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Daily indieWIRE Clicks: Paul Thomas Anderson, Cannes Hype & More

Daily indieWIRE Clicks: Paul Thomas Anderson, Cannes Hype & More

Today on indieWIRE Paul Thomas Anderson’s latest got bought by a big player in the game, Cannes fever heated up, Sheffield Doc/Fest locked down their big lineup and more.

Cannes Clips!

In anticipation of the 64th Cannes Film Festival which kicks off on Wednesday, a slew of clips from films in the main competition have begun to flood the web. The Playlist posted a bunch today, including three from “We Need to Talk About Kevin,” two from “The Kid With the Bike,” and one from “This Must Be the Place,” which stars Sean Penn and Frances McDormand.

Paul Thomas Anderson’s Latest Gets Bought

Though it still doesn’t boast a title, Paul Thomas Anderson’s anticipated follow-up to his award-winning “There Will Be Blood,” has been acquired by The Weinstein Company for worldwide distribution. Philip Seymour Hoffman and Joaquin Phoenix are confirmed to star in the religious drama.

Sheffield Doc/Fest’s Lineup

One of the world’s biggest documentary film festivals, the Sheffield Doc/Fest, announced their official lineup today for their 2011 edition. Over 110 films, including 79 features, make up this year’s slate.

The Biggest Movie of the Summer?

The final chapter in the hunt for Osama bin Laden according to indieWIRE’s Eric Kohn. Click here to read his reasons for why bin Laden left “Captain America,” “Thor” and “Pirates of the Caribbean” in the dust.


Will Ferrell’s turn latest “Everything Must Go” didn’t get much love from from Kohn in his first review of the week. “Having generated mixed reviews since its premiere at the Toronto International Film Festival, “Everything Must Go” will draw some curiosity from Ferrell fans before fading from view, as word-of-mouth is bound to work against its initial prospects,” he wrote. The film earned a B-.

Lu Chuan’s “City of Life and Death” got off easier. “Shot in silvery black and white with an epic sense of the frame, “City of Life and Death” has the feel of a lost post-War foreign classic, a masterwork implicating the viewer in the horrors of bearing witness,” Karina Longworth wrote in her review, originally published in 2009.

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