough in a hotel room and dragging a body from the back of a van, as blood spills out onto the highway. Cute!

Also Read: Annapurna Wins Nicole Kidman Thriller 'Destroyer' in Cannes Bidding War

In the official Cannes program, a warning appears next to the film’s schedule times: “Certain scenes are likely to offend the sensitivity of the spectators.”

There’s even speculation on Twitter that the festival is putting medics on standby should moviegoers faint during the screening.

Here’s the trailer:

 The Fallen “King of Cannes”

On the heels of Salma Hayek’s comments that Harvey Weinstein openly discredited her abuse claims because she’s a woman of color, one critic commented on the disgraced mogul’s absence.

“The late Harvey Weinstein (well, it feels that way) was famous for bossing the Croisette with his uniquely charming blend of proximal aggression and creative vulgarity,” writes The Irish Times film critic Donald Clarke.

He recounted a Weinstein anecdote about meeting Prince Albert of Monaco, who was allegedly introduced to the monarch by Roger Ebert as “the King of Cannes.”

A king no longer.

“The most horrible manifestations of his power lunacy have, following revelations last October, led to his virtual banishment from Cannes,” the critic said.

Also Read: Jean-Luc Godard's 'The Image Book' Acquired by Kino Lorber

Equity On Film 

TheWrap touched this week on the blazing dominance of women in Cannes this year, from jurors Cate Blanchett and Ava DuVernay protesting on the Croisette to Monday’s pledge from festival organizers to level a massive programming gender gap .

The unifying sentiment is perhaps a direct response to the toxic Hollywood culture exposed in the Weinstein scandal — and now it’s showing up on screen.

“Girls of the Sun” takes a hardened look at a female Kurdish unit fighting ISIS, and is being interpreted as a prism for the real-world events unfolding around the festival.

“If this year is one of reckoning for women, then ‘Girls of the Sun,’ screening in competition at the Cannes Film Festival, is the film for this era,” our own Sharon Waxman, CEO and editor-in-chief of TheWrap, wrote of the film.

“Any number of scenes swing between pathos and horror, but the film cannot possibly exaggerate the horrors that women in this part of the world have actually lived,” Waxman said.

Justin Chang of the Los Angeles Times singled out “Girls” and Jafar Panahi’s “3 Faces” as titles that “battle the patriarchy.”

As political and empowering as it is to see parity steal Cannes’ thunder, it’s nice to see these social anxieties and battle cries for change show up in the movies. It is a film festival, after all.

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CANNES, France — Carlos (Cacá) Diegues presented his latest directorial feature at a Special Screening in Cannes. A celebration of magic, entertainment and cinema,”The Great Mystical Circus” is inspired by a poem from Brazilian poet Jorge de Lima. It follows a family of circus entertainers through five generations, told in a series of intertwining tales, all […] | 5/14/18

Rehashes of the Vietnam War have become a genre onto themselves in American film — the province of prestige pictures, shoot-em-ups and even the odd romance. But France has been comparatively quieter in terms of depicting its own troubled history in Southeast Asia on the big screen.

With “To the Ends of the World,” which is showing in the Directors’ Fortnight sidebar to the Cannes Film Festival, French director Guillaume Nicloux offers that slight a brutal corrective, dredging up his country’s colonialist past while offering its national cinema the widescreen, 35mm ‘nam pic it so richly deserves.

Gaspard Ulliel (of Xavier Dolan’s “It’s Only the End of the World”) plays Robert, a French soldier in what was then called Indochina and the sole survivor of a massacre that claimed the lives of 700 of his fellow countrymen, including his brother and pregnant sister-in-law. Given an improbable second chance at life, Robert chooses to immediately reenlist in order to track down and take vengeance on the elusive — and perhaps mythic — Viet Minh leader who ordered the attack.

Also Read: Cannes Report, Day 4: Sales Market Heats Up, '355' Sparks Bidding War, Jean-Luc Godard Is Back

On a purely visceral level, the film fits well into its long line of forbears. From the menacing green jungles to the brothels wafting with opium smoke to the tropical mists and beads of sweat that dampen every face, this is a familiar cinematic landscape. But it would be a mistake to hear La Marseillaise instead of the Star Spangled Banner and think you’re just getting “Platoon” à la Française.

For one thing, there’s the question of period. Set in 1945, the action unfurls while the embers of World War II still burn, and Nicloux uses that historical confluence to great effect. He subtly interrogates the Gallic hypocrisy of fighting to maintain colonial holdings while celebrating their own very recent liberation from German rule.

Indeed, the project’s very Frenchness (for lack of a better word) is what makes it so damned interesting. While “To the Ends of the World” may look and feel like your standard war pic, it speaks like a European art film, focusing on the ennui, indecision and violent stillness felt by Robert and his not-so-merry band of cohorts.

Also Read: Jessica Chastain Spy Thriller '355' Lands at Universal After Bidding War

Stuck in that recognizable military morass, Robert turns his focus inward, obsessing over his unrequited love for prostitute Maï (Lang-Khê Tran), butting heads in games of machismo with fellow soldier Cavagna (Guillaume Gouix) and contemplating the provocations of expat author Saintong (Gérard Depardieu, of course), who responds to the brutality around him with the weariness a man many times singed by the fires of nationalism.

Confronted by some latest act of savagery committed on the Western settlers, Saintong simply replies, “Beheading is a French tradition.”

The film is rather like “Platoon,” however, in its morbid fascination with war’s effect on the human body. Robert’s own weariness is woven into his sunken cheeks and his broken spirit amplified by an unchanging wardrobe that grows baggier as the story goes on.

Curiously, Nicloux shies away from depicting any real on-screen violence, instead focusing on the mangled remains that rot on the ground and fester in the mind long after the perpetrators have fled.

In a way, this is a much more devious strategy. We’ve all seen firefights before, but once you stagger out of this one, with its necklace of human tongues and leech infections in the worst place a man could ever fear, you’ll have seen things you can only wish to forget. Talk about taking the war home with you.

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Most thought this would be a slow Cannes Film Festival, but we’re already on day four and movies have been bought, there’s a bidding war going on, and well, Jean-Luc Godard is back to mess with our heads.

Saban Films picked up the rights to two movies in the last two days, while Bleecker Street and Netflix (the latter of which backed out of submitting any films for the competition) have also emerged as players in the market.

Jessica Chastain’s female spy thriller “355” sparked a heated bidding war, with Universal emerging as the victor in an eight-figure deal.

Also Read: Cannes Report, Day 3: Women Rule, 'Cold War' Hailed as 'Best Film' Yet

Meanwhile, everyone else is still trying to get that one selfie on the red carpet despite a no-selfie policy — or get another glimpse at jury president Cate Blanchett.

See what everyone talked about during the fourth day at Cannes:

Acquisitions, Acquisitions

May 11 saw the acquisitions of quite a heap of films. Neon acquired the troll love story “Border” following its world premiere at Cannes’ Un Certain Regard section, while Bleecker Street picked up the rights to Mads Mikkelsen’s survival drama “Arctic.” The film premiered at the Cannes Film Festival on Thursday night.

Saban Films bought the rights to Keanu Reeves’ “Siberia,” a thriller by director Matthew Ross in the market that also stars Ana Ularu and Molly Ringwald.

Also Read: Netflix Buys Animated Film 'Next Gen' for $30 Million

In what might be the biggest deal so far at Cannes, Netflix picked up the worldwide rights, excluding China, to the animated film “Next Gen” for $30 million.

Netflix pulled out of submitting films to this year’s festival after organizers implemented a new rule that bans any films that don’t have theatrical distribution in France. The streaming company had the option to screen films out of competition — but passed.

Speaking of Saban Films…

Saban Films sure is spending money this year. At the Sundance Film Festival earlier this year, Saban bought the North American rights to Craig William Macneill’s “Lizzie,” in partnership with Roadside Attractions.

The distributor has been busy at Cannes as well, having bought Gerard Butler’s “Keepers” on Thursday and Reeves’ “Siberia” on Friday. Saban came to conquer Cannes, that’s for sure.

Jessica Chastain’s ‘355’ Bidding War

Everyone wanted a piece of “355,” Jessica Chastain’s female all-star spy thriller that will also star Lupita Nyong’o, Marion Cotillard, Penelope Cruz and Fan Bingbing. Simon Kinberg (“X-Men; Dark Phoenix”) will direct.

Early Saturday, Universal announced it had acquired U.S. distribution rights to “355” in what the studio said was “a competitive situation” — i.e., a bidding war — believed to be worth eight figures.

Also Read: Cannes Report, Day 2: 'Rafiki' Makes History, 'Don Quixote' Scores Legal Victory

Jean-Luc Godard’s ‘The Image Book’ Debuts

Jean-Luc Godard’s newest film “The Image Book” debuted on Friday at Cannes, and early reviews are as jumbled and convoluted as the film itself seems to be.

“THE IMAGE BOOK: who f—in’ knows,” wrote one critic, while another said, “What do you want me to say?”

TheWrap’s Steve Pond wrote in his review: “‘The Image Book’ requires stamina, or more accurately surrender. (A section of the Grand Theatre Lumiere balcony devoted to press had at least a dozen walkouts during the film.)”

See some tweets about the film below.

THE IMAGE BOOK: who fuckin knows. But here are some nonverbal reviews from those seated near me!

- girl next to me covered ears for long stretches
-man two over checked phone 50, 60, and 65 minutes in
-guy in front of me buzzsaw snored for full minute before someone woke him up

— Charles Bramesco (@intothecrevasse) May 11, 2018

THE IMAGE BOOK: Jean-Luc Godard’s collection of images about trains, war, Arab nations & more – from movies & real footage – w/ narration from Godard, sudden bursts of music & long silences. Some will love, some not, I feel like it will work best as the museum exhibit #Cannes2018

— Alicia Malone (@aliciamalone) May 11, 2018

THE IMAGE BOOK: Godard lays out all possibilities of cinema on display in 90 minutes. Now please start making your movie ffs. #cannes2018

— Ken Adams (@TaybackX) May 11, 2018

Just saw THE IMAGE BOOK by JLG. More bellowing at crappy resolution footage from 1950s films and of various imperialist atrocities. What do you want me to say? #cannes2018

— ????Donald Clarke???? (@DonaldClarke63) May 11, 2018

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Netflix has acquired the worldwide rights to the animated film “Next Gen” for $30 million, an individual with knowledge of the deal told TheWrap.

The animated feature is directed by Kevin R. Adams and Joe Ksander. The worldwide distribution deal does not include China. The film features the voice cast of Jason Sudeikis, David Cross, Michael Peña and Constance Wu.

CAA Media Finance Group negotiated the deal that is one of the biggest deals to come out of the Cannes Film Festival so far.

Also Read: Keanu Reeves Thriller 'Siberia' Picked Up by Saban Films

“Next Gen” tells the story of two unlikely friends in a robot-filled world. The movie is based on the original comic 7723 by Wang Nima from Baozou, and Baozou is the producer and financier of the film.

Netflix pulled out of submitting films to the Cannes Film Festival this year after organizers implemented a new rule that bans any films that don’t have theatrical distribution in France. The streaming company had the option to screen films out of competition.

Also Read: Ali Wong to Co-Star With Tiffany Haddish in Netflix Animated Comedy Series 'Tuca & Bertie'

Deadline first reported the news.

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It is hard to find a French person born before 1960 who does not recall the upheaval that changed French culture and society over the course of a few weeks of often violent protest. | 5/5/18
During the major strikes and student uprisings in France that year, the École des Beaux-Arts turned itself into a workshop for revolutionary messages. | 5/4/18

Sir Ringo Starr has a birthday coming up, and to celebrate he wants us all to spread a little Peace and Love.

Everyone’s favorite knight of the realm will observe turning 78 on July 7 by inviting the world to come together in a moment of peace, love and unity. Starr himself will be in Nice, France at the Hard Rock Cafe — a fitting location considering he started the tradition 10 years ago at the Chicago branch of the franchise. But don’t worry if you can’t make the trip. All he asks is for everyone — everywhere — to think, say, or post “#PeaceandLove” at noon their local time, thus creating a wave of positivity that will travel across the globe.

The annual celebration began in 2008, when an interviewer casually asked Starr what he wanted for his birthday. The answer, of course, was “Peace and Love.” Since then, the idea has flourished into an international event, earning sponsors including Hard Rock and The David Lynch Foundation, an organization that teaches meditation to at risk individuals.

“I can’t think of a better way to celebrate my birthday, or a better gift I could ask for, than Peace and Love,” he says in a statement. “I was blown away last year with how far this idea keeps spreading — we started in New Zealand, had people sending Peace and Love from Antarctica, Japan, Costa Rica, India, Russia, Brazil, Europe, London, Liverpool and Hawaii. It was so far out. So here we are 10 years later and it keeps growing.”

Kicking off the festive mood, Starr has released a new music video for “Give More Love,” the title track to his 2017 album.

“There are a lot of people hurting out there, and if we give nothing else we have to give love,” he told PEOPLE of the song’s message in September. “I try and do that to the best of my ability. We have to remember we are not saints—sometimes there’s the other attitude, the reactive. I try not to get too much of that. But we’re doing the best we can.”

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This fall, the rock legend will spread Peace and Love in person as he heads out on the road with his All-Starr Band. Check out tour dates below.

Sept 1: Hard Rock Hotel & Casino, Tulsa, OK
Sept 2: Walmart Arkansas Music Pavilion, Rogers, AR
Sept 3: Starlight Theatre, Kansas City, MO
Sept 5: Iowa State Center, Ames, IA
Sept 7: Fox Theater, St. Louis, MO
Sept 8: TBA, Milwaukee, WI
Sept 9: Morris Performing Arts Center, South Bend, IN
Sept 11: Fraze Pavilion, Kettering, OH
Sept 13: Radio City Music Hall, New York, NY
Sept 14: Saratoga Performing Arts Center, Saratoga, NY
Sept 15: The Toyota Oakdale Theater, Wallingford, CT
Sept 17: Wang Theater, Boston, MA
Sept 19: Heinz Hall for the Performing Arts, Pittsburgh, PA
Sept 21: Hard Rock Rocksino, Northfield Park, OH
Sept 22: The Chicago Theatre, Chicago, IL
Sept 23: Ordway Center for the Performing Arts, St Paul, MN
Sept 25: Paramount Theatre, Denver, CO
Sept 27: Humphreys, San Diego, CA
Sept 28: City National Civic, San Jose, CA
Sept 29: Greek Theatre, Los Angeles, CA | 4/21/18

Ava DuVernay, Kristen Stewart, Denis Villeneuve, Chang Chen, Robert Guédiguian, Khadja Nin, Léa Seydoux and Andrey Zvyagintsev have been named members of the 2018 Cannes Film Festival Jury.

They will join Cate Blanchett, who was previously named president of the jury at the 71st Cannes Film Festival.

During the era of #MeToo and #TimesUp, the jury is made up of five women and four men, only the third time that women have made up a majority of the jury. All three times have come in the last 10 years.

The jurors are of seven nationalities and from five continents.

Also Read: Cannes Lineup Reaches From Spike Lee to Jean-Luc Godard

Blanchett marks the first female jury president since Jane Campion served in 2014. Other women to take on the role this century include Oscar nominee Isabelle Huppert and Liv Ullmann. It is the 12th time in festival history a woman has headed the jury. Director, screenwriter and actress Jeanne Moreau served twice, with all others putting in one year each.

The Cannes Film Festival will take over the south of France from May 8-19.

See the full bios for the jury members courtesy of the festival organizers below.

Also Read: Cannes Will Welcome Back Lars von Trier, Says Festival Director

Chang Chen – Chinese actor
Chang Chen made his film debut in the late Edward Yang’s A Brighter Summer Day. He rose to fame in the Ang Lee’s “Crouching Tiger, Hidden Dragon” in 2000. His film credits include “Wong Kar Wai’s Happy Together” (1997), 2046 (2004), “The Grandmaster” (2013), Hou Hsiao-hsien’s “Three Times” (2005) and “The Assassin” (2015), Tian Zhuangzhuang’s “The Go Master” (2006) John Woo’s “Red Cliff” (2008-2009) “The Last Supper” directed by Lu Chuan (2012). In 2017, he returned for Yang Lu’s film Brotherhood of “Blades II” and recently played in “Forever Young” by Fangfang Li.

Ava DuVernay – American writer, director, producer
Nominated for the Academy Award and Golden Globe and winner of the BAFTA and EMMY, Ava DuVernay is a writer, director, producer and film distributor known for the historical drama “Selma” (2014), the criminal justice documentary “13th” (2016) and the recent Disney cinematic adaptation of the classic children’s novel A wrinkle in Time. Winner of the 2012 Sundance Film Festival’s Best Director Prize for her film “Middle of Nowhere,” DuVernay amplifies the work of people of color and women directors through her film collective ARRAY.

Robert Guédiguian – French director, writer, producer
The work of Robert Guédiguian, an activist filmmaker, celebrates the city of Marseille where he grew up. Acclaimed by critics when he first started directing in the 80s, he met public success with Marius and Jeannette, which won the Prix Louis-Delluc in 1997.

His film credits include “Marie-Jo et ses deux amours” (2002) “Le Promeneur du Champ de Mars” (2004) “Le Voyage en Arménie” (2007) “Lady Jane” (2008) “L’armée du crime” (2009) “The Snows of Kilimanjaro” (2011). His latest film in date, “The House by the Sea” (2017), received enthusiastic response from critics and audience.

Khadja Nin – Burundian songwriter, composer, singer
Youngest of a family of eight Khadja Nin studied music at an early age, before leaving Africa to go to Europe. Her albums are a mix of occidental popmusic, African and afro-cuban rhythms. She gained wide recognition and success with “Sambolera Mayi Son.” “Ya…” (“From me to you”) is a wonderful tribute to Mandela and the video of her song “Mama” was directed by Jeanne Moreau. International Artist, she became a Unicef and ACP Observatory on Migration Good Will Ambassador. She was awarded the Prize “Prix de l’Action Feminine” by the African Women’s League in 2016. She has been committed to support ordinary heroes.

Léa Seydoux – French actress
Rising to fame with Christophe Honoré’s “The Beautiful Person” in 2008, Léa Seydoux is an award-winning actress, notably the Palme d’Or for Abdelatif Kechiche’s “Blue is the Warmest Colour” in 2013. She successfully alternates between author and mainstream films. Her film credits include Rebecca Zlotowski’s “Dear Prudence” and “Grand Central,” Benoît Jacquot’s “Farewell, My Queen” and “Diary of a Chambermaid,” Bertrand Bonello’s “Saint Laurent,” Sam Mendes’ “Spectre,” Yorgos Lanthimos’ “The Lobster” and Xavier Dolan’s “It’s Only the End of the World.”

Kristen Stewart – American actress
Kristen Stewart has been playing roles since an early age and received widespread recognition in 2008 for “The Twilight Saga” film series (2008-12). Her film credit includes “Snow White and the Huntsman” (2012), “Equals” by Drake Doremus (2015) “Billy Lynn’s Long Halftime Walk” by Ang Lee (2016), and several Festival de Cannes Selections such as “On the Road” by Walter Salles (2012) “Clouds of Sils Maria” (2014) and “Personal Shopper” (2016) both by Olivier Assayas (2014) as well as “Café Society” by Woody Allen. She directed her first short film “Come Swim” in 2017.

Denis Villeneuve – Canadian director, writer
Internationally renowned and recently two-time Academy Award winner for “Blade Runner 2049,” Denis Villeneuve made his debut at the National Film Board of Canada in the early 90’s. His first feature, “Un 32 août sur Terre” (1998) was invited to Cannes. He returned there with “Next Floor” (2008), “Polytechnique” (2009) and the Oscar nominated “Sicario” (2015). In 2010 “Incendies” was nominated for Best Foreign Language Film at the Academy Awards. In 2017, Arrival was nominated for 8 Oscars and 9 BAFTAs, including best movie and best director.

Andreï Zvyagintsev – Russian director, writer
Multi-award winning filmmaker Andreï Zvyagintsev has already become one of the most respected directors in Russian and international cinema. He directed his first feature film in 2003 The Return which won him a “Golden Lion” at the Venice Film Festival. He has continued to write and direct award-winning feature films “The Banishment” (2007), “Elena” (2011) and “Leviathan” (2014). His most recent film “Loveless” won the Jury Prize at the 2017 Festival de Cannes, and was among the nominees at the Golden Globe and 90th Academy Awards.

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Netflix is threatening to withhold its films from screening at the Cannes Film Festival, a potential move that follows the festival’s change in competition rules which target the streaming giant, according to a filmmaker with ties to Netflix.

A filmmaker told TheWrap that they are of the understanding that Netflix will not participate in Cannes this year, but a final decision won’t be made until April 12, when Cannes announces its official lineup.

Netflix declined to comment, and representatives for Cannes did not immediately respond to requests for comment.

Also Read: 'Solo: A Star Wars Story' to Premiere at Cannes Film Festival

In order to qualify for competition at the festival, a film has to have distribution in France. Conversely, Netflix believes that its films should have day-and-date releases on the platform, which has been a thorn in the industry’s side.

Netflix’s approach to distribution has frequently led to debate over whether it should be eligible for Academy Award recognition. This Cannes move could have big implications, as Netflix continues to attract high-profile filmmakers.

Last year, Netflix had two films in competition at Cannes — Noah Baumbach’s “The Meyerowitz Stories” and Bong Joon-Ho’s “Okja.” The French National Cinema Federation, a group representing the country’s theater owners, had called on Netflix to release its films in French theaters. This led to festival organizers changing the rules.

Also Read: Cannes Targets Netflix With New Rule Requiring Theatrical Releases, Starting in 2018

“After consulting its Members of the Board, the Festival de Cannes has decided to adapt its rules to this unseen situation until now: any film that wishes to compete in Competition at Cannes will have to commit itself to being distributed in French movie theaters,” festival organizers wrote at the time. “This new measure will apply from the 2018 edition of the Festival International du Film de Cannes onwards.”

Netflix chief executive Reed Hastings then took to Facebook, complaining that, “The establishment closing ranks against us. See Okja on Netflix June 28th. Amazing film that theatre chains want to block us from entering into Cannes film festival competition.”

The Hollywood Reporter first reported the decision by Netflix.

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What does the West want from Russia by stirring up the frenzy about the poisoning of former Russian spy Sergei Skripal? Can Moscow tone the scandal down? Why doesn't Russian officials follow the example of the British Secretary of Defence, who publicly asked Russia to "go away and shut up?" What lessons should we learn from this scandal? Pravda.Ru talked about it in an interview with political scientist Karina Gevorkyan. "The events that took place in the UK fit into the scenario to delegitimize the Russian state, the Russian authorities, the Russian elites - everything. All of us, all of Russia, should just die, you see? This confrontation between Russia and the West will last forever. Russia is not exotic for the West like China, India or the Middle East. The West perceives the world as its prey, and Russia an alien, a shadow that must be killed. We can see it in many aspects of life - in history, in literature, in culture in general."Russia does not want to be like the West, she does not want to become a part of it, and every time the West tries to suppress Russia, Russia fights back. They hate it, and they can never accept the fact that Russia wants to preserve its own identity. "The West has been trying to deprive Russia of its historical identity for a very long time, because they see it as harmful and dangerous. One very smart and experienced English intelligence officer said in one of his interviews said that the British Foreign Ministry would rotate diplomats in Moscow every two years because they "fall in love with the Russians." "The West sees Russia as another Syria. For Western politicians, Syrian President Bashar Assad is a monster, who has infants for breakfast and then goes to poison civilians with chemical weapons in the afternoon. The West has delegitimised Assad - Western countries will never recognise his power because of their own accusations that they ascribe to him. "They think that they can break Russia and take her with their bare hands. They saw that the nation did not even move when the Soviet Union collapsed, so they assume that the nation will not move now either. "The world order that existed before the collapse of the Soviet Union had been working after WWII too. Special services would interact, and there were special agreements between them. For example, after the Second World War, if one country would arrest a foreign spy, they would not be allowed to use any type of psychological or physical pressure against the spy. I once talked to a veteran of the foreign intelligence service, a very experienced person, and was very surprised when he told me that they were following those rules indeed. There were no broken bone or anything. The French, however, had broken those rules several times, so both the British and the Soviet intelligence would treat the French intelligence with a certain amount of arrogance, because they considered them bonebreakers. "Then in the 1970s they agreed not to dig into personal life of intelligence officers. Those things were untouchable, even though it may seem very strange nowadays. "Now let's look at the case of Sergei Skripal. The most evil prosecutor here is British Prime Minister Theresa May. The British are incredibly eccentric people, they sometimes may do wild things, and they are aware of that. Theresa May marches here alongside Boris Johnson. "France and Germany took on the role of good investigators. They believe that the Salisbury incident was terrible, but one needs to look into it in detail. Of course, the UK instructed them what to say and what to do, but France and Germany still prefer to maintain a semblance of objectivity."All of a sudden, the United States that has always been the fist of this transnational paradigm, wants to act as the judge in this case. "This reminds me of a remarkable caricature that appeared in 1903 or 1905 in the American comic magazine Puck. Russia was shown there in the form of a bearded peasant, untidy, gloomy and stooped, standing on a pedestal with frightened representatives of other nations around him - the Japanese, the Turks, the French, the Germans, the British, the Americans - and they all look very noble. The vile, ugly and terrible Russia is judged by the spirit of civilisation, an androgyne, a cross between Apollo and the Statue of Liberty, a hermaphrodite, a beautiful creature rising above in impeccable white robes."Pravda.RuRead article on the Russian version of Pravda.Ru
French actress Lea Seydoux, 32, showed off her flair for fashion as she stepped out for the Isle of Dogs premiere at Cinema Gaumont Capucine, France on Tuesday.
Victoria Beckham was seen cutting an incredibly stylish figure as she headed to the Martin Margiella exhibition at the MusÈe des Arts DÈcoratifs museum in Paris, France on Wednesday.

For the majority of cinephiles and sci-fi fans not attending the Cannes Film Festival this year, rejoice: Warner Bros. is sending Stanley Kubrick’s “2001: A Space Odyssey” back to theaters.

In addition to a 50th anniversary screening at the annual gathering in Southern France, which will be introduced with remarks by Kubrick super fan and diretor Christopher Nolan, Warner Bros. is trotting out a 70mm version of the film in select locations starting May 18.

“For the first time since the original release, this 70mm print was struck from new printing elements made from the original camera negative. This is a true photochemical film recreation. There are no digital tricks, remastered effects, or revisionist edits,” the studio said of the release.

Also Read: Is There More to 'The Shining'? 'Long Cuts' of Kubrick Film up for Auction in Italy

“I’m delighted that ‘2001: A Space Odyssey’ will be reissued in 70mm, and that Cannes has chosen to honor it. If Stanley were alive today, we know he would be in admiration of the films of Christopher Nolan.  And so, on behalf of Stanley’s family, I would personally like to thank Christopher for supporting his film,” said Kubrick’s wife, Christiane.

Nolan added that one of his  “earliest memories of cinema is seeing …  ‘2001: A Space Odyssey’ in 70mm, at the Leicester Square Theatre in London with my father. The opportunity to be involved in recreating that experience for a new generation, and of introducing our new unrestored 70mm print of Kubrick’s masterpiece in all its analogue glory at the Cannes Film Festival is an honor and a privilege.”

A full restored version of the film will be released for the home entertainment market later this year. Originally released in 70mm Cinerama roadshow format on April 4, 1968, the film “ignited the imaginations of critics and audiences alike and its impact continues to resonate to this day,” the studio said.

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Can we get a “YAS QUEEN!” over here? Why? Because Netflix has renewed “Queer Eye” for a Season 2.

The streaming service announced the reboot’s upcoming second installment Monday, along with the renewals of the unscripted series “Dope,” “Drug Lords,” “Nailed It!” and “The Toys That Made Us.”

“These series are indicative of what we’re trying to accomplish for Netflix unscripted: working with world-class producers to create the best unscripted shows on television,” said Bela Bajaria, vice president of content for Netflix. “These series elevate the genre with innovative takes on familiar formats. They deliver immersive and nuanced stories. They elicit so many emotions from viewers, from tears of laughter to tears of joy – and that’s just Queer Eye.”

Also Read: 'Queer Eye' Fab Five Give Netflix IT Department a Facelift: 'We Love Nerds' (Video)

The first season of Netflix’s “Queer Eye” revival dropped on the streaming service on Feb. 7.

No official premiere date has been announced for Season 2, but a person with knowledge of the production tells TheWrap it will return later this year.

Netflix’s revival centers around a new Fab Five — Antoni Porowski (Food & Wine), Bobby Berk (Interior Design), Karamo Brown (Culture), Jonathan Van Ness (Grooming) and Tan France (Fashion) — all of whom will return for the next season.

The drug docuseries “Dope” will return with Season 2 on April 20. “Drug Lords,” “Nailed It!” and “The Toys That Made Us,” do not have premiere dates for their upcoming installments.

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PARIS — The Eiffel Tower will light up to honor women's rights and promote the French equivalent of the Time's Up movement.

The message "Maintenant On Agit" ("Now We Act") will be displayed all Wednesday evening on the Parisian monument ahead of International Women's Day on Thursday.

In a short ceremony, Culture Minister Francoise Nyssen and Paris mayor Anne Hidalgo are set to make a speech alongside members of women's rights associations to support the movement.

Erik Poppe’s “U – July 22,” a drama about the 2011 terror attack in Norway which killed 77 people, has been acquired by a flurry of distributors following its international premiere in competition at Berlin Film Festival. TrustNordisk has sold the film to the U.K. and Ireland (Modern Films), Japan (Culture Entertainment) and France (Potemkine […] | 3/6/18
[Tunis Afrique Presse] On the occasion of "La Francophonie Month," the French Institute of Tunisia (French: IFT) will organise on March 16 a reading marathon gathering 8 French-speaking countries, including Switzerland, Tunisia, Morocco, France, Argentina, Poland, Greece and Canada around reading text extracts from contemporary Francophone literature by lovers of the French language as Anissa Daoud, Michèle Boufetier, Samia Amami and Nadia Busetta. | 3/6/18

Director Adina Pintilie’s “Touch Me Not,” a daring and highly personal exploration of intimacy, has won the Golden Bear award as the best film at the 2018 Berlin Film Festival.

Silver Bear acting awards went to Anthony Bajon for “The Prayer” and Ana Brun for “The Heiresses,” while the prize for the festival’s best director went to Wes Anderson for his animated film “Isle of Dogs.”

Accepting on behalf of Anderson, Bill Murray said, “I never thought I would go to work as a dog and come home with a Bear.”

“Mug” and “The Heiresses” also won Silver Bear awards.

The awards were announced at a ceremony in Berlin on Saturday, at the conclusion of a festival that began on Feb. 15. They were chosen by a jury chaired by German director Tom Tykwer and also including French actress Cecile de France, Spanish programmer and archivist Chema Prado, American producer Adele Romanski, Japanese composer Ryuichi Sakamoto and American critic Stephanie Zacharek.

Also Read: 2018 Sundance Film Festival Awards: The Complete Winners List

The main competition section consisted of 24 films, with 19 of them — including Anderson’s “Isle of Dogs” and Gus Van Sant’s “Don’t Worry, He Won’t Get Far on Foot” — eligible for jury awards.

Last year’s Golden Bear winner, “On Body and Soul,” is a current Oscar nominee in the Best Foreign Language Film category.

The award for the best first feature also went to “Touch Me Not,” while the documentary prize went to Ruth Beckermann’s “The Waldheim Waltz.”

Also Read: Oscars Gender Gap: Docs, Foreign Language Films Still Way More Likely to Have Female Directors

A number of other juries and audience prizes were also awarded at the festival.

The 2018 Berlin Film Festival awards:

Golden Bear for Best Film: “Touch Me Not,” Adina Pintilie
Silver Bear Grand Jury Prize: “Mug,” Malgorzata Szumowska
Silver Bear Alfred Bauer Prize: “The Heiresses,” Marcelo Martinessi
Best Director: Wes Anderson, “Isle of Dogs”
Best Actor: Anthony Bajon, “The Prayer”
Best Actress: Ana Brun, “The Heiresses”
Best Screenplay: “Museum,” Manuel Alcala and Alonso Ruizpalacios
Outstanding Artistic Contribution: Elena Okopnaya, costume and production design, “Dovlatov”
Glashutte Documentary Award: “The Waldheim Waltz,” Ruth Beckermann
   Special mention: “Ex Shaman,” Luiz Bolognesi
Best First Feature: “Touch Me Not,” Adina Pintilie
   Special mention: “An Elephant Sitting Still,” Hu Bo
Golden Bear for Best Short Film: “The Men Behind the Wall,” Ines Moldavsky
Silver Bear Jury Prize for Short Film: “Imfura,” Samuel Ishimwe
Audi Short Film Award: “Solar Walk,” Reka Bucsi


Crystal Bear for Best Film: “Cross My Heart,” Luc Picard
Special mention: “Supa Modo,” Likarion Wainaina
Crystal Bear for Best Short Film: “A Field Guide to Being a 12-Year-Old Girl,” Tilda Cobham-Hervey
   Special mention: “Snow for Water,” Christopher Villiers

Grand Prix: “Seen and Unseen,” Kamila Andini
Special mention: “Cleo & Paul,” Stephane Demoustier
Special prize for short film: “A Curious Girl,” Rajesh Prasad Khatri
Special mention: “Lobster Dinner,” Gregorio Franchetti

Crystal Bear for Best Film: “Fortuna,” Germinal Roaux
Special mention: “Retablo,” Alvaro Delgado-Aparicio L.
Crystal Bear for Best Short Film: “Kiem Holijanda,” Sarah Veltmeyer
Special mention: “Dressed for Pleasure,” Marie de Maricourt

Grand Prix: “Fortuna,” Germinal Roaux
Special mention: “Dressage,” Pooya Badkoobeh
Special Prize: “Juck,” Olivia Kastebring, Julia Gumpert and Ulrika Bandeira
Special mention: “Bless You!,” Paulina Ziokowska


Berlin Short Film Nominee for the European Film Awards: “Burkina Brandenburg Komplex,” Ulu Braun

Competition film: “In the Aisles,” Thomas Stuber
Special mention: “U – July 22,” Erik Poppe
Panorama film: “Styx,” Wolfgang Fischer
Forum film: “Theatre of War,” Lola Arias

Competition film: “The Heiresses,” Marcelo Martinessi
Panorama film: “River’s Edge,” Isao Yukisada
Forum film: “An Elephant Sitting Still,” Hu Bo

Winner: “Central Airport THF,” Karim Ainouz
Special mention: “Eldorado,” Markus Imhoof

Winner: “In the Aisles,” Thomas Stuber

Panorama film: “Hard Paint,” Marcio Reolon and Filipe Matzembacher
Forum film: “Theatre of War,” Lola Arias

Winner: “Styx,” Wolfgang Fischer


Best Feature Film: “Hard Paint,” Marcio Reolon and Filipe Matzembacher
Best Documentary/Essay Film: “Tranny Fag,” Claudia Priscilla and Kiko Goifman
Best Short Film: “Three Centimetres,” Lara Zeidan
Special Jury Award: “Obscuro Barroco,” Evangelia Kranioti
Teddy Newcomer Award: “Retablo,” Alvaro Delgado-Aparicio L.

Winner: “The Wolf House,” Cristobal Leon and Joaquin Cocina

Winner: “The Silence of Others,” Almudena Carracedo and Robert Bahar

Winner: “Styx,” Wolfgang Fischer


Winner: “Dovlatov,” Alexey German Jr.

Winner: “In the Realm of Perfection,” Julien Faraut

Fiction film winner: “Profile,” Timur Bekmambetov
2nd place: “Styx,” Wolfgang Fischer
3rd place: “L’Animale,” Katharina Mueckstein

Documentary film winner: “The Silence of Others,” Almudena Carracedo and Robert Bahar
2nd place: “Partisan,” Lutz Pehnert, Matthias Ehlert and Adama Ulrich
3rd place: “The Trial,” Maria Augusta Ramos

Winner: “The Heiresses,” Marcelo Martinessi


Winner: “Everywhere We Are,” Veronika Kaserer

Winners: “Blutsauger,” Julian Radlmaier and “When a farm goes aflame, the flakes fly home to bear the tale,” Jide Tom Akinleminu

Winner: “The War Has Ended,” Hagar Ben Asher

Winner: Madants, Match Factory Productions and Transfax Film Productions for “The War Has Ended,” Hagar Ben Asher

Winner: Jing Wang for “Tropical Memories”

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The culture of France and of the French people has been shaped by geography, by profound historical events, and by foreign and internal forces and groups. France, and in particular Paris, has played an important role as a center of high culture and of decorative arts since the seventeenth century, first in Europe, and from the nineteenth century on, world wide. From the late nineteenth century, France has also played an important role in cinema, fashion and cuisine. The importance of French culture has waxed and waned over the centuries, depending on its economic, political and military importance. French culture today is marked both by great regional and socioeconomic differences and by strong unifying tendencies.

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