In the film, Zellweger plays the legendary entertainer, Judy Garland.
This year marks both the 50th anniversary of Judy Garland’s untimely death and the 50th anniversary of the Stonewall Riots, the historic protests in New York City that sparked a revolution in LGBTQ rights.
Ian Massa-Harris-McFeely, Deputy Director of Events at Pride in London, said:
"We're delighted to have Renée taking to our Trafalgar Square Stage this year to give the crowds an exciting first glimpse of JUDY. In this monumental anniversary year, it's important that we pay tribute to an icon who was a true ally to the LGBT+ community and whose death was undoubtedly intertwined with the events that happened that night at the Stonewall Inn."
JUDY is the first feature film to be made about Judy Garland and is set to open in UK cinemas on 4th October.
Zellweger herself sings all of the songs performed in the film. The Academy Award winner and three times Academy Award nominee (Bridget Jones’s Diary, Cold Mountain and Chicago) is joined in the film by Jessie Buckley (Wild Rose, Chernobyl), Finn Wittrock (Unbroken, The Big Short) and Rufus Sewell (TV’s The Man in the High Castle and Victoria).
Winter 1968 and showbiz legend Judy Garland arrives in Swinging London to perform in a sell-out run at The Talk of the Town. It is 30 years since she shot to global stardom in THE WIZARD OF OZ, but if her voice has weakened, its dramatic intensity has only grown. As she prepares for the show, battles with management, charms musicians, and reminisces with friends and adoring fans, her wit and warmth shine through. Even her dreams of romance seem undimmed as she embarks on a courtship with Mickey Deans, her soon-to-be fifth husband. And yet Judy is fragile. After working for 45 of her 47 years, she is exhausted; haunted by memories of a childhood lost to Hollywood; and gripped by a desire to be back home with her kids. Featuring some of her best-known songs, the film celebrates the voice, the capacity for love and the sheer pizzazz of “the world’s greatest entertainer”.
JUDY is directed by Tony nominee and two times Olivier winner Rupert Goold (King Charles III). The film is based on a script written by Tom Edge (The Crown) and is produced by BAFTA winner David Livingstone (Pride).
JUDY is a Pathe, BBC Films and Ingenious Media Presentation of a Calamity Films Production.
For further information contact:
Nicki Foster/Simon Bell/Harriet Gilholm, Premier
Firstname.firstname.lastname@example.org / 020 7292 8330
AbigailLepp@feref.com / 020 7292 6308
PAIN AND GLORY
Spanish auteur Pedro Almodóvar’s 21th feature film, PAIN AND GLORY, starring Antonio Banderas and an ensemble cast that includes Penelope Cruz, will be released on 23rd August 2019 in cinemas across the UK. PAIN AND GLORY tells of a series of re-encounters experienced by Salvador Mallo, a film director in his physical decline, some of them in the flesh, others remembered: his childhood in the 60s, when he emigrated with his parents to a village in Valencia in search of prosperity; his first desire; his first adult love in the Madrid of the 80s; the pain of the breakup of that love while it was still alive and intense and writing as the only therapy to forget the unforgettable; his early discovery of cinema; and the void, the infinite void that creates the incapacity for him to keep on making films. PAIN AND GLORY talks about creation, about the difficulty of separating it from one’s own life and about the passions that give it meaning and hope. In recovering his past, Salvador finds the urgent need to recount it, and in that need he also finds his salvation. Alongside Antonio Banderas and Penelope Cruz appear Asier Etxeandia, Leonardo Sbaraglia, Nora Navas and Julieta Serrano. PAIN AND GLORY is written and directed by Pedro Almodóvar, is produced by Agustín Almodóvar and has an original score composed by Alberto Iglesias (Volver, The Skin I Live In, Julieta). Writer/Director Pedro Almodóvar is one of Spain’s most celebrated filmmakers with numerous accolades to his name including an Academy Award®, four BAFTAs, Goyas and over 100 further wins and nominations. His credits include Volver, The Skin I Live In, Broken Embraces and most recently Julieta.
THE LOST KING
Pathé today released the first image from THE LOST KING, starring Oscar nominee and Golden Globe winning actress Sally Hawkins (The Shape of Water, Blue Jasmine, Happy-Go-Lucky) in the lead role of Philippa Langley. Joining Sally Hawkins are Steve Coogan (Stan & Ollie, Philomena) in the role of Philippa’s husband, John Langley; and Harry Lloyd in the role of Richard III. The film reunites the Oscar nominated and BAFTA winning creative team behind box office and critical hit, Philomena – director Stephen Frears and writers Steve Coogan and Jeff Pope. THE LOST KING tells the remarkable true story of how one ‘ordinary’ woman discovered the long-lost remains of King Richard III. The film recently finished shooting in Edinburgh and Leicester and will be released in cinemas nationwide next year, the 10th anniversary of the discovery: In 2012, having been lost for over 500 years, the remains of King Richard III were discovered beneath a carpark in Leicester. The search had been orchestrated by an amateur historian, Philippa Langley, whose unrelenting research had been met with incomprehension by her friends and family and with scepticism by experts and academics. THE LOST KING is the life-affirming true story of a woman who refused to be ignored and who took on the country's most eminent historians, forcing them to think again about one of the most infamous kings in England's history. The film is produced by Steve Coogan, Christine Langan (The Queen) and Dan Winch (A Very English Scandal) and is a Baby Cow production for Pathé, BBC Film, Ingenious Media and Screen Scotland. Executive Producers are Cameron McCracken and Jenny Borgars for Pathé; Rose Garnett for BBC Film; Andrea Scarso for Ingenious; Jeff Pope and Philippa Langley. The film was Co-produced by Wendy Griffin. Pathé will distribute the film in the UK, France and Switzerland and will handle sales throughout the rest of the world. For further information contact: Sophie Glover, Head of Publicity, Pathé UK Sophie.email@example.com / 07917 045875
THE LITTLE STRANGER
July 6th 2017 marks the commencement of principal photography in the UK of the feature film THE LITTLE STRANGER, based on Sarah Waters’ best-selling novel. The film is directed by Lenny Abrahamson (Oscar nominated for Best Director for Room) and stars Domhnall Gleeson (Brooklyn) as Dr Faraday; Golden Globe winner Ruth Wilson (The Affair) as Caroline Ayres; BAFTA winner Will Poulter (The Revenant) as Roderick Ayres; and Oscar nominee Charlotte Rampling (45 Years) as Mrs Ayres. THE LITTLE STRANGER is a chilling ghost story written by BAFTA nominee Lucinda Coxon (The Danish Girl) adapted from Sarah Waters’ novel of the same name. THE LITTLE STRANGER tells the story of Dr Faraday, the son of a housemaid, who has built a life of quiet respectability as a country doctor. During the long hot summer of 1948, he is called to a patient at Hundreds Hall, where his mother once worked. The Hall has been home to the Ayres family for more than two centuries. But it is now in decline and its inhabitants - mother, son and daughter - are haunted by something more ominous than a dying way of life. When he takes on his new patient, Faraday has no idea how closely, and how terrifyingly, the family’s story is about to become entwined with his own. The film is produced by Gail Egan (The Constant Gardener), Andrea Calderwood (The Last King of Scotland) and Ed Guiney (Room); and executive produced by Cameron McCracken for Pathé, Daniel Battsek for Film4, Andrew Lowe for Element Pictures, Celine Haddad for the Irish Film Board and Tim O’Shea for Ingenious. Director of Photography is Ole Birkeland (The Crown), with costumes by Steven Noble (BAFTA nominee for The Theory of Everything) and hair and make-up by Sian Grigg (Oscar nominee for The Revenant). Simon Elliott (The Iron Lady and BAFTA TV winner for Bleak House) is Production Designer. Pathé will distribute the film in the UK, France and Switzerland. Focus Features acquired the film from Pathé International for distribution throughout the rest of the world. Focus will release the film domestically and Universal Pictures International will distribute THE LITTLE STRANGER in non-Pathé territories. THE LITTLE STRANGER is a Focus Features, Pathé, Film4 presentation in association with Ingenious Media and the Irish Film Board, of a Potboiler production, in association with Element Pictures. The film was developed by Film4 with Potboiler. For Further information; Premier Jonathan Rutter / Eugene O’Connor / Ellen Steers firstname.lastname@example.org / +44 (0)20 7292 8330 POTBOILER Potboiler Productions is a leading UK independent film and television production company headed and run by Gail Egan and Andrea Calderwood. Driven by a passion for producing unique and bold international-scale projects and for working with exceptional talent in front of and behind the camera, their productions include; the John le Carré thriller The Constant Gardener, directed by Fernando Meirelles, starring Ralph Fiennes and Rachel Weisz who won an Academy Award for her role in the film and Kevin Macdonald’s The Last King of Scotland, which won an Oscar for Forest Whitaker, as well as the critically acclaimed A Most Wanted Man, directed by Anton Corbijn and starring Philip Seymour Hoffman and Rachel McAdams, A Little Chaos, directed by Alan Rickman and starring Kate Winslet, Susanna White’s Our Kind of Traitor, starring Ewan McGregor and David Simon’s ground-breaking Iraq-set mini-series Generation Kill for HBO. Most recently, Potboiler has produced Final Portrait, written and directed by Stanley Tucci, starring Geoffrey Rush and Woman Walks Ahead, written by Steven Knight, directed by Susanna White and starring Jessica Chastain. ELEMENT PICTURES Element Pictures is headed by Ed Guiney and Andrew Lowe, with offices in Dublin and London, encompassing film and television production, distribution, and exhibition. Recent productions include Yorgos Lanthimos’ The Killing of a Sacred Deer, winner of Best Screenplay at this year’s Cannes Film Festival; Lenny Abrahamson's Academy Award® and Golden Globe Award-winning Room and Yorgos Lanthimos’ The Lobster, winner of the Jury Prize at the 68th Cannes Film Festival and nominated for an Academy Award® for Best Original Screenplay. Currently in post-production are Lanthimos’ new film The Favourite, starring Emma Stone, Olivia Colman and Rachel Weisz and Sebastián Lelio’s Disobedience, starring Rachel McAdams, Rachel Weisz and Alessandro Nivola. Previous productions include all of Lenny Abrahamson's films (Adam & Paul, Garage, What Richard Did and Frank) as well as Darren Thornton's A Date For Mad Mary, John Michael McDonagh's The Guard and James Marsh's Shadowdancer. PATHÉ Pathé operates as a fully integrated film studio in France, the UK, the Netherlands and Switzerland. It is involved in all aspects of filmmaking, from development and production through to international sales, distribution and exhibition. Films produced/distributed by Pathé range from The Queen to Slumdog Millionaire and from Philomena to Selma. In recent years Pathé’s productions have won 15 BAFTAs (66 nominations) and 13 Oscars (46 nominations). Pathé International handles the international marketing and sales of Pathé’s own productions and also acquires third party films for worldwide representation. As one of Europe’s leading sales agents, Pathé International has a significant presence at all major film markets and festivals. www.pathe.co.uk Twitter @patheuk FILM4 Film4 is Channel 4 Television’s feature film division. Film4 develops and co-finances films and is known for working with the most distinctive and innovative talent in UK and international filmmaking, whether new or established. Film4 has developed and co-financed many of the most successful UK films of recent years, Academy Award®-winners such as Lenny Abrahamson’s Room, Alex Garland’s Ex Machina, Asif Kapadia’s box office record breaking documentary Amy, Steve McQueen’s 12 Years a Slave, Danny Boyle’s Slumdog Millionaire and Phyllida Lloyd’s The Iron Lady, in addition to critically-acclaimed award-winners such as Mike Leigh’s Mr. Turner, Chris Morris’s Four Lions, Shane Meadows’ This is England, Clio Barnard’s The Selfish Giant, Jonathan Glazer’s Under the Skin, David Mackenzie’s Starred Up and Yann Demange’s ’71. Film4’s recent releases include Ben Wheatley’s Free Fire, Danny Boyle’s T2 Trainspotting, Andrea Arnold’s American Honey, Todd Haynes’ Carol, Sarah Gavron’s Suffragette, Yorgos Lanthimos’s The Lobster and Andrew Haigh’s 45 Years. Forthcoming releases include Martin McDonagh’s Three Billboards Outside Ebbing, Missouri, Andrew Haigh’s Lean on Pete, Clio Barnard’s Dark River, Yorgos Lanthimos’s The Killing of a Sacred Deer, Lynne Ramsay’s You Were Never Really Here, Rungano Nyoni’s I Am Not a Witch, John Cameron Mitchell’s How To Talk To Girls At Parties, Michael Pearce’s Beast, Paddy Considine’s Journeyman, Toby MacDonald’s Old Boys, Benedict Andrews’ Una and Baltasar Kormákur’s The Oath. Films in production include Yorgos Lanthimos’s The Favourite, Bart Layton’s American Animals, Mike Leigh’s Peterloo, Steve McQueen’s Widows, Stephen Merchant’s Fighting With My Family, Sebastián Lelio’s Disobedience, Garth Davis’s Mary Magdalene and Asif Kapadia’s Maradona. For further information please visit www.film4productions.com. IRISH FILM BOARD Bord Scannán na hÉireann/the Irish Film Board (IFB) is the national development agency for Irish filmmaking and the Irish film, television and animation industry, investing in talent, creativity and enterprise. Recent successes include the Academy Award nominated films Brooklyn, directed by John Crowley and Room, directed by Lenny Abrahamson and the Golden Globe-nominated Sing Street, directed by John Carney. Forthcoming projects include Nora Twoomey’s The Breadwinner and The Killing of a Sacred Deer by Yorgos Lanthimos. The IFB also supports and promotes the Irish screen industries at major international markets and festivals, promotes inward investment, the use of Ireland as a location for international production. The agency provides a strategic vision for industry training through Screen Training Ireland. INGENIOUS For more than 18 years, investors have chosen Ingenious to manage their funds. In that time, we have raised and deployed over £9 billion across our media, real estate and infrastructure operating divisions, including in excess of £1 billion in enterprise investment scheme (EIS) qualifying investments and over £1.3 billion in business relief (BR) qualifying investments. Our philosophy is clear: we help investors find simple solutions to complex problems, while managing their money conservatively. We create value for our clients by identifying, funding and managing compelling investment opportunities. FOCUS FEATURES Focus Features (www.focusfeatures.com) acquires and produces specialty films for the global market, and holds a library of iconic movies from fearless filmmakers. Current and upcoming domestic releases from Focus include Sofia Coppola’s The Beguiled, winner of the Best Director award at the 2017 Cannes International Film Festival; the breakneck action-thriller Atomic Blonde, directed by David Leitch and starring Charlize Theron and James McAvoy; Victoria & Abdul, directed by Stephen Frears and starring Judi Dench as Queen Victoria; Darkest Hour, directed by Joe Wright and starring Gary Oldman as Winston Churchill; the untitled Entebbe project, a gripping political thriller directed by José Padilha and starring Rosamund Pike and Daniel Brühl; Jason Reitman’s new comedy Tully, starring Charlize Theron and written by Diablo Cody; and the untitled new film from Paul Thomas Anderson starring Daniel Day-Lewis. Focus Features is part of NBCUniversal, one of the world’s leading media and entertainment companies in the development, production, and marketing of entertainment, news, and information to a global audience. NBCUniversal owns and operates a valuable portfolio of news and entertainment television networks, a premier motion picture company, significant television production operations, a leading television stations group, and world-renowned theme parks. NBCUniversal is a subsidiary of Comcast Corporation.
THE GREAT ESCAPER
PATHÉ ANNOUNCES ‘THE GREAT ESCAPER’ STARRING MICHAEL CAINE & GLENDA JACKSON London, 19th February 2021 Pathé today announced that they will be presenting a new feature film, THE GREAT ESCAPER, at this year’s Berlin Film Market. Inspired by true events, the film will tell the story of Bernard Jordan’s escape from his care home to attend the 70th Anniversary of the D-Day Landings in France. The film is set to star two time Oscar winner and six time nominee, Sir Michael Caine (The Quiet American, The Cider House Rules, Hannah and Her Sisters, Educating Rita, Sleuth and Alfie) and two time Oscar winner and four time nominee, Glenda Jackson (Hedda, A Touch of Class, Sunday Bloody Sunday and Women In Love). In the summer of 2014 - the 70th Anniversary of the D-Day Landings - octogenarian Bernard Jordan (Michael Caine) made global headlines. He’d staged a “great escape” from his care home to join fellow war veterans on a beach in Normandy, commemorating their fallen comrades. It was a story that captured the imagination of the world - Bernie seemed to embody the defiant, “can-do” spirit of a generation that was fast disappearing. But of course, it wasn’t the whole story. It was the story we all tell ourselves to make war and old age bearable. The bitter-sweet script explores the reality with wit and a very big heart. Bernie’s adventure, spanning a mere 48 hours, also marked the culmination of his 60-year marriage to Irene (Glenda Jackson) - the story celebrates their love without sentimentality and with an eye to the lessons we might all learn from the Greatest Generation. The film will be directed by BAFTA nominee Oliver Parker (An Ideal Husband) from a script by BAFTA nominee William Ivory (Made in Dagenham) and is scheduled to start principal photography in June this year. Parker commented: ‘No one can resist a script that makes people both laugh and cry – I loved Billy’s writing and the story itself, so inspirational and so moving, seemed to speak to our times and our need for heroes on a human scale, whether people like Bernard Jordan or our doctors and nurses. And now to have Michael and Glenda - two iconic actors - agree to honour this story with their brilliance, it’s the cherry on the cake!’ The film will be produced by BAFTA nominees Robert Bernstein and Douglas Rae (Nowhere Boy) and is an Ecosse Films production for Pathe, BBC Film and Ingenious Media. Executive Producers are Cameron McCracken and Jenny Borgars for Pathé; Rose Garnett for BBC Film; and Andrea Scarso for Ingenious. Pathé will distribute the film in the UK, France and Switzerland and will handle sales throughout the rest of the world. Caine is represented by ICM and Management 42 and Jackson is represented by Lionel Larner. For further information contact: Sophie Glover, Head of Publicity, Pathé UK Sophie.email@example.com / 020 7462 4415 ABOUT PATHÉ Pathé has offices in France, the UK, the Netherlands and Switzerland. It is involved in all aspects of filmmaking, from development and production through to international sales, distribution and exhibition. Films produced and distributed by Pathé range from The Queen to Slumdog Millionaire and from Philomena to Selma. Pathe’s most recent production is Roger Michell’s THE DUKE, starring Jim Broadbent and Helen Mirren, which premiered to critical acclaim at the 2020 Venice Film Festival. In recent years, Pathé’s productions have won 17 BAFTAs (70 nominations) and 14 Oscars (50 nominations). Pathé International handles the international marketing and sales of Pathé’s own productions and also acquires third party films for worldwide representation. As one of Europe’s leading sales agents, Pathé International has a significant presence at all major film markets and festivals. www.pathe.co.uk @patheuk BBC FILM BBC Film supports invigorating and imaginative filmmaking. Firmly established at the forefront of UK film, and fuelled by its public service remit, BBC Film has an ambitious slate including many of the most exciting filmmakers working today. We find, nurture and develop new talent and collaborate with some of the industry's most revered writers and directors. We work with diverse partners to bring our films to the widest possible audiences in the UK and worldwide. ABOUT ECOSSE Ecosse Films is a long-standing award-winning film company whose successes include Mrs Brown featuring an Oscar nominated Judi Dench, Becoming Jane starring Anne Hathaway, the BAFTA nominated Nowhere Boy and Andrea Arnold's mould-breaking Wuthering Heights. http://www.ecossefilms.com/ ABOUT INGENIOUS For 22 years, Ingenious Media has been at the forefront of investing in the global creative economy and in that time has raised and deployed over $10 billion. Ingenious has been involved in the production of a diverse slate of films, including the Academy Award® winning Judy, Life of Pi, Avatar, Selma, Academy Award® nominated Carol, Brooklyn and At Eternity’s Gate, five films in the successful X-Men franchise, Rise of the Planet of the Apes and Dawn of the Planet of the Apes, breakout British hits Military Wives, Blinded by the Light, Suffragette and The Best Exotic Marigold Hotel, as well as acclaimed television programmes such as The Fall, Dr. Foster and Watership Down. Titles currently on release or coming soon include The Secrets We Keep, Honest Thief, War with Grandpa, Breaking News in Yuba County, Pixie, Dream Horse and Voyagers. The 2020 Venice Film Festival included the premieres of Ingenious funded Roger Michell’s The Duke and Mona Fastvold’s The World to Come, which is currently on release in the US through Bleecker St.
London, 23rd October 2017 Pathé and Calamity Films have set a February 2018 start date for principal photography on JUDY, based on the true story of Judy Garland’s final concerts in London. Renee Zellweger, Academy Award winner and three times Academy Award nominee (Bridget Jones’s Diary, Cold Mountain and Chicago), will play Judy Garland; and celebrated British stage director, Rupert Goold (a Tony nominee and two times Olivier winner) will direct. Winter 1968 and showbiz legend Judy Garland arrives in Swinging London to perform in a sell-out run at The Talk of the Town. It is 30 years since she shot to global stardom in THE WIZARD OF OZ, but if her voice has weakened, its dramatic intensity has only grown. As she prepares for the show, battles with management, charms musicians, and reminisces with friends and adoring fans, her wit and warmth shine through. Even her dreams of romance seem undimmed as she embarks on a courtship with Mickey Deans, her soon-to-be fifth husband. And yet Judy is fragile. After working for 45 of her 47 years, she is exhausted; haunted by memories of a childhood lost to Hollywood; gripped by a desire to be back home with her kids. Will she have the strength to go on? Featuring some of her best-known songs, the film celebrates the voice, the capacity for love and the sheer pizzazz of “the world’s greatest entertainer”. The film is based on a script written by Tom Edge (THE CROWN) and will be produced by BAFTA winner David Livingstone (PRIDE) for Calamity Films. Pathé will distribute the film in the UK, France and Switzerland and will handle sales throughout the rest of the world. For further information contact: Sophie Glover, Head of Publicity, Pathé UK Sophie.firstname.lastname@example.org / 020 7462 4415 ABOUT PATHÉ Pathé operates as a fully integrated film studio in France, the UK, the Netherlands and Switzerland. It is involved in all aspects of filmmaking, from development and production through to international sales, distribution and exhibition. Films produced/distributed by Pathé range from The Queen to Slumdog Millionaire and from Philomena to Selma. In recent years Pathé’s productions have won 16 BAFTAs (66 nominations) and 13 Oscars (46 nominations). Pathé International handles the international marketing and sales of Pathé’s own productions and also acquires third party films for worldwide representation. As one of Europe’s leading sales agents, Pathé International has a significant presence at all major film markets and festivals. www.pathe.co.uk Twitter @patheuk
Pathé are delighted to launch the UK trailer and new images from Pedro Almodóvar’s next feature film PARALLEL MOTHERS, starring his long-time collaborators Penélope Cruz, Rossy de Palma and Julieta Serrano as well as Milena Smit, Aitana Sánchez-Gijón and Israel Elejalde. Parallel Mothers will be released on 28 January 2022 in cinemas across the UK. PARALLEL MOTHERS is Almodóvar’s 22nd feature film and tomorrow will screen as the Closing Night selection of the 59th New York Film Festival. The film had its World Premiere as the opening night film at this year’s Venice International Film Festival. The film received an enthusiastic response from the critics, and Penélope Cruz won the Best Actress Award for her performance. Two women, Janis and Ana, meet in a hospital where they are about to give birth. Both are single and became pregnant by accident. Janis, middle-aged, has no regrets and is exultant. The other, Ana, an adolescent, is scared and repentant. Janis tries to encourage her as they move like sleepwalkers through the hospital corridors. The few words they exchange in these hours will create a very close link between them, which by chance will develop and complicate, changing their lives in a decisive way. Writer/Director Pedro Almodóvar is one of Spain’s most celebrated filmmakers with numerous accolades to his name including an Academy Award®, four BAFTAs, numerous Goyas and over 100 further wins and nominations. His credits include WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN, ALL ABOUT MY MOTHER, VOLVER, PAIN AND GLORY and most recently THE HUMAN VOICE. For further information please contact organic. Abi Fiedler / email@example.com / +44 (0) 781 663 1916 Katy Sharp-Watson / firstname.lastname@example.org / +44 (0) 789 133 6136
London, 10 January 2020 Principal photography began this week in Yorkshire on THE DUKE starring Academy Award winners Jim Broadbent (Iris) and Helen Mirren (The Queen) and featuring Fionn Whitehead (Dunkirk) and Matthew Goode (The Imitation Game). THE DUKE, based on a remarkable true story of one man’s attempt to make a better world, is directed by BAFTA award winner Roger Michell (My Cousin Rachel, Notting Hill). The film is based on a script written by Richard Bean (One Man, Two Guvnors) and Clive Coleman and is produced by Nicky Bentham (Moon) of Neon Films. In 1961, Kempton Bunton, a 60 year old taxi driver, stole Goya’s portrait of the Duke of Wellington from the National Gallery in London. It was the first (and remains the only) theft in the Gallery’s history. Kempton sent ransom notes saying that he would return the painting on condition that the government invested more in care for the elderly - he had long campaigned for pensioners to receive free television. What happened next became the stuff of legend. Only 50 years later did the full story emerge - Kempton had spun a web of lies. The only truth was that he was a good man, determined to change the world and save his marriage - how and why he used the Duke to achieve that is a wonderfully uplifting tale. Michell reunites with his creative team from My Cousin Rachel: Director of Photography Mike Eley, Costume Designer Dinah Collin and Editor Kristina Hetherington. Make Up and Hair Designer is Karen Hartley Thomas (The Personal History of David Copperfield) and Production Designer is Kristian Milsted (Killing Eve). THE DUKE is a Pathé, Ingenious Media and Screen Yorkshire presentation of a Neon Films Production. Executive Producers are Cameron McCracken and Jenny Borgars for Pathé, Andrea Scarso for Ingenious Media and Hugo Heppell for Screen Yorkshire. Pathé will distribute the film in the UK, France and Switzerland and will handle sales for the rest of the world. For further information contact: Jonathan Rutter/ Emma Eliades Robinson / Ellen Steers, Premier Firstname.email@example.com / 020 7292 8330 ABOUT PATHÉ Pathé operates as a film studio in France, the UK, the Netherlands and Switzerland. It is involved in all aspects of filmmaking, from development and production through to international sales, distribution and exhibition. Films produced/distributed by Pathé range from The Queen to Slumdog Millionaire and from Philomena to Selma. Pathe’s latest production is Judy starring Renee Zellweger. In recent years Pathé’s productions have won 16 BAFTAs (66 nominations) and 13 Oscars (46 nominations). Pathé International handles the international marketing and sales of Pathé’s own productions and also acquires third party films for worldwide representation. As one of Europe’s leading sales agents, Pathé International has a significant presence at all major film markets and festivals. www.pathe.co.uk @patheuk ABOUT INGENIOUS MEDIA For 21 years, Ingenious Media has been at the forefront of investing in the global creative economy and in that time has raised and deployed over $10 billion. Ingenious Media has been involved in the production of a diverse slate of films, including the award-winning Life of Pi, Avatar, Oscar-nominated Carol, Brooklyn and Selma, five films in the successful X-Men franchise, Rise of the Planet of the Apes and Dawn of the Planet of the Apes, breakout British hits Suffragette and The Best Exotic Marigold Hotel, as well as acclaimed television programmes such as The Fall, Dr. Foster and The Honourable Woman. Titles currently on release or coming soon include Judy starring Renée Zellweger, Peter Cattaneo’s Military Wives starring Kristin Scott Thomas, Benedict Andrews’s Seberg starring Kristen Stewart and Jack O’Connell. ABOUT SCREEN YORKSHIRE Screen Yorkshire champions the film, TV, games and digital industries in Yorkshire and the Humber, UK. Its aim is to secure and support the very best projects, companies and individuals, helping to make the region one of the most sought-after destinations for production in the UK. Screen Yorkshire offers production financing through its Yorkshire Content Fund. Credits include: Official Secrets, Hope Gap, All Creatures Great and Small, Ackley Bridge, Dark River, Yardie, Ghost Stories, Stardog & Turbocat, Journeyman, Dad’s Army, Swallows and Amazons, Testament of Youth, ’71, National Treasure, The Great Train Robbery, Peaky Blinders, Jonathan Strange and Mr Norrell and Hank Zipzer. Screen Yorkshire delivers the Film Office services for Yorkshire & Humber and has been leading the development of the Yorkshire Screen Hub, a cluster for the screen industries, recognised by the BFI in 2016 as the first awardee of funds from its Creative Cluster Challenge Fund. Screen Yorkshire also works with ScreenSkills, NFTS and the BFI to develop regional and UK wide talent by devising and delivering industry schemes www.screenyorkshire.co.uk @screenyorkshire
THE LITTLE STRANGER
The Little Stranger opens in the UK and Ireland to a wealth of critical acclaim The Little Stranger review: One of the most original British horror films of recent times ★★★★ The Independent Geoffrey Macnab The Little Stranger is one of the most original British horror films of recent times – although whether it can really be classified as horror is a moot point. Based on the novel by Sarah Waters, this is a story about class, envy and self-loathing. It is set in the austerity-era Britain of 1948, when the country was in debt and drained of colour and when the old aristocracy was on its knees. Beautifully directed by Lenny Abrahamson, the film evokes this period in a way that is both nostalgic and frequently chilling. Domhnall Gleeson plays the youngish Dr Faraday, an aloof and diffident figure who has opportunities in Clement Attlee’s Britain that would have been denied him before the war. He is from a very humble background, the son of a housemaid, but has risen up the social scale and is now a fully qualified country doctor. Faraday has a morbid obsession with Hundreds, the decaying, Brideshead-like pile where his mother worked before he was born. He has vivid memories of visiting the country house for an Empire Day celebration as a child in 1919 when it was still in its pomp. His mother had friends working there and he was allowed inside. What he can’t acknowledge, and what the film takes a long time to tell us about, is his vicious resentment and loathing of his upper class patrons. Abrahamson shows Gleeson as the type who will always lurk in the corner at any social event. He is an awkward and repressed man but seemingly a decent and sympathetic one. With his red hair and pale face, he is not handsome at all. Nor is he charming but he does have a good bedside manner. He is the type others feel comfortable confiding in but who will rarely share any secrets about himself. The Ayres family, the owners of Hundreds, are in dire financial straits. They can’t afford the death duties on the house. The son of the family, Roderick (Will Poulter), is scarred and near crippled by war wounds. The mother, Mrs Ayres (Charlotte Rampling) is haughty in a Miss Havisham-like way but even she is struggling to keep up appearances. The daughter, Caroline (Ruth Wilson), is spirited and intelligent but seems to have been left behind by the world. Their once grand home isn’t just shabby and falling apart. It appears to be haunted. Mrs Ayres’ beloved daughter Susan (‘Suki’), who came face to face with Faraday on his visit to the house, died as a child. Her spirit seems to be behind the strange and terrifying happenings in the house. Abrahamson shows an anthropologist’s eye in the detail with which he depicts the aristocratic family fallen on hard times but desperately trying to cling to its status and dignity. The Ayres can’t pay their bills. They’ve lost the “trick of company” but they have their codes of behaviour. Try as he might, Faraday can’t crack them. In their eyes, he will always be a “common village boy.” Lucinda Coxon’s screenplay picks up on the tiny mannerisms and tics of speech that distinguish the Ayres from less well-born outsiders like Faraday. This is as much an account of a thwarted love affair as it is a ghost story. If it wasn’t so awkward, there would be a certain humour in Faraday’s courtship of Caroline. He is gauche but very dogged. The misfortunes that multiply around her give him his chance. It is not clear, though, whether he is in love with her or is looking to control her. The mood here is similar to that in The Innocents, Jack Clayton’s film adaptation of Henry James’ The Turn Of The Screw. We don’t see any monsters. The terror is in the minds of the protagonists. Abrahamson includes a few familiar devices from more conventional haunted house stories – bells in the servants’ quarters that ring of their own accord, doors that will suddenly slam shut, fires that start from nowhere. Generally, though, the creaks aren’t in the night but are in the tormented psyches of the film’s main protagonists. The Little Stranger doesn’t scare us as often as might have been expected but it is still a disturbing affair. It’s a ghost story in which politics, class and money are the most frightening elements. Domhnall Gleeson may be best known for playing General Hux in Star Wars but he was superb as the traumatised, shell-shocked AA Milne in last year’s Goodbye Christopher Robin. He gives an equally affecting performance here as the repressed and uptight Dr Faraday. He is matched by Ruth Wilson as Caroline, the “awfully brainy” upper class girl treated in such chauvinistic fashion by all the men around her. Wilson shows us Caroline’s resilience, her passion and her fatalism. She is as much a prisoner in the house as any princess in a castle in a fairy tale. The Little Stranger has received a very muted response in the US, where it was released late last month. It is too idiosyncratic and subdued to appeal to fans of the teen-oriented horror movies that dominate the box office. Abrahamson’s approach is the polar opposite to that found in Jason Blum movies. This, though, is a consummately crafted and very subtle film which ends with quite a kick. The Little Stranger — the power of suggestion ★★★★ Nigel Andrews The Financial Times Horror thrillers are teasing duels between the known and unknown. We want their mysteries explained; yet simultaneously we don’t. Explanation can be so banal. Some films present the perfect solution. Keep the audience teased. Right up to, and possibly including, the end. What on earth is happening, for instance, in Hundreds Hall, the decaying English mansion in The Little Stranger? Dr Faraday, cold, shy and neurotic (another repressed Englishman master-crafted by Ireland’s Domhnall Gleeson of Goodbye Christopher Robin), ministers to the tormented lady of the house ( Charlotte Rampling), the war-disfigured son (Will Poulter) and even the malingering maid. The rational but troubled daughter (Ruth Wilson) is the only human easy to handle, so Faraday courts her. His mum used to work in the Hall. Here might be a leg up into the upper class. It is 1948, when such things mattered to some. The storm clouds of socialism are gathering — including the birth of the National Health Service — and Faraday, even unwittingly, wants to play on with the ghosts of the past. Ghosts? Might they include Rampling’s little daughter, dead in childhood? Or is some other spirit rattling the upstairs doors, ringing the servant bells, inspiring a nasty accident to befall another little girl at a party? Sarah Waters’ novel (Man Booker-shortlisted) delivers the subtle frissons to director Lenny Abrahamson. He’s the right man: he makes spooked human comedies/dramas tinged with apocalypse (Frank, Room). Shades of The Innocents (ghosts as psychic projections of the haunted) and Don’t Look Now (little daughter lost) stalk this house. The story doesn’t require visible ghouls. It requires hint, suggestion and a kind of pressure-building restraint. Cinematographer Ole Bratt Birkeland’s muted colours match the mansion’s peeling pastels. Once or twice a fog seems to creep in, opacity’s democratic pall routing the hierarchical contrasts of chiaroscuro. With Gleeson, the female stars clinch this drama of dread and desperation. Rampling, bereavement-haunted, seems to be gnawing herself to death without moving a muscle. Wilson plays a whole set of subtle variations on “normalcy”, their notes encrypting fear, frigidity, passion, longing and — finally perhaps (but watch this ghost space) — the triumph of self-liberation. Film review: The Little Stranger ★★★★ Daily Mail Brian Viner It is 1948. Hundreds Hall in Warwickshire has belonged to the Ayres family for centuries, but crippling death duties have turned it into a slowly crumbling wreck. 'The Labour government won't be happy until we're begging for our lives on street corners,' grunts Roderick Ayres (Will Poulter), a dreadfully disfigured war veteran, who lives in the house with his brisk, spinster sister Caroline (Ruth Wilson) and their grand matriarch of a mother (Charlotte Rampling). The film opens with a village doctor arriving to treat the family maid, Betty (Liv Hill). This is Dr Faraday (Domhnall Gleeson), whose late mother was herself once a servant at Hundreds Hall. Faraday has broken free of his working-class origins. But as he befriends the family, and in particular Caroline, he can never quite escape the nuances of the English class system. In some striking ways, the story, based on the 2009 novel by Sarah Waters, is reminiscent of L. P. Hartley's The Go-Between. Hundreds Hall is a place full of memories, not all of them pleasant. Faraday is fixated by the recollection of a boyhood visit to the house, nearly 30 years earlier, while the family appear to be haunted by another Ayres daughter, Susan, who died as a child. All this coalesces into an effective blend of ghost story, social history and psychological thriller, which is no less compelling for being rather relentlessly gloomy. Gleeson reprises the repressed Englishman role that he performed in last year's Goodbye Christopher Robin, except more so. He possibly could have injected just a little more animation into stiff Dr Faraday, who generally makes an Easter Island statue look like a song-and-dance man. But maybe that's the point. In the parlance of the time, he's rather a queer cove. At any rate, director Lenny Abrahamson and screenwriter Lucinda Coxon have done a fine and powerful job with their source material and are rewarded with one truly mesmerising performance. All the acting is good, but Wilson, as dutiful, unhappy Caroline, stands apart. The Little Stranger review: A very British ghost story that is compellingly strange rather than scary ★★★★ Evening Standard Charlotte O'Sullivan For fans of the uncanny, revenge is a dish best served with no hands. Think of Magneto, Matilda or Carrie. These characters, initially marginalised and abused, use their hurt feelings and indignant brains to bring the powerful to heel. The Little Stranger (an adaptation of Sarah Waters’ 2009 novel) contains just such an upstart. Yet it’s only at the end that we discover whose mind is running the show. (The film, in case you’re wondering, works even better on second viewing.) The Ayres family live in a once grand Warwickshire mansion (imagine a beautiful mouth full of black teeth). Angela (Charlotte Rampling) is still traumatised by the loss of Suki, her preternaturally attractive little daughter. Son Roderick has had his body and nerves shattered in the Second World War. Daughter Caroline (Ruth Wilson) is plain. That’s not actually a tragedy, but people act as if it is. By the way, in the book, Caroline’s legs are “unshaven”. It’s a shame that quirky detail doesn’t make it into the film, but let’s not split hairs. The point is, the family are failing to keep up appearances and worse is to come. In a shockingly vivid scene, a pretty girl is savaged in their home. Our narrator, the pallid local doctor Faraday (Domhnall Gleeson, excellent), knows all about the Ayres family; his mother once worked for them as a maid. He’s clever and diligent. He’s also kind to the poor and respectful towards the Ayres’ current drudge, Betty (newcomer Liv Hill, a revelation). But can he stop the haunting of Hundreds Hall? Faraday, never allowed to forget he’s a prole, is a great character. Sometimes, as if unable to decide whether to swoon or seethe, he goes into a kind of trance, which the camera feasts on. Caroline is even better, stomping through her shabby home like a farmer who’s just spotted a dead sheep. Wilson never overdoes the galumphing; Caroline’s playfulness and loneliness are conveyed just as keenly. Lenny Abrahamson’s last film, which reworked Emma Donoghue’s Room, earned Brie Larson a best actress Oscar. Wilson deserves a nomination at the very least. The Little Stranger has been described as a very British ghost story. Abrahamson (who’s Irish) has now adapted two books by out-and-proud lesbians. He’s fascinated by what insiders fear. He’s not interested in making us jump (actually, he tries it once and bungles it). If you love strange little things, you’ll be smitten. Film Review The Little Stranger ★★★★ Dan Jolin Time Out Lenny Abrahamson adapts Sarah Waters’ ghost story into an understated but satisfyingly spooky snapshot of class in post-War England. Director Lenny Abrahamson knows how to turn small spaces into big drama. His last film (‘Room’) focused on a single, small shed. The one before (‘Frank’) primarily took place in a remote music-studio cabin. With ‘The Little Stranger’ – adapted from Sarah Waters’ gothic novel – he’s expanded to the rather grander scale of an old, English manor house. But it feels no less effectively claustrophobic. That manor house is Hundreds Hall, a decaying, 18th-century estate whose old-money residents, the Ayres family, can barely manage its upkeep during the late ’40s. When their sole maid falls ill, they summon Dr. Faraday (Domhnall Gleeson), a shy, awkward fellow, who soon confesses to having a lifelong obsession with the crumbling mansion since visiting during his childhood and befriends the eldest of the Ayers offspring, the earthy, practical Caroline (Ruth Wilson). But as the stiff, white-collar doctor draws closer to the welly-wearing Caroline and begins to rather creepily exercise his aspiration for the life of the landed gentry, it also becomes evident there is a malevolent presence lurking in the shadows of Hundreds Hall – something seemingly set on accelerating House Ayres’ decline. True to Waters’ book, Abrahamson valiantly resists turning ‘The Little Stranger’ into a full-on horror show, teasing its ghostly strands by delicate degrees, while Gleeson and Wilson’s increasingly uncomfortable relationship occupies the bulk of your attention. Those hoping for ‘Insidious’-like shocks and jump scares may find their patience tested, but to succumb to such frustration is missing the film’s fine point: there may possibly be a spectral threat here, but this is really a story about people haunted by something very different, but just as intangible: namely, class. Film Review The Little Stranger ★★★★ Andy Lea The Express Irish director Lenny Abrahamson allows dread to build very slowly in this handsome period chiller. In the opening scene, Abrahamson, nominated for an Oscar in 2016 for Room, seems to be setting up a typical upstairs, downstairs drama. It is 1948 and we are gazing upon Hundreds Hall, a mansion in rural Warwickshire, through the awestruck eyes of Dr Faraday (Domhnall Gleeson). It is the first time the good doctor has entered the gates since he was a child when his now-deceased mother worked there as a maid. Like all aristocrats, the Ayres family is suffering under the Labour government's death taxes. But the doctor is still transfixed by the crumbling mansion. Faraday is making a house call after being informed that one of the servants has been taken ill. "One of?" laughs Roderick Ayres (Will Poulter), the master of the house and a former RAF pilot who was badly burned in combat during the Second World War. "You'll see." It turns out that the ailing Betty (Liv Hill) is now the only servant who is working in this once-thriving country estate. Like all aristocrats, the Ayres family is suffering under the Labour government's death taxes. But the doctor is still transfixed by the crumbling mansion. A series of flashbacks hint at the root of this obsession. As a child he stole into the house and on a strange impulse broke a plaster flower off one of the ornate cornices. This crime was witnessed by the doctor's mother and Susan (Tipper Seifert-Cleveland), Roderick's long-dead sister. It was a crime that horrified his mother and she could never forgive him for it. Before leaving the house, Faraday meets Mrs Ayres (Charlotte Rampling), Roderick's haughty mother. He also discovers that Roderick's hardworking sister Caroline (Ruth Wilson) is the one who is really running the mansion. Slowly, an awkward romance begins to spark between the stuffy doctor and the free-spirited aristocrat. As the class divisions begin to blur, strange incidents start to happen in the house. A girl is left horribly injured at a dinner party and strange symbols start appearing on the walls. The doctor tries to find rational explanations. But as the strange occurrences pile up, Faraday's stiff upper lip appears to quiver. In the finale, Abrahamson resorts to the twists and turns of the typical haunted house movie. But it is that slow build-up that will stay with you.
Pathé are delighted to announced that Caroline Stone joins its UK operation, Pathé Productions Ltd, today (16th October 2023), in the newly created role of Commercial Director. The appointment consolidates the expansion of Pathé’s business in the UK into premium scripted television. Stone joins Pathe after a 15 year tenure at BBC Studios Productions. She was engaged across a variety of roles including, since 2020, Commercial Director of Scripted where she helped Studios establish critical distribution partnerships with all the leading drama producers in the UK. In her time at BBC Studios she was also instrumental in helping build a substantial portfolio of wholly owned or majority owned scripted production labels, as well as part of a list of successful investments including: Small Axe, The Pursuit of Love, Sherwood, Raindogs, This Is Going To Hurt, Happy Valley and Mood. “I’m thrilled to be joining Pathé, it’s such an iconic company that I have long admired, they have built a fantastic reputation for the consistently high quality and distinctiveness of their creative output. And I couldn't be more delighted to be working with Faith again at such an exciting time for the business,” said Stone. “I’ve known Caroline for a long time and seen firsthand the exceptional skills and experience she has in her field” said Penhale. “She’s a real one-off, commercially and creatively brilliant and exceptionally collaborative. I can’t wait to join forces with her at this exciting stage to build on Pathé’s long standing reputation as the home for the best storytellers.” At Pathé, Stone will work closely with Managing Director Faith Penhale, and alongside Director of Business Affairs, Pierre du Plessis and Head of Production, Imogen Bell. She will advise on all commercial matters across the business, informing the growth strategy and seeking out commercial opportunities to build on the company’s unique position within the British creative community and on the global stage.