In what felt like a statement against criticisms of the embittered French film academy, controversy magnet Roman Polanski won the Best Director prize at the 2020 César Awards in Paris on Friday for his Dreyfus Affair drama “An Officer and a Spy.” He beat out fellow nominees including Ladj Ly, whose “Les Misérables” ultimately won Best Film, and Céline Sciamma, whose wildly acclaimed “Portrait of a Lady on Fire” went home with just one award, for Best Cinematography. Polanski’s win did not sit well with “Portrait of a Lady on Fire” star Adèle Haenel, who could be seen in the telecast walking out of the ceremony at the Salle Pleyel when the award was announced. Watch below.
Haenel has been an active voice in the #MeToo movement which, as she outlined in a recent New York Times interview, she believes has failed in France. That claim appeared to resonate at the Césars — France’s equivalent to the Academy Awards — when Polanski, a convicted sex offender, won the top directing prize. In fall 2018, Haenel spoke about her own experience with sexual harassment while working with “The Devils” director Christophe Ruggia. Haenel was up for Best Actress at the French awards this year, but lost to Anaïs Demoustier for “Alice and the Mayor.”
Polanski was a no-show at the ceremony, as were his “Officer and a Spy” team members, all of whom boycotted the ceremony earlier this week.
“Activists are threatening me with a public lynching. Some have called for demonstrations, others are planning to make it a platform,” he told Agence France Presse earlier this week. “This promises to look more like a symposium than a celebration of cinema designed to reward its greatest talents.”
Polanski, a convicted sex offender, has lived in exile in France since fleeing the United States in 1978. In France, his continuing body of work is well-received. Along with three César trophies for “An Officer and a Spy” on Friday night — directing, adapted screenplay, and costumes — the annual awards have past feted Polanski with Best Director in 2014 for “Venus in Fur,” Best Adapted Screenplay for “Carnage” in 2012, along with multiple prizes each for “The Ghost Writer,” “The Pianist,” and “Tess.”
As the César Awards were underway on Friday, women’s activist groups outside the venue protested Polanski’s inclusion among the nominees.
Adèle forever. pic.twitter.com/Fhe9xSLxCK
— Portrait of a Lady on Fire @Portrait_Movie February 28, 2020
The Television Academy is adjusting the eligibility and voting deadlines for this year’s Primetime Emmy calendar in response to concerns made by TV communication executives and awards strategists in the current coronavirus climate.
The dates for the Creative Emmy Awards and Primetime Emmy shows remain unchanged respectively on Sept. 12-13 and Sept. 20, and will only be moved should state and national safety directives deem them to be, should the coronavirus worsen.
This morning’s big changes involve the entry deadline moving close to four weeks from May 11 to June 5, and the Phase one voting period jumping from June 15-29 to July 2-13 with the new nominations announcement date being July 28 instead of July 14. The Phase one period thus shrinks from 15 days to 12 days.
Phase 2 voting, which was originally set for Aug 17-31, will start slightly later, and shave off four days, now occurring between Aug. 21-31.
Also being extended is the eligibility date for hanging episodes for regular series and limited series, as the TV Academy takes into account production and programming delays. Now, all hanging episodes must broadcast or post on an accessible platform by June 30, instead of May 31. Both regular and limited series must still premiere by the end of this year’s eligibility date which remains May 31. A minimum of six episodes continues to be required for a show to be qualified in the series category. A limited series in its entirety must air or post on a platform before June 30, and if it doesn’t, then the limited series will qualify in the 2020-2021 Emmy year.
Meanwhile, all TV Academy FYC events “whether with a live audience, streaming or recorded for posting on a viewing platform” per the org remain suspended for the current Emmy season.
In recent weeks, the TV Academy appeared to be standing firm on their original voting and eligibility dates. However, TV publicists and Emmy campaign strategists reportedly voiced their reservations about promoting too heavily and too soon, thus wanting to exercise a greater degree of sensitivity in a spring that’s been rocked by COVID-19: Many productions have shut down, leaving many out of work, and the whole atmosphere across the nation is rather dour as we all self quarantine. Emmy season has traditionally been decked with glam marketing, billboards, food trucks, stunt events, big DVD boxes and soirees. Earlier this year, to tame some of that, the TV Academy banned DVD mailers to voters, and in doing so, favored online screeners. The hope here with the TV Academy’s tweaking of the FYC calendar is that we’ll be on the other side of the curve in regards to coronavirus, and in a lighter-spirited environment. Between the entertainment capitals, New York City currently counts 23K COVID-19 cases and 365 deaths as of yesterday while Los Angeles counts 1,2K cases...
Oscar-winning producers Barry Jenkins and Adele Romanski re-team for Eliza Hittman's timely tale of the challenges that face a teenage girl as she seeks an abortion.
As theaters shuttered across the nation amid the coronavirus pandemic, the filmmakers of Never Rarely Sometimes Always had a tough decision to make - wait to release the movie when theaters reopen, or release the film on digital platforms to capitalize on an audience confined to their homes.
Ultimately, for Adele Romanski and Barry Jenkins, who produced the film under their Pastel Productions banner, the story about a teenage girl's journey to get a safe and legal abortion was resonant with the current state of women's reproductive health in America, and so they, along with writer-director Eliza Hittman and distributor Focus Features, opted to release the film on VOD platforms.
"What we do know is that we have a film that's very urgent right now," Romanski tells The Hollywood Reporter. "There continues to be a war on women's health and certain states saying abortions are non-essential medical procedures in response to COVID-19, so we know we have a film that matters."
Written and directed by Hittman Beach Rats, It Felt Like Love and made for under $3 million, Never Rarely Sometimes Always is the story of the teenage Autumn, played by first-time actor Sidney Flanigan, who decides to travel with her cousin Skylar Talia Ryder from her rural Pennsylvania town to New York City to get an abortion. The film delves into the real challenges that the two girls face within the medical system and an unfriendly big city.
The film debuted at Sundance Film Festival this year, where it won a special jury award, and then went on to win the Silver Bear prize at the Berlin Film Festival in February. The film was slated to hit theaters on March 13, but with theaters closing down, it was released on demand on April 3.
"We all believe we have a very powerful piece of art and a very captive audience sitting at home," says Jenkins. "The movie's rated PG-13 and it's really powerful because there's all these kids sitting at home right now trying to figure out what to watch, and while they're doing that, there's states all across the country saying that an abortion is not an essential procedure."
Jenkins and Romanski talked to THR about how Hittman tackled highly politicized issue of abortion with nuance, the biggest production challenges and the decision to bring the film to home screens early.
How did your collaboration with Eliza Hittman come about?
Romanski: We had been fans of Eliza's work since It Felt Like Love, which also debuted at Sundance, and stuck up a friendship as one does on the festival circuit and when we were coming together years later and forming Pastel and thinking about who were the kinds of artists and filmmakers we wanted to...