All my films are concerned with the subject of meetings between different people, from different countries and different worlds. This theme of meetings is always at the heart of my films, because the characters are always on a journey. And this phenomenon goes beyond the characters on screen to the actors themselves. I find the concept of the meeting between Sotigui Kouyaté, an African actor, and Brenda Blethyn, a British actor, fascinating, beyond the fact of their friendship, it’s a human connection between two people of different nationalities, religions, universes. It allows one to go beyond the cinematic encounter and affords the film a level of truth about the meeting and the different cultures of these two individuals–Director Rachid Bouchareb

 

 

Viggo Mortensen gives one of his most haunting and emotional performances in "The Road," the post-apocalyptic tale from the pen of the great American author, Cormac McCarthy, whose book "No Country for Old Men" deservedly won the 2007 Best Picture Oscar.  It may be premature, but I think that Viggo Mortensen's work in this tough, relentlessly grim but ultimately humanistic picture should get a serious consideration comes Oscar time.  

 

 

 

 

 

 

 

 

 

 

 

"Jennifer's Body," written by Diablo Cody and starring Amanda Seyfried and Megan Fox, is being released September 18, 2009 by 20th Century Fox.


After writing "Juno," which Diablo Cody describes as a warm, sweet, life-affirming movie, she wanted to venture into darker territory. "I wanted to write something that was about my fears, something that was a little edgy and eerie, but also funny," Cody notes. "So I started thinking about what's scary to me, and I decided that girls are scary!"  

 

 

 

 

 

 

 

“Given that Michael's name was attached to the script and that it was planned as a summer release, I knew the movie was going to be huge,” Fox says, “I just had no idea how much of a part I was going to play in relation to the whole thing or what I was in for.”

"The Messenger," one of the best Iraq War movies, opens November 13.

Co-writer Alessandro Camon suggested writing a script about Casualty Notification Officers because no one was looking at the war from that angle at the time, no one was shining a light on the home front from the perspective of the messengers who bring the consequences of war to the families, to the people who pay a direct, intimate and everlasting price for the decision to go to war. It's an impossible, horrible job, and yet it's as real as it gets. I was also excited by the idea as an indirect way to deal with my own military service demons–Oren Moverman.