Documentary Now! and TÁR updates
Posted on
Aug 24, 2022

Documentary Now! and TÁR updates

Hi, Blanchett fans!

Here’s a few updates on Documentary Now! and TÁR.

Documentary Now

TIFF (Toronto International Film Festival) has released their schedule. Documentary Now! premieres on September 10th at 9:15pm. Watch the trailer below.

Three new episodes from season four of the mockumentary series Documentary Now! — created by SNL alumni Bill Hader, Seth Meyers, Fred Armisen, and Rhys Thomas — receive their World Premiere.

In this world premiere, TIFF audiences will be the first to see three episodes from the upcoming season of Documentary Now! First up is a take on My Octopus Teacher, only this version stars English comedian Jamie Demetriou (Fleabag) as an animal-obsessed filmmaker in the episode titled “My Monkey Grifter.” Second is a warm-hearted homage to Agnès Varda, starring French actor Liliane Rovère (Call My Agent) portraying an aging director trying to recapture the thrills of her youth in “Trouver Frisson.” Third is a pet project of Cate Blanchett, who fell in love with the 1990s BBC documentary Three Salons at the Seaside, which she and co-star Harriet Walter fondly lampoon in “Two Hairdressers at Bagglyport,” about a beauty parlour full of secrets (that simultaneously evokes the Anna Wintour/Vogue doc The September Issue).

— Thom Powers, TIFF Docs Programmer

Documentary Now! TIFF Schedule. Click image to book tickets. Tickets go on sale for public on September 5th

TIFF Trailer

TÁR

According to La Biennale, press conference begins approximately at 11AM CEST. There will be two films in competition on September 1st, TÁR being the first to premiere. Todd Field has also released a director’s statement on La Biennale’s website about TÁR.

This script was written for one artist, Cate Blanchett. Had she said no, the film would have never seen the light of day. Filmgoers, amateur and otherwise, will not be surprised by this. After all, she is a master supreme.

Even so, while we were making the picture, the superhuman-skill and verisimilitude of Cate was something truly astounding to behold. She raised all boats. The privilege of collaborating with an artist of this caliber is something impossible to adequately describe.
In every possible way this is Cate’s film.

Source: TIFF, La Biennale

Lip Maestro Shade 214 & Oggi Magazine Scans
Posted on
Aug 21, 2022

Lip Maestro Shade 214 & Oggi Magazine Scans

Hi, Blanchetters!

Another video from Armani Beauty for their LIP MAESTRO Campaign has been released, this time Cate Blanchett wears shade 214 of the lipstick. We also have magazine scans from Oggi No. 34 issue.

A full length trailer for TÁR was recently rated and the length of the trailer is 2 minutes and 25 seconds. It will likely be released this week or the week after which coincides with the world premiere of the movie at Venice Film Festival.

Lip Maestro

LIP MAESTRO Shade 214

Magazine Scans

Below is a part of the magazine article that is a google translated version from Italian to English. Original text can be found on the scans.

CATE THE WOMAN WHO LOVES WOMEN

At the Venice Film Festival, Blanchett will play Lydia Tár, a conductor who falls in love with two musicians. For other performances as a lesbian she has become a gay icon. But she says: “I also played an elf, yet I’m not immortal”.

Ferragamo shoes, tailor-made suits, scarf, Van Cleef & Arpels jewels, vintage handbag on the arm, chic, unresolved and courageous, yet also revolutionary: Cate Blanchett in Carol is a bourgeois close to divorce who falls in love with a saleslady, aspiring photographer, Therese, in the 50s. No wonder that they are waiting for her at the Venice Film Festival (31 August – 10 September): critics and cinephiles and the LGBTQ + community – all of them curious and anxious for her new film Tár, in competition at #Venezia79. Blanchett is Lydia Tár, one of the greatest conductors in the world and certainly the greatest in Germany. The environment is competitive and male chauvinistic. She must always prove that she is good, that she is up to the role, that she really knows the music. Plus she falls in love with two musicians. The trailer, recently posted on the web, does not speak of all this. On the contrary, it speaks of a pandemic, of bees, of the challenges that await us. There is no life of Lydia Tár who in the trailer dresses simple, in light green and appears unadorned, the opposite of Carol, with her wavy hairstyle. Biennale Cinema keep their mouths sewn together, but there is certainly this – that Blanchett will be very good in this new role of hers with (also) a homosexual theme.

Blanchett has been a gay icon since Carol’s day, very proud of it. When she posed with Nicole Kidman in a jacket and boyish pants in 2019, the web appreciated it a lot, they had butterflies in their stomachs, loving what is called her “lesbian aesthetics”. In a video from 2020, Blanchett jokingly said aloud: “I’m a lesbian.”. It happened during Instagram live with Sarah Paulson, a pansexual, star of American Horror Story, and co-star in Mrs America. Moreover, speaking of Mrs America (which tells the story of the US feminist movement), Blanchett has remained a gay icon, although in the series she plays the ultraconservative, Phyllis Schlafly, married for 44 years to the same man and mother of six children. Practically it is the only point of contact between the two. Blanchett has been married since 1997 (25 years of marriage) to playwright Andrew Upton, a bearded gentleman who looks like everyone’s neighbor, they have four children and live at Highwell House. They also have a wing dedicated to their art collection. One of the many times she was asked about her marriage, she replied: “With my husband I won the lottery and consequently with my family.”

Oggi No. 34 – August 25th 2022
Source: Alberta Film Ratings

TÁR Premiere on September 1st #Venezia79
Posted on
Aug 16, 2022

TÁR Premiere on September 1st #Venezia79

Ciao!

Biennale Cinema has released the full schedule for this year’s film festival. TÁR will have two public screenings on September 1st — at 17:15 (Sala Grande), which marks its world premiere, and 19:00 (Palabiennale). Earliest screening is on August 31st for press and industry members only. The ticket will go on sale at 15:00 (Venice time), August 17th. You can go here to book tickets and you can check the screening schedule below.

The movie is also competing for Queer Lion’s 16th Edition. The Queer Lion Award was created as a collateral prize for the “Best Film with Homosexual & Queer Culture Contents”. Here’s an updated synopsis of the movie:

Lydia Tár is an acclaimed composer who rose to become the first female chief conductor of a German orchestra. We follow Tár during her daily life living in Berlin, leading up to the recording of her latest symphony, while her sentimental life (including a complicated tormented affair with a female cellist) clashes with and threatens her burning ambitions. Tár’s adopted daughter, the exeptionally brilliant six-year-old Petra, will turn out to be the rock Lydia needs, when everything in her life seems to start going wrong.

Screening Schedule

Public Screening

 

Press-Industry Screening

UK/Australia Season

Cate has sent another short message as ambassador of UK/AU Season.

 

Source: Biennale Cinema, Queer Lion

 

Saturn Awards Nominations
Posted on
Aug 12, 2022

Saturn Awards Nominations

Hi, everyone!

Cate has been nominated at Saturn Awards for her performance in Nightmare Alley. The movie itself garnered 10 nominations: Thriller Film, Actress, Supporting Actor, Direction, Writing, Music, Editing, Production Design, Costume, and Make-up.

The Saturn Awards have unveiled nominations for their 50th anniversary edition, with organizer the Academy of Science Fiction, Fantasy & Horror Films saying that the ceremony to reveal winners is set for October 25 in an event that will be livestreamed on ElectricNOW.

Actress in a Film

• Cate Blanchett, Nightmare Alley (Searchlight Pictures)

• Emily Blunt, A Quiet Place Part II (Paramount Pictures)

• Zoe Kravitz, The Batman (Warner Bros. Pictures)

• Keke Palmer, Nope (Universal Pictures)

• Emma Stone, Cruella (Walt Disney Studios)

• Michelle Yeoh, Everything Everywhere All at Once (A24)

• Zendaya, Spider-Man: No Way Home (Sony Pictures / Marvel)

Source: Deadline

TÁR at 60th New York Film Festival
Posted on
Aug 9, 2022

TÁR at 60th New York Film Festival

Hello, everyone!

TÁR has been selected as part of the main slate lineup of the 60th New York Film Festival. The festival which is presented by Film at Lincoln Center runs from September 30th through October 16th 2022. It will take place at Lincoln Center and other venues across New York City.

The charisma and emotional precision of Cate Blanchett are put to astounding use in this deft showcase for the actor’s nearly musical artistry, a stinging portrait of a world-famous orchestra conductor’s gradual unraveling that is the first film in sixteen years from director Todd Field (In the Bedroom, Little Children).

Click image for higher resolution

It was previously announced that the movie is also part of the main competition lineup at 79th Venice Film Festival. And while there is no official announcement yet from Telluride Film Festival, Alberto Barbera, who is the artistic director at Venice Film Festival, has mentioned on an interview that TÁR is also going to that festival.

Source: NYFF

Guillermo Del Toro’s Pinocchio Teaser
Posted on
Jul 27, 2022

Guillermo Del Toro’s Pinocchio Teaser

Hi! Another day, another teaser trailer of a film that Cate worked on.

We also have great news! We are able to keep the site open for another year with the donation we have received from kind fans. We would like to send our deepest gratitude to the following people who donated to the website: Jessica, Frauke, Murtada, Kelly, Joseph, Jade, Yutao, Bronte, Erzsébet, Victoria, Irina, Dolores, Marise.

Netflix has released the teaser for Guillermo Del Toro’s stop-motion animated version of Pinocchio. Cate voiced the monkey, Spazzatura. The film will be released in select theatres in the US in November 2022 before it drops on Netflix in December 2022. Check the teaser below.

Source: Variety

TÁR Teaser
Posted on
Jul 26, 2022

TÁR Teaser

Ciao!

We finally have a teaser for TÁR which is set to premiere at the 79th Venice Film Festival (running from August 31st-September 10th) and will be released in the US on October 7th 2022 and in the UK on January 20th 2023. The film has been selected as part of the main competition category of the festival. The other cast in the film are Noémie Merlant, Nina Hoss, Sophie Kauer, Julian Glover, Allan Corduner, and Mark Strong. The films has a running time of 158 minutes. You can watch the enigmatic teaser below.

TÁR to go to Venice & The School for Good and Evil Release Date
Posted on
Jul 22, 2022

TÁR to go to Venice & The School for Good and Evil Release Date

Happy Friday!

Some great news today, our most anticipated Cate movie this year – TÁR, will have it’s world premiere at the 79th Venice Film Festival. You can also follow the movie’s official social media accounts below. The School for Good and Evil where Cate is the narrator will drop on Netflix on October 21st 2022.

Cate Blanchett Set to Bring New Movies to Venice

Focus Features will be on the Lido with Todd Field’s “Tár,” which teams the “In the Bedroom” director with Cate Blanchett as the fictional Lydia Tár, one of the world’s greatest conductors and the first female conductor of a major German orchestra. Blanchett is a Venice regular who presided over the festival’s main jury in 2020.

Full line up of movies premiering at this year’s festival will be unveiled on July 26th with screening schedule to be released at the middle of August. The festival will run from August 31st to September 10th 2022.

You can followmovie for updates on both instagram and twitter.

Click image to follow

The School for Good and Evil

 

Cate Blanchett on ABC 90 Celebrate
Posted on
Jun 16, 2022

Cate Blanchett on ABC 90 Celebrate

Good day, Blanchett fans!

Cate Blanchett is set to be featured in the live two-hour entertainment TV event, ABC 90 Celebrate! She has appeared in a few of ABC programmes: Police Rescue, G.P., Heartland, Rake, and most recently in #StatelessTV which she co-created and co-produced.

A first look footage for Guillermo Del Toro’s Pinocchio was shown at Annecy Film Festival and VR project, Evolver is still showing at Tribeca Film Festival. Read a review on Evolver from Independent below.

ABC 90 Celebrate!

ABC has announced a stellar lineup of famous faces set to feature in the live two-hour entertainment television event, ABC 90 Celebrate! Airing Thursday, 30 June at 8.00 pm on ABC TV and ABC iview.

Hosted by Zan Rowe, Tony Armstrong and Craig Reucassel, the broadcast will feature an exciting list of performers and presenters who are set to celebrate the value and role the ABC has held in connecting Australians for 90 years.

Throughout the evening, audiences can expect live crosses to different locations, studios and community events across the country.

Taking audiences through a nostalgic journey of the programmes and people that have made an impact across the 90 years will be an abundance of Australian entertainment legends.

The list includes Adam Liaw, Amy Shark, Annabel Crabb, Bjorn Ulaveus, Bryce Mills, Cate Blanchett, Christine Anu, Daniel Browning, Hunter Page-Lochard, Ebony Boadu, Kev Carmody, Leah Purcell, Leigh Sales, Magda Szubanski, Michael Hing, Molly Meldrum, Namilla Benson, Richard Roxburgh, Roy & HG, Ross Wilson, Steph Tisdell, Wil Anderson, and many more.

Pinocchio

Guillermo Del Toro world premiered eight minutes of footage, finished and unfinished, from his stop-motion fable about a wooden boy with a borrowed soul.

Even without the full title “Guillermo del Toro’s Pinocchio,” the film’s artistic voice would be unmistakable. In the first excerpt screened we find Geppetto encountering the newly living Pinocchio for the first time. The characters are unlike any versions we’ve seen prior. The inventor, for one, seems thoroughly soused (or at least terribly hung-over), picking himself off the floor and stumbling across his creaky workshop with bloodshot eyes.

Only something is stirring, something is upstairs, and that something announces itself with a fright. As the wooden puppet moves out of the shadows, it does so not with the upright footing of a boy but with the spindly movements of a bug. Newly brought to life, Pinocchio moves at first like a spider, using his arms as two extra legs before (presumably) learning that in order to be a real boy one should aim to be bipedal.

Cate Blanchett takes us inside the human body in an epic VR experience

Stepping through a blacked-out revolving door in Manhattan’s Financial District and into Evolver, a virtual reality exhibit about human breath, the audience is confronted by a dark concrete room. There’s an eerie, amplified natural soundscape of babbling brooks and passing storms and enormous backlit pictures that feel familiar, but with closer scrutiny prove ineffable. An indistinct image could be a Hubble telescope capture of the stars or maybe a tree’s underground roots, or even a network of human capillaries, magnified to a scale that renders the mundane fact of circulation alarming. This is, of course, the point.

Created by the London-based art collective Marshmallow Laser Feast, luxuriously narrated by Cate Blanchett, and co-executive produced by Terrence Malick, Evolver drops its audience inside the human body on the journey of an inhale. Here we follow the flow of oxygen from the outside world, through our lungs, and eventually to our distant cells. But the impression of the exhibit – which had its world premiere last week at the Tribeca Film Festival – is far less sterile than its brief. Though based on biologically accurate renderings, the result is closer to painterly mimesis than precise simulation. There’s no way the inside of my body looks this spectral and astonishing.

The exhibit acknowledges that’s a trippy question to ask, and so our first ten minutes are spent in deliciously enveloping zero gravity chair sacs, functioning like a palate cleanser. Instead of bulky VR headsets, attendees are outfitted with pillowy headphones and invited to close their eyes. Cate Blanchett then huskily murmurs in your ear about the relationship between your body and the world beyond it.

Transitions are always messy in big, interactive exhibits, but being roused from Cate Blanchett’s seductive whisper to be tightly fitted with futuristic goggles was particularly unwelcome but quickly forgotten. In the main presentation, Blanchett’s voice is replaced by a moody, natured-inflected soundtrack by Radiohead’s Jonny Greenwood, avant-garde artist Meredith Monk, late Icelandic composer Jo?hann Jo?hannsson and experimentalist Howard Skempton. It starts aloof and electronic and grows triumphantly grandiose. Visually, human breath streams and swirls around you like the Milky Way; blood vents as explosively as lava. The path of the molecules that appear to surround you can be modestly altered by swooping your hand across your body.

Virtual reality on this scale is disorienting; a watchful exhibition assistant had to save me from walking into a wall and later, another participant. It’s also stupefying – I struggled for words in the minutes immediately after and I’m told some visitors even cried. But Steel’s impossible question occasionally revisited me. Are you breathing the air, or is the wild world remaking itself in miniature inside you? Is circulation anything less beautiful than a brook that babbles within us?

Evolver won’t improve your anatomical understanding. Instead, it elevates the simple and involuntary fact of human respiration into something as extraordinary to look at as the world outside us. It accomplished something more startling than making me think about my own breath. It made me gasp.

Sources: MediaWeek; Variety; Independent

First Look at Guillermo del Toro’s Pinocchio
Posted on
Jun 14, 2022

First Look at Guillermo del Toro’s Pinocchio

Hello! Vanity Fair has released the first look at Guillermo Del Toro’s stop-motion animated version of Pinocchio. Cate is voicing a monkey named Spazzatura, the lead puppeteer of one of the main villains in the movie, Count Volpe.

Guillermo del Toro’s Pinocchio tells this truth about its otherworldly title character: he can be a little unsettling, or even scary, before you get to know him. In the Oscar-winning filmmaker’s upcoming stop-motion animated movie from Netflix, even Geppetto gets the willies when he first encounters the cheerful wooden boy clamoring around his workshop. A hallmark of del Toro’s storytelling, from Pan’s Labyrinth to Hellboy to his best-picture-winning The Shape of Water, is that beings who are initially seen as freakish, or frightening or unnatural, are often even more humane and sympathetic than the seemingly normal people who fear or scorn them.

The director always brings a slight chill before warming the heart, so his take on the living puppet comes from a gothic direction. “I’ve always been very intrigued by the links between Pinocchio and Frankenstein,” del Toro tells Vanity Fair for this exclusive first look. “They are both about a child that is thrown into the world. They are both created by a father who then expects them to figure out what’s good, what’s bad, the ethics, the morals, love, life, and essentials, on their own. I think that was, for me, childhood. You had to figure it out with your very limited experience.”

Despite that monstrous inspiration, Del Toro’s movie was crafted to be family friendly. He knows it will be challenging, but hopes his Pinocchio connects across generations and brings out a sense of compassion. “These are times that demand from kids a complexity that is tremendous. Far more daunting, I think, than when I was a child. Kids need answers and reassurances.… For me, this is for both children and adults that talk to each other. It tackles very deep ideas about what makes us human.”

His approach to this story is a significant departure from what audiences have seen previously in movies about the puppet who yearns to be a real boy.  In this version, “real” is a given. “To me, it’s essential to counter the idea that you have to change into a flesh-and-blood child to be a real human,” del Toro says. “All you need to be human is to really behave like one, you know? I have never believed that transformation [should] be demanded to gain love.”

The formally titled Guillermo del Toro’s Pinocchio aims to stand apart. For one thing, the production quality of his film is self-evident in the ornate detail of the sets and textures of the characters. And he has reinterpreted Collodi’s tale in a way that distances it from the formidable Disney adaptations. “I have been very vocal about my admiration and my great, great love for Disney all my life, but that is an impulse that actually makes me move away from that version,” del Toro says. “I think it is a pinnacle of Disney animation. It’s done in the most beautiful, hand-drawn 2D animation.”

By contrast, he notes that his own film is “a story about a puppet, with puppets—trying to seek acting from the animators in a different medium completely. We couldn’t be more different than any other version of Pinocchio in our spiritual or philosophical goals, or even the setting.”

Del Toro’s Pinocchio takes place not in a fairy-tale world, but in Italy between World War I and World War II, during the rise of fascism and authoritarian rule in the country. The wooden boy happens to come to life “in an environment in which citizens behave with obedient, almost puppet-like faithfulness,” del Toro says.

Pinocchio (voiced by newcomer Gregory Mann) is a silly, sunny personality, eager to learn about the world and meet the people who inhabit it. But his roots, quite literally, are in sadness. In del Toro’s retelling, he is carved from a tree that grew over the grave of Geppetto’s son, Carlo, whose life was cut agonizingly short years before. (In the shot at the top in which del Toro is peeking through the window, you can see the lost child’s photo in a frame on the woodcarver’s workbench.)

The heartbroken Geppetto (voiced by David Bradley of Game of Thrones and the Harry Potter movies) is still too blinded by grief to realize that his wish has come true. “He begs for another chance at being a father, but he doesn’t recognize that the essence of his own child comes back in the form of this indomitable boy,” the filmmaker says. “The main conflict within Geppetto and Pinocchio is that Geppetto wanted Carlo, who was a very well-behaved, very docile kid, and he doesn’t quite get Pinocchio, who is rowdy and wild and exuberant.”

A creature who does understand Pinocchio’s heart is Sebastian J. Cricket (voiced by Ewan McGregor), the eloquent purple insect who built a home in his trunk and continues to reside there when he comes to life. In the image below, you see not just the erudite insect, but also the tree still standing over the lost child’s resting place. “That’s the arrival of the cricket, who has been crisscrossing the world, and this is where he discovers the perfect home,” del Toro says.

Once the tree becomes a living puppet, Sebastian aspires to be a conscience for the boy (just like his alter ego in the Disney version, Jiminy Cricket) But in del Toro’s adaptation he more or less…bugs the kid. “In the beginning of the story, the cricket is full of self-importance,” the director says. “And towards the end, he’s movingly humbled and he understands that it’s not about teaching Pinocchio how to behave, but about himself learning how to behave.”

Sebastian will need more than one lesson about getting out of the way—and he gets more than one lesson. Fortunately for him he is a survivor. “One of the things I liked in the book when I read it as a kid is that the cricket keeps getting killed over and over again and crushed and maimed,” del Toro says. “In our story, the cricket gets smushed often, but it’s a journey also for the cricket to find love and humility.”

The cricket is one of the only other mystical beings in the story. “I didn’t want magical creatures other than the wood spirit that gives him life, and Pinocchio himself,” del Toro says. “I didn’t want a talking fox and a talking cat and the magic of transforming him into a donkey. I wanted everything else to feel as close as we can to the real world.”

With that in mind, one of the story’s main villains, Count Volpe (voiced by Christoph Waltz), is not an actual anthropomorphic fox, but a human whose wing-like sideburns flare up like a fox’s ears. Del Toro describes him as “a grand aristocrat that has fallen into misfortune.”

“The three main villains in the original story are the cat, the fox, and the puppeteer, and we wanted to fuse them into one,” the director says. “This is a puppeteer that has regaled the courts of Europe, and now is traveling in a down and dirty little carnival. In Pinocchio, he finds the hope to be a king, again, you know? To recreate his grand, golden years.”

He fashions an ironclad and lengthy contract, then recruits Pinocchio to join his act, performing alongside other marionettes who are controlled by Volpe’s lead puppeteer—a monkey named Spazaturra, voiced by Cate Blanchett, worships Volpe, even though he is awful to her.

Source: Vanity Fair