2023 | Color | 133:00 A curmudgeonly instructor at a New England prep school is forced to stay on campus over Christmas break to babysit the handful of students unable to go home to their families. Eventually he forms an unlikely bond with one of them—damaged, brainy troublemaker Angus Tully—and with the school’s head cook, who has just lost a son in Vietnam. Country: Estados Unidos Direction: Payne; Alexander Script: Hemingson; David Production: Block; Bill, Hemingson; David, Johnson; Mark Photography: Bryld; Eigil Sound: Gaeta; Frank, Schwartz; David J. Music: Orton; Mark Cast:Giamatti; Paul, Joy Randolph; Da’Vine, Donovan; Tate, Preston; Carrie, Vigman; Gillian, Sessa; Dominic, Wahlberg; Oscar Art direction: Warren Smith; Ryan Participation year at FICM: 2023
2023 | Color | 133:00 A curmudgeonly instructor at a New England prep school is forced to stay on campus over Christmas break to babysit the handful of students unable to go home to their families. Eventually he forms an unlikely bond with one of them—damaged, brainy troublemaker Angus Tully—and with the school’s head cook, who has just lost a son in Vietnam. Country: Estados Unidos Direction: Payne; Alexander Script: Hemingson; David Production: Block; Bill, Hemingson; David, Johnson; Mark Photography: Bryld; Eigil Sound: Gaeta; Frank, Schwartz; David J. Music: Orton; Mark Cast:Giamatti; Paul, Joy Randolph; Da’Vine, Donovan; Tate, Preston; Carrie, Vigman; Gillian, Sessa; Dominic, Wahlberg; Oscar Art direction: Warren Smith; Ryan Participation year at FICM: 2023
Paris, je t´aime The Love Generation. Through the neighborhoods of Paris, love is veiled, revealed, imitated, sucked dry, reinvented and awakened. A pleiad of internationally renowned directors rediscover the city of Paris in a collective work about love See More
The 64th Semaine de la Critique of Cannes Film FestivalWill Be Present at the 23rd FICM 08 · 21 · 25 The 23rd FICM puts #FICM2025 Accreditation on sale 08 · 18 · 25 FICM Announces the Official Selection of its 23rd edition! 08 · 15 · 25 1968 and the new narratives in feature films 07 · 31 · 25
