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  • iW NOW
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    Meida 8 Acquires "Perfect Age," More

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  • Indiewire
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    Oscilloscope Brings the "Girl" to North America

    Bradley Rust Gray's second feature "The Exploding Girl" has been acquired by Oscilloscope Laboratories, the company announced Wednesday afternoon. Oscilloscope, which picked up the film's North American rights, will open the film theatrically in early 2010. "Girl" debuted at the 2009 Berlin Internat...

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  • Matt Dentler's Blog
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    'Amelia' and Bloomingdale's and Mom

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  • "Boredom at Its Boredest" by Michael ...
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  • iW NOW
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  • eugonline
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  • The Lost Boys
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    "An Education" Comes To London

    I had the pleasure of participating in some of the festivities for "An Education"'s hometown premiere in London last night... There's really nothing much to note beyond that besides that the film seemed to be received quite well, Carey Mulligan looked adorable as always, and the nightly London Film ...

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  • Indiewire
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    cinemadaily | Despite "Second City Syndrome," Chicago Fest Prevails

    The awards may have already been handed out, but the 45th Chicago International Film Festival doesn't officially wrap until tomorrow. Catch up with the coverage coming out of the festival:

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  • REVERSEBLOG: the reverse shot blog
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    When the Child Wasn't a Child: Spike Jonze's "Where the Wild Things Are"

    It’s tempting to see Spike Jonze’s last film, Adaptation, about a screenwriter’s inability to find his footing in translating Susan Orlean’s The Orchid Thief, as a sort of anticipation of his missteps with Maurice Sendak’s ten-sentence bedtime classic Where the Wild Things Are. In adapting a literary work, particularly one that so eludes natural one-to-one transpositions, the choices are endless and hard, and some will inevitably not be the “right” ones. Sendak’s 1963 picture book follows a rambunctious boy, sent up to his room without dinner, who finds himself transported to a land of savage beasts. There he indulges his unruliness by taking...

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  • REVERSEBLOG: the reverse shot blog
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    In Need of Help: Sebastian Silva’s "The Maid"

    Sebastián Silva’s The Maid begins as a wry look at the fault lines between domestic familiarity and class disparity and gradually morphs into a kind of blackly comic quasi-monster movie, before segueing into an empathetic, restrained tale of personal growth. Yet Silva keeps quietly recalibrating the film’s generic parameters while keeping its central questions consistent. It’s a fairly elegant trick, and if Silva’s shifts in tone result in a bit of viewer whiplash, actress Catalina Saavedra guides us through with a nuanced and tightly controlled central performance. She keeps us coming back, with equal parts sympathy and fascination, to the ...

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