With Parallel Mothers Pedro Almodóvar returns, in his words, to the feminine universe, to motherhood and to family.
The film stars Penelope Cruz, Milena Smit and Aitana Sánchez-Gijón playing the story’s three mothers, and Israel Elejalde in the lead male role. The cast is completed by Julieta Serrano and Rossy de Palma.
Produced by El Deseo, with the participation of RTVE and Netflix.
For press information please contact Sophie Glover:
Tel: + 44 7917 045 875 / Email: email@example.com
London, 28 October 2019 Pathé today announced that they will be presenting at the American Film Market a new feature film, THE DUKE, to be directed by BAFTA winner Roger Michell (Notting Hill) and set to star Academy Award Winners Jim Broadbent (Iris) and Helen Mirren (The Queen) as husband and wife, KEMPTON and DOROTHY BUNTON. The screenplay for the dramatic comedy has been written by Richard Bean (One Man, Two Guvnors) and Clive Coleman and is based on a remarkable true story of one man’s attempt to make a better world: 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 agreed to provide television for free to the elderly. 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. THE DUKE will start principal photography in January 2020. The film will be produced by Nicky Bentham (Moon) and is a Neon Films production for Pathé, Ingenious Media and Screen Yorkshire. 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 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 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 most recent 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
26 June 2018 Lenny Abrahamson’s THE LITTLE STRANGER, based on Sarah Waters’ best-selling novel, will be released in UK cinemas nationwide on 21st September 2018. Having watched the film, Sarah Waters commented: “The moment THE LITTLE STRANGER finished, I wanted to watch it again. The product of a perfect combination of things - genius direction, a great script, masterly acting, lush cinematography - it's a complex, poignant, terrifically unsettling film. I couldn't wish for a better adaptation of the novel.” The film 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 darkly mysterious drama adapted for the big screen by BAFTA nominee Lucinda Coxon (The Danish Girl). 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 disturbingly, the family’s story is about to become entwined with his own. The film is directed by Lenny Abrahamson (Oscar nominated for Room); 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; Nathan Nugent (Room) Editor; and the Music is by Stephen Rennicks (Room). THE LITTLE STRANGER is a Pathé, Film4, Irish Film Board and Ingenious presentation of a Potboiler Production in association with Element Films. The film was developed by Film4 with Potboiler and Element Films. Pathé will distribute the film in the UK, France and Switzerland; and Focus Features acquired the film from Pathe International for distribution throughout the rest of the world. Running time: 1hour 52 minutes Certificate: 12A TBC THE LITTLE STRANGER tie-in edition will be published by Virago on the 23rd August, price £8.99 For press enquiries: Premier Eugene O’Connor / Ellen Steers email@example.com / +44 (0)20 7292 8330 For online press enquiries: FEREF Sophia Dryden SophiaDryden@feref.com
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.
On behalf of Pathé, we are delighted to share the brand new UK trailer and poster for THE DUKE. Starring Academy Award winners Jim Broadbent (Iris) and Helen Mirren (The Queen), this uplifting dramatic comedy has been directed by Bafta winner Roger Michell (Notting Hill) from a screenplay by Richard Bean and Clive Coleman. The film had its World Premiere at last year’s Venice Film Festival where it was received to critical acclaim. The film will be released nationwide in UK cinemas Spring 2022 THE DUKE is a moving true story that celebrates a man who was determined to live a meaningful life. Set in 1961, it follows the story of Kempton Bunton, a 60-year old taxi driver, who 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 proceeded to send ransom notes declaring that he would only return the painting on the condition that the government invest more in care for the elderly, specifically bringing attention to his long running campaign for pensioners to receive free television. What happened next is the stuff of legends…only 50 years later did the full story emerge and it was revealed that 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 this, is a wonderfully uplifting tale that will be seen on film for the first time. THE DUKE is a Pathé, Ingenious Media and Screen Yorkshire presentation of a Neon Films Production. Nicky Bentham is the Producer and the Executive Producers are Cameron McCracken and Jenny Borgars for Pathé, Andrea Scarso for Ingenious Media, Hugo Heppell for Screen Yorkshire, Peter Scarf and Christopher Bunton. THE DUKE Official Social Channels Facebook URL: www.facebook.com/TheDukeFilmUK/ Twitter URL: www.twitter.com/TheDukeFilmUK/ Instagram URL: www.instagram.com/TheDukeFilmUK Hashtags: #TheDuke, #TheDukeFilm Pathé UK Official Social Channels Facebook URL: www.facebook.com/PatheUK/ Twitter URL: www.twitter.com/PatheUK/ Instagram URL: www.instagram.com/PatheUK PRESS CONTACTS PRINT & BROADCAST Premier PR Nicki Foster: Nicki.Foster@premiercomms.com Simon Bell: Simon.Bell@premiercomms.com Harriet Gilholm: Harriet.Gilholm@premiercomms.com ONLINE DDA PR Megan Dobson: Megan.Dobson@DDApr.com
VICEROY’S HOUSE by BAFTA nominated director Gurinder Chadha will celebrate its World Premiere at the 67th Berlin International Film Festival on Sunday 12th February 2017. Gurinder Chadha, director of VICEROY’S HOUSE, commented: “I am honoured that VICEROY’S HOUSE has been selected by the Berlin Film Festival. My film is an inspirational intensely personal true story about the traumatic events that took place at the end of the British Empire in India, events that tore my own family apart. The Festival gives us a brilliant opportunity to showcase my passion project to a global audience.” Gurinder Chadha’s VICEROY’S HOUSE will be released in cinemas by Pathe in the UK on 3rd March 2017 and by Reliance Entertainment in India on the same date. The film tells the true story of the final months of British rule in India and its release will coincide with the 70th Anniversary of the Independence of India and the founding of Pakistan. The British cast is led by Hugh Bonneville (Downton Abbey, Paddington) as Lord Mountbatten; Gillian Anderson (The X Files, The Fall) as his wife, Lady Mountbatten; Lily Travers (Kingsman) as their daughter, Pamela; and Michael Gambon (Harry Potter, Quartet) and Simon Callow (A Room With A View, Four Weddings and a Funeral) as key civil servants. The Indian and Pakistani cast is led by Manish Dayal (The Hundred Foot Journey), Huma Qureshi (Gangs of Wasseypur) and Om Puri (The Hundred Foot Journey, East Is East). The roles of the principal political leaders are played by Tanveer Ghani (Nehru), Denzil Smith (Jinnah) and Neeraj Kabi (Gandhi). VICEROY’S HOUSE is directed by Gurinder Chadha (Bend it like Beckham) from a screenplay by Gurinder Chadha, Paul Mayeda Berges and Moira Buffini, and is produced by Deepak Nayar (Bend it like Beckham, The End of Violence, Buena Vista Social Club), Gurinder Chadha and Paul Mayeda Berges. The film is executive produced by Pathé’s Cameron McCracken, Reliance’s Shibasish Sarkar, former head of BBC Films Christine Langan, the BFI’s Natascha Wharton and Ingenious Media’s Tim O’Shea. The film is a Pathé, Reliance, BBC Films, Ingenious and BFI presentation of a Bend It Films/Deepak Nayar Production in association with the FilmVast and Filmgate Films. VICEROY’S HOUSE has been supported by the BFI through its National Lottery funding. VICEROY’S HOUSE opens on 3 March 2017 Running time: 1hr 46 mins Certificate: 12A Trailer can be found here: DOWNLOAD: http://video.thinkjam.com/video/pathe/Viceroys_House/trailer_1080p_3march.zip YOUTUBE: https://www.youtube.com/watch?v=id_ZyNdvXKQ Images can be downloaded on: www.image.net Twitter www.twitter.com/ViceroysHouse #ViceroysHouse Facebook www.facebook.com/ViceroysHouseFilm Website www.ViceroysHouse.co.uk For further press information please contact freuds: Kerry McGlone / firstname.lastname@example.org /+44 (0) 20 3003 6648 Emma Welby/ email@example.com / +44 (0) 20 3003 6413 For online press enquiries: Emily Darling/ firstname.lastname@example.org / + 44 20 7324 0088
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.
THE DUKE was awarded 5 stars from The Guardian, Daily Telegraph, and Daily Mail following the World Premiere at the Venice Film Festival. Robbie Collin from The Daily Telegraph wrote that “Oscars surely beckon” for THE DUKE: “Jim Broadbent and Helen Mirren “give two of the finest performances of their careers”. The Guardian’s Xan Brooks followed with similar praise, describing the film as “lovely, rousing & moving…unashamedly sentimental and resolutely old-fashioned in the best sense of the term”. Brian Viner from The Daily Mail called THE DUKE “beautifully scripted… an art heist yarn that will steal your heart”, whilst The Times’ Kevin Maher heaped praise upon the film’s director and leading star: “Broadbent is astounding… one of the standout performances of his career. Roger Michell should also take a bow. With The Duke, he is marked out as one of the country’s most versatile mainstream filmmakers”. The British comedy-drama will be released in cinemas in 2021.
THE HUMAN VOICE
WORLD EXCLUSIVE TRAILER & POSTER RELEASED FOR PEDRO ALMODÓVAR’S THE HUMAN VOICE STARRING TILDA SWINTON ★ ★ ★ ★ The Financial Times, The Daily Telegraph, The Times IN CINEMAS 2021 WITH EXCLUSIVE Q&A WITH TILDA SWINTON & PEDRO ALMODÓVAR HOSTED BY MARK KERMODE Pathé are delighted to announce that the new short film, THE HUMAN VOICE, directed by Spanish auteur Pedro Almodóvar and starring Tilda Swinton, will be released in 2021. The film will be followed by a pre-recorded Q&A with Almodóvar and Swinton hosted by film critic Mark Kermode. THE HUMAN VOICE was shot over nine days in Madrid in July and recently premiered to critical acclaim at the Venice Film Festival. It is Almodóvar’s first work in the English language. Madness and melancholy intersect to thrilling effect as Almodóvar reimagines Jean Cocteau’s short play The Human Voice for an era in which isolation has become a way of life. Laws of desire become the rules of the game as Tilda Swinton’s unnamed woman paces and panics in a glorious Technicolor apartment where décor offers a window into her state of mind. A short, sharp shot of distilled Almodóvar: passion, emotion, heartbreak, wit, and melodrama exquisitely bound up in a tale for our times. 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 and most recently PAIN AND GLORY. For further information please contact organic. Julia Nowicka / Julia.Nowicka@organic-publicity.co.uk / +44 (0) 787 080 8147 Abi Fiedler / firstname.lastname@example.org / +44 (0) 781 663 1916
15 APRIL DIGITAL DOWNLOAD LAUNCH ANNOUNCED FOR MISBEHAVIOUR London, 6 April 2020, Pathe have today announced that because the UK cinema release of MISBEHAVIOUR was cut short by the Covid-19 crisis (with cinemas closing only 4 days after the film’s release), the film is being made available to watch at home 3 months ahead of schedule. MISBEHAVIOUR’s launch as a digital download will be on 15th April 2020. The film will be available on all platforms (including Amazon Prime, Sky Store and iTunes) for an exclusive period. The film is directed by BAFTA winner Philippa Lowthorpe (Three Girls) and stars Keira Knightley, Gugu Mbatha-Raw, Jessie Buckley, Greg Kinnear, Lesley Manville, Keeley Hawes, Rhys Ifans and Phyllis Logan. A politically relevant, inspirational true story, the film skilfully combines humour with drama to celebrate all women, however they choose to navigate a male-dominated world: In 1970, the Miss World competition took place in London, hosted by US comedy legend, Bob Hope. At the time, Miss World was the most-watched TV show on the planet with over 100 million viewers. Claiming that beauty competitions demeaned women, the newly formed Women’s Liberation Movement achieved overnight fame by invading the stage and disrupting the live broadcast of the competition. Not only that, when the show resumed, the result caused uproar: the winner was not the Swedish favourite but Miss Grenada, the first black woman to be crowned Miss World. In a matter of hours, a global audience had witnessed the patriarchy driven from the stage and the Western ideal of beauty turned on its head. The film was written by Rebecca Frayn and Gaby Chiappe, and produced by Suzanne Mackie and Sarah Jane Wheale. MISBEHAVIOUR is a Pathé, Ingenious Media, BBC Films, BFI presentation of a Left Bank Pictures production. Running time: 1 hour 46 minutes Certificate: 12A For press information, please contact: Nicki Foster / Oliver Lavery / Simon Bell / Harriet Gilholm Tel: + 44 20 7292 8330 / Email: Firstname.email@example.com