Ioncinema

2026 TIFF: Siân Heder’s ‘Being Heumann’ Selected as TIFF Opener

2026 TIFF: Siân Heder’s ‘Being Heumann’ Selected as TIFF Opener

2026 TIFF: Siân Heder’s ‘Being Heumann’ Selected as TIFF Opener

We have a trio of Gala Presentation offerings to announce. Best Picture winning director of Coda will see her follow up feature open and world premiere the 51st edition of the Toronto Intl. Film Festival – this clears it off the deck for what some thought might be a Telluride or Venice showing. Based on an adaptation of the bestselling memoir, Siân Heder‘s Being Heumann is story of Judy Heumann, a disability activist who led a 28-day sit-in at the San Francisco Federal Building in 1977 (the production was shot in Toronto). Ruth Madeley stars, with a supporting cast that includes Mark Ruffalo and Dylan O’Brien.… Read the rest

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Black Money for White Nights | 2026 Karlovy Vary Film Festival Review

Black Money for White Nights | 2026 Karlovy Vary Film Festival Review

Black Money for White Nights | 2026 Karlovy Vary Film Festival Review

Steal Big, Steal Little: Grozeva & Valchanov Deliver Just Deserts

Tonia Mishiali Black Money for White Nights ReviewIt’s difficult not to feel a sense of schadenfreude in following the drastic downfall of a long-married Bulgarian couple in Black Money for White Nights, the latest from directing duo Kristina Grozeva and Peter Valchanov, who broke out with a similar tale of ironic economic woe with 2014’s The Lesson. The maxim “karma has no menu, you get what you deserve” hangs like an albatross over a pair of elderly scammers who have siphoned funds from those in need to finance a lavish vacation in Moscow, where they plan to stay at a luxury hotel to experience the famed twenty-four-hour daylight when the sun never sets.… Read the rest

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The Guest | 2026 Karlovy Vary Film Festival Review

The Guest | 2026 Karlovy Vary Film Festival Review

The Guest | 2026 Karlovy Vary Film Festival Review

You’ll (Dis)Like My Mother: Mengel Mars a Celebration

With his directorial debut The Guest, director Mads Mengel seems to have turned to the manifesto of the Dogme 95 film movement with a narrative purely utilizing the famed ‘vow of chastity’ rules as regards his unfussy narrative powered exclusively by characters and performances. Of course, this association is also cemented by a ferocious turn from Trine Dyrholm, who starred in perhaps the most agonizing but successful films from this Danish cycle, Thomas Vinterberg’s The Celebration (1998). From a filmmaking standpoint, Mengel isn’t doing anything uniquely innovative, but wholly succeeds in dropping us into a well-staged mire of familial dysfunction which remains captivating, even when it seems a reluctance to go to further extremes sometimes feels as if a more pronounced maelstrom might have benefitted the material.… Read the rest

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A Past That Won’t Let Go: Pio Marmaï & Sandor Funtek topline François Ozon’s ‘Le mal est fait’

A Past That Won’t Let Go: Pio Marmaï & Sandor Funtek topline François Ozon’s ‘Le mal est fait’

A Past That Won’t Let Go: Pio Marmaï & Sandor Funtek topline François Ozon’s ‘Le mal est fait’

Production is set to begin next week on a remarkable twenty-fifth feature film for French filmmaker François Ozon. The Cineuropa folks report that Ozon will direct Pio Marmaï and Sandor Funtek in Le mal est fait (english translation: the damage is done). Production will unfold in Normandy for a good month with cinematographer Manu Dacosse – who re-teams with Ozon directly after 2025’s The Stranger (read review). Ozon will produce via FOZ label and we are slim on synopsis details but we are looking at something with a bit of occult. This could be ready for the Berlinale and Cannes film festivals next year.… Read the rest

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A Happy Family | 2026 Karlovy Vary Film Festival Review

A Happy Family | 2026 Karlovy Vary Film Festival Review

A Happy Family | 2026 Karlovy Vary Film Festival Review

She’s Come Undone: Mack Concocts an Empathetic Chaos

It’s clear from the opening moments of Jan-Eric Mack’s narrative debut A Happy Family the title is meant ironically, which directly recalls Tolstoy’s iconic opening line in Anna Karenina regarding how each unhappy family has its own unique brand of unhappiness to navigate. An almost impossibly burdened single mother hurtling towards a breaking point settles into tense identity thriller mode befitting a psychological thriller. While waiting for the inevitable other shoe to drop, lead Anna Schinz crafts a painful character study as a woman run ragged by a constant state of survival mode, exhausted by a system designed to take rather than assist.… Read the rest

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Chica Checa | 2026 Karlovy Vary Film Festival Review

Chica Checa | 2026 Karlovy Vary Film Festival Review

Chica Checa | 2026 Karlovy Vary Film Festival Review

The Next Best Thing: Holy Hits the Sweet Spot with Tender Drama

simon-holy-chica-checa-reviewThere’s a short list of feature length queer films in Czech cinema, and one would have to search even harder for narratives not steeped in despair or defined by (at least a sense of) miserabilism. With his fourth feature, Chica Checa (which means ‘Czech Girl’), director Šimon Holý formulates something of a hopeful novelty with a coming out narrative which might seem familiar but is bolstered by homegrown specificities bolstering its impact. Parallel perspectives focusing on a mother and son who at last give themselves the opportunity to live out loud assist in skirting around predictable beats, while Holý showcases Pavla Tomicová in an exceptional performance.… Read the rest

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Ramin Bahrani’s ‘Vegas: A Love Story’ – Everything We Know So Far … (American Indie Edition)

Ramin Bahrani’s ‘Vegas: A Love Story’ – Everything We Know So Far … (American Indie Edition)

Ramin Bahrani’s ‘Vegas: A Love Story’ – Everything We Know So Far … (American Indie Edition)

His niche and common threads to his cinema has been the human cost of capitalism, the fallacy of the American dream, and a bit of visibility for those often ignored. Since his modest beginnings with 2005’s Man Push Cart, for two decades now North Carolinian-Iranian filmmaker has been working with increasingly bigger budgets and mostly premiered at the Venice Film Festival. Ramin Bahranis Cannes Directors’ Fortnight selected Chop Shop (2007) was followed by Lido selected 2008’s Goodbye Solo, 2012’s At Any Price, 2014’s 99 Homes with 2021’s The White Tiger (read review) and docu 2nd Chance (2024 – Sundance Film Festival) as his latest oeuvres.… Read the rest

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Jasmila Žbanić’s ‘Quo Vadis, Aida? – The Missing Part’ – Everything We Know So Far …

Jasmila Žbanić’s ‘Quo Vadis, Aida? – The Missing Part’ – Everything We Know So Far …

Jasmila Žbanić’s ‘Quo Vadis, Aida? – The Missing Part’ – Everything We Know So Far …

Exactly tow decades ago, Jasmila Žbanić burst onto the international stage in spectacular fashion, announcing herself as a major new cinematic voice when her debut feature Grbavica captured the ultimate prize—the Golden Bear—at the 2006 Berlin International Film Festival. The Bosnian filmmaker would follow that up with 2010’s On the Path (Berlinale Competition), 2013’s For Those Who Can Tell No Tales (TIFF – Special Presentation), 2014’s Love Island (Locarno Film Festival) and her in 2020’s Quo Vadis, Aida? (read ★★★★ review) competed for the Golden Lion at the Venice Film Festival. She has produced two feature docs, and more recently directed an episode of the series “The Last of Us.”… Read the rest

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2026 Venice Gap-Financing Market: Lila Avilés, Damian Kocur & Asmae El Moudir Among Selected Projects

2026 Venice Gap-Financing Market: Lila Avilés, Damian Kocur & Asmae El Moudir Among Selected Projects

2026 Venice Gap-Financing Market: Lila Avilés, Damian Kocur & Asmae El Moudir Among Selected Projects

The Venice Production Bridge have unveiled the projects lining up the Venice Gap-Financing Market and we find auteurs such as Mexican filmmaker Lila Avilés, Damian Kocur, Asmae El Moudir and a slew of great auteurs are among the 38 feature-length fiction and documentary projects showcased this upcoming September. The 13th edition (September 4th – 6th, 2026) will offer selected projects from Europe and around the world the opportunity to close their international financing, through one-to-one meetings with international decision-makers. The earliest we might see these projects next year in 2027, more than likely 2028. After The Chambermaid (2018) and Totem (2023), Avilés will be getting her third feature film ready in Cábula.… Read the rest

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ARTE France Cinéma Supports New Works by Kira Kovalenko, Diao Yinan & Shengze Zhu

ARTE France Cinéma Supports New Works by Kira Kovalenko, Diao Yinan & Shengze Zhu

ARTE France Cinéma Supports New Works by Kira Kovalenko, Diao Yinan & Shengze Zhu

The ARTE France Cinéma committee got behind a trio of works (we expect all these these to be featured in Cannes next year) — two that were on our radar and a first fiction oeuvre by China-Chicago filmmaker already versed in the docu-sphere. After receiving Eurimages coin support last month, Unclenching the FistsKira Kovalenko is prepping for a fall shoot for Heavens Don’t Care. To be filmed in Yerevan, Armenia, this follows a family whose life unfolds between celebrations and work, moments of joy and melancholy, and a series of quiet disasters, as everyday existence reveals its tenderness, resilience and fragility.… Read the rest

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