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The_Hollywood_Reporter__February_07_2018

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Clockwise from top left: A Million Little<br />

Pieces star Aaron Taylor-Johnson; Vox<br />

Lux’s Portman; Reeves, returning for John<br />

Wick: Chapter 3; Moss, who will play a<br />

self-destructive punk rocker in Her Smell;<br />

Spider in the Web star Bellucci; and Ali,<br />

who plays a jazz musician in Green Book.<br />

THE MISEDUCATION OF<br />

CAMERON POST<br />

SALES Elle Driver<br />

DIRECTOR Desiree Akhavan<br />

CAST Chloe Grace Moretz,<br />

Jennifer Ehle, Quinn Shephard<br />

Akhavan’s comic drama, about<br />

Christian teens wrestling with<br />

gay-conversion therapy, picked up<br />

the Grand Jury Prize at Sundance<br />

and won acclaim for its delicate<br />

treatment of a hot-button topic.<br />

STATUS Finished<br />

MONSTER FAMILY 2<br />

SALES Timeless Films<br />

DIRECTOR Holger Tappe<br />

<strong>The</strong> sequel to the 2017 animated<br />

movie, which featured the<br />

voice talents of Emily Watson,<br />

Nick Frost and Jason Isaacs and<br />

grossed more than $26 million<br />

internationally, returns with the<br />

Wishbones, an ordinary family<br />

who transform into monsters<br />

to save their friends and the world<br />

from an evil Monster Huntress.<br />

STATUS Preproduction<br />

MRS LOWRY & SON<br />

SALES <strong>The</strong> Little Film Co.<br />

DIRECTOR Adrian Noble<br />

CAST Timothy Spall,<br />

Vanessa Redgrave<br />

British acting treasures Spall<br />

and Redgrave headline this<br />

biopic about the relationship<br />

between early 20th century<br />

British painter L.S. Lowry and<br />

his mother, Elizabeth.<br />

STATUS Filming<br />

ONLY GOD CAN JUDGE US<br />

SALES Global Screen<br />

DIRECTOR Ozgur Yildirim<br />

CAST Moritz Bleibtreu<br />

<strong>The</strong> crossover success of Fatih<br />

Akin’s In the Fade could bode<br />

well for this German thriller, set<br />

on the mean streets of Frankfurt<br />

and featuring Bleibtreu (Run Lola<br />

Run) as a gangster trying to<br />

make a final score in order to<br />

escape his life of crime.<br />

STATUS Finished<br />

SPIDER IN THE WEB<br />

SALES Film Constellation<br />

DIRECTOR Eran Riklis<br />

CAST Ben Kingsley, Monica Bellucci,<br />

Itay Tiran<br />

This espionage thriller from the<br />

award-winning Israeli director<br />

of <strong>The</strong> Lemon Tree centers on an<br />

aging spy (Kingsley) on the trail<br />

of a supposed chemical weapons<br />

sale to a Middle East dictatorship<br />

while being followed by an ambitious<br />

Mossad agent (Tiran).<br />

STATUS Shoots in the spring<br />

VOX LUX<br />

SALES Sierra/Affinity<br />

DIRECTOR Brady Corbet<br />

CAST Natalie Portman, Jude Law<br />

Corbet’s drama about the rise<br />

of a singer from national tragedy<br />

to pop superstar is back on<br />

track, with Oscar winner Portman<br />

replacing Rooney Mara in the<br />

leading role. Sia provided original<br />

songs for the soundtrack.<br />

STATUS Filming<br />

Berlin Rolls Out the<br />

Red Carpet for Diversity<br />

From an anti-harassment ‘safe space policy’ to<br />

industry panels on gender equality, the Berlinale<br />

is getting woke for the #MeToo era<br />

Berlin wears its politics on its sleeve. In 2002, his first year<br />

as Berlinale director, Dieter Kosslick made “Accept<br />

Diversity” the festival motto. “And we meant it,” Kosslick<br />

tells THR. “Diversity of all sorts: all colors, all sexualities, all cultures.”<br />

This year, in the wake of Harvey Weinstein, #MeToo and Time’s<br />

Up, Berlin is trying to live up to that pledge. <strong>The</strong> fight for equality,<br />

whether based on gender, race or sexuality, will be in focus at both<br />

the festival and Berlin’s European Film Market (EFM).<br />

At the festival, Berlin will introduce what it calls a “safe space<br />

policy” that will include coordinating a hotline for visitors to report<br />

cases of discrimination or harassment they experience or witness.<br />

Sundance took a similar tack this year, updating its code of conduct<br />

to try and prevent any inappropriate behavior and introducing<br />

a new 24-hour hotline to report offenses.<br />

<strong>The</strong> policy’s urgency was brought home by the recent case of<br />

German director Dieter Wedel. Several women have accused the<br />

famed film and TV helmer of abuse — ranging from harassment<br />

to assault — going back decades. Wedel denied the initial charges<br />

brought forth by three women but since has gone<br />

silent and has resigned from his job as artistic director<br />

of the Bad Hersfeld <strong>The</strong>ater Festival, citing health<br />

concerns resulting from excessive media attention<br />

Wedel<br />

Wouter Knol<br />

on his case.<br />

At the EFM, the focus will be on analyzing the<br />

problem of discrimination and presenting workable<br />

solutions for the industry. Vivian Yvonne Hunt of<br />

consulting firm McKinsey & Co. will present the latest<br />

finding of her study “Delivering Through Diversity,”<br />

originally unveiled in late January at the Davos World<br />

Economic Forum in Switzerland. In a debate hosted by THR on<br />

Feb. 17, Hunt will break down her analysis of the diversity gap and<br />

what it means for the global film business.<br />

At Berlin’s Co-Production Market, the Austrian Film Institute<br />

will present a case study of its remarkably successful initiative to<br />

address the gender gap among film producers by boosting subsidy<br />

support for projects with higher female participation.<br />

<strong>The</strong> Swedish Film Institute, a leader in the push for gender<br />

equality, will also present in Berlin the latest findings in its 50-50<br />

initiative, which, in just three years, achieved gender parity in terms<br />

of film funding between men and women directors.<br />

“We are a market — we are interested in the business, not<br />

the politics,” says EFM director Matthijs Wouter Knol. “And when<br />

it comes to audiences, there are a lot of people out there, a lot<br />

of groups, who see themselves underrepresented in the content<br />

onscreen. What’s changed is that these groups are becoming more<br />

outspoken and, most importantly, have shown they are willing to<br />

pay for more diverse content.” — S.R.<br />

Illustration by Wren McDonald<br />

THE HOLLYWOOD REPORTER<br />

61<br />

FEBRUARY 7, <strong>2018</strong>

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