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'Blue Valentine' director Derek Cianfrance to adapt 'The Light Between Oceans'

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Derek Cianfrance, best known for his devastatingly emotional breakout film Blue Valentine, is set to direct the adaptation of M.L. Stedman’s international best-seller The Light Between Oceans, DreamWorks Studios announced Tuesday.

Set immediately after World War I, Stedman’s novel follows a couple on a remote Australian island who discover a wrecked boat housing an infant and a dead man. The couple, who have faced a number of miscarriages, decide to keep and raise the little girl, which results in harrowing consequences. DreamWorks had been after the rights to the novel since November 2012 and are poised to begin moving forward now that Cianfrance is onboard.
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Bradley Cooper on 'The Place Beyond the Pines' and preparing to play slain soldier Chris Kyle in the upcoming 'American Sniper'

Over the course of his career, Bradley Cooper has become an expert at playing all the shades of the asshole rainbow. But since 2011’s Limitless showed Hollywood that The Hangover star can open a film all by himself, Cooper has been receiving more varied roles in vastly more ambitious projects, like 2012’s Silver Linings Playbook and this year’s The Place Beyond the Pines, which hits DVD and Blu-ray tomorrow. “I think the opportunities really started to happen after Limitless came out and did well,” says Cooper. “I owe it all to The Hangover, and that allowed me to do Limitless, and Limitless definitely paved the road for directors to take a chance.” READ FULL STORY

'The Place Beyond the Pines': Director Derek Cianfrance on shooting the motorcycle scene -- VIDEO

Director Derek Cianfrance’s films often focus on the emotional, like the intense relationship between Ryan Gosling and Michelle Williams’ characters in 2010’s Blue Valentine. In his latest film, The Place Beyond the Pines, which premiered at the Toronto Film Festival last year and is being released in theaters this weekend, Gosling returns but in a harder-edged role.

In the scene below, which Cianfrance talks us through in accompanying commentary, Gosling’s character, Luke, is being chased through the woods by Ben Mendelsohn, who plays a mechanic with whom Luke later teams up to rob banks.

“It doesn’t always have to be about words; it doesn’t always have to be about talking,” Cianfrance says of the chase scene. Check out the exclusive clip and commentary below:
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New 'Place Beyond the Pines' clips suggest this won't be a happy movie -- VIDEO

With Ryan Gosling partnering again with his Blue Valentine director Derek Cianfrance, anyone can guess that the resulting picture wouldn’t exactly be happy-go-lucky. The Place Beyond the Pines spans decades and explores fathers, sons, and the choices we make that influence our whole lives. “I’m attracted to making movies about family,” Cianfrance previously told EW. “Those movies have secrets and intimacy.”

The secrets, along with some doom and gloom, are on full display in three new clips from The Place Beyond the Pines, which also stars Bradley Cooper and Eva Mendes. The first clip shows Luke (Gosling) and Romina (Mendes) meeting at a fair after time apart, and showcases all the awkwardness of running into someone from your past whom you thought you wouldn’t see again. READ FULL STORY

Twas a dark and stormy night: 'The Place Beyond the Pines' debuts new poster

It’s hard for a movie poster to be anything but pretty when it features the faces of Eva Mendes, Ryan Gosling, and Bradley Cooper, but somehow, the new poster for The Place Beyond the Pines achieves an impressive-yet-appropriate level of gloominess (while still being pretty).

The Place Beyond the Pines, the next film from Blue Valentine director Derek Cianfrance, stars Ryan Gosling as a stunt rider who turns to a life of crime (specifically bank robbing) to provide for his baby mama, played by Eva Mendes. Meanwhile, Cooper and his blue eyes are lurking around every corner with his rookie-cop badge and a son of his own.

After debuting at the 2012 Toronto Film Festival, The Place Beyond the Pines is giving the rest of us a glimpse into its world with its latest poster, which features a very worried Mendes, a confused/angry Cooper and a determined Gosling on his way to the nearest bank. It’s a tale of fathers, sons and, from the looks of the poster, at least one dark and stormy night.

See it below. READ FULL STORY

'Blue Valentine' and 'Somewhere': The return of the American art film -- and, yes, that's a good thing

Ryan-Gosling-DorffImage Credit: Davi Russo; Merrick MortonThe term art film probably should have been retired about two decades ago — and when you think about, it kind of was. On the rare occasions that something now gets tagged as an “art film,” it’s generally meant in a vaguely dismissive and even pejorative way. It means not art but arty: high-minded and self-conscious, precious and austere. It means art less as pleasure than as medicine (which, in my book, tends to mean third-rate art, like the pseudo-Euro hitman-with-angst dud The American). Yet I’m tempted, out of a fresh wave of nostalgia, to haul out the old scarlet A for Art Film in connection to two quietly exciting new American features, Derek Cianfrance’s Blue Valentine and Sofia Coppola’s Somewhere, if only because both films take you back to the best of the early ’70s, that much-revered era of American filmmaking when the spirit of European cinema had spread to Hollywood and had given rise to a liberating new hybrid: the raw, loose, reality-based American art movie — films that were out to capture “the truth” in front of your eyes, even if it was a little like catching lightning in a bottle.

Blue Valentine, starring Ryan Gosling and Michelle Williams, tells the story of a deeply imperfect, at times violently angry, yet also disarmingly tender six-year marriage that is rapidly hitting the skids, and the movie is staged with a breathtakingly close-up, warts-and-all intimacy that isn’t so far removed from the train-wreck voyeurism of certain reality-TV shows. Somewhere, starring Stephen Dorff as a sexy, jaded Hollywood movie star who is working his way through an existential crisis of fame (he’s so beloved for his image that he no longer knows who he is), often reminded me of Entourage without the entourage. So what makes these movies art films? Simple: In each case, the filmmakers capture whatever it is they’re portraying — a working-class family in a rural Pennsylvania suburb, a movie idol crashing out in the anonymous luxe sterility of the Chateau Marmont — with an incisive, almost journalistic detail; they get the surfaces exactly right. Yet we’re also invited, in nearly every scene, to look beyond the surface, to enter the troubled hearts and minds, the fascinatingly messed-up interior spaces, of all these characters. The approach is nothing if not novelistic: These movies may have “stories,” but once you get onto their wavelength, the real story they’re telling is spiritual and psychological. It’s the story of what you can’t see. READ FULL STORY

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