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The Playlist

New Posters For James Gray's 'The Immigrant' Brings Together Joaquin Phoenix, Marion Cotillard & Jeremy Renner

  • By Kevin Jagernauth
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  • October 11, 2013 9:50 AM
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  • 4 Comments
Joaquin Phoenix, Marion Cotillard and Jeremy Renner, under the guidance of James Gray, is pretty much all the reason you need to see the forthcoming "The Immigrant." But that it's an accomplished film too, one that finds Gray stretching the boundaries of his personal style of filmmaking, is an equally exciting prospect.

Jeremy Renner Wears Guyliner In Poster For James Gray's 'The Immigrant' Plus New Image From The Film

  • By Kevin Jagernauth
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  • October 8, 2013 2:00 PM
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  • 2 Comments
Though we're still awaiting a firm date from Radius TWC for their planned spring 2014 release of James Gray's "The Immigrant," over in France the film is gearing up to hit cinemas this month. And that means plenty of new looks at the movie well in advance of when many of us over here will get a chance to see it, which willl definitely hold us for now.

NYFF: James Gray Almost Appeared In Wes Anderson’s ‘The Life Aquatic,’ Talks ‘The Immigrant' With Joaquin Phoenix

  • By Rodrigo Perez
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  • October 7, 2013 2:02 PM
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  • 4 Comments
The Immigrant, Gray, Phoenix, set pic
The highlight of the New York Film Festival post-screening Q&A for “The Immigrant," director James Gray's long-awaited period film, was the unlikely and rare appearance of the notoriously evasive Joaquin Phoenix. And while the press shy actor nearly stole the show from his entertaining director, funny and amusing in his own right, Phoenix did it by hardly uttering a word.

NYFF: James Gray Talks Writing For Marion Cotillard & The Cinematic Influences Of ‘The Immigrant’

  • By Rodrigo Perez
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  • October 3, 2013 4:03 PM
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  • 0 Comments
​On the surface, filmmaker James Gray’s fifth film, “The Immigrant,” is steeped in the tradition of the director’s chief preoccupations—social class, the nature of tragic characters, stories set in New York City and the immigrant experience (his autobiographically-influenced 1994 debut, “Little Odessa” centers on a tragic family of Russian Jewish immigrants in Coney Island’s Brighton Beach). Set in early 1920s New York, the drama chronicles a Polish immigrant (played by Marion Cotillard) as she arrives at Ellis Island and is eventually deceived by a charming but wicked hustler (Joaquin Phoenix) who manipulates her into a life of prostitution. Her only form of salvation is a magician (Jeremy Renner) who hopes to take her away from that life. But as much as there are superficial James Gray-esque traits, the movie is actually a bold slow-burner that takes the filmmaker in uncharted directions (read our review from the Cannes Film Festival).

New York Film Festival: 'Inside Llewyn Davis,' 'Nebraska,' 'The Immigrant' & More Round Out 2013 Slate

  • By Kevin Jagernauth
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  • August 19, 2013 12:32 PM
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  • 2 Comments
NYFF: 51, Inside Llewyn Davis, Only Lovers, Warmest Color, Immigrant
So, for folks wondering where Cannes movies like the Coen Brothers "Inside Llewyn Davis," Alexander Payne's "Nebraska," James Gray's "The Immigrant" and Jim Jarmusch's "Only Lovers Left Alive" were going to land on the fall festival circuit, they're going to New York City.

James Gray On 'The Immigrant,' 'The Gray Man,' 'The Lost City Of Z' And More

  • By Jessica Kiang
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  • June 3, 2013 1:15 PM
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  • 5 Comments
Last week, we ran an excerpt from our Cannes Film Festival interview with director James Gray in which he spoke at length about his upcoming sci-fi project. But of course the reason he was there, and the reason we were talking at all, was to present his new film, “The Immigrant,” which premiered in competition and stars Marion Cotillard, Joaquin Phoenix and Jeremy Renner (you can read our review here).

How Will Cannes Films Like 'Inside Llewyn Davis' & 'Only God Forgives' Fare During Oscar Season?

  • By Oliver Lyttelton
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  • May 30, 2013 2:40 PM
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  • 3 Comments
While it's a more diverse celebration of film of all kinds, few could argue that Cannes hasn't provided a major launching pad for awards movies over the years. From "No Country For Old Men" and "Inglourious Basterds" to "The Artist," "Midnight In Paris," "Amour" and "Beasts Of The Southern Wild," barely a year passes without something popping up at Cannes which makes a big splash with the Oscars come the following February.

James Gray Feels "Embarrassed" For Critics For Complaining 'The Immigrant' Is Too Slow

  • By Kevin Jagernauth
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  • May 29, 2013 1:39 PM
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  • 7 Comments
"The boos are the cost of being lucky. But they're still hard to hear," director James Gray recently told the LA Times about the reception he received in Cannes for 2008's "Two Lovers." But the filmmaker returned to the south of France last week to premiere his latest, "The Immigrant," where he's kind of like a big deal. ("James Gray is a rock star here," one of his agents told the paper). But the reception for his most recent was certainly mixed (read our positive review here), and while Gray doesn't mind criticism, he has little patience for those who can't sit still for a movie that's less than two hours.

Cannes: New Clip From ‘The Immigrant’; James Gray Talks Title Changes, Working With Joaquin Phoenix, Marion Cotillard & More

  • By Rodrigo Perez
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  • May 24, 2013 10:35 AM
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  • 6 Comments
James Gray, Marion Cotillard, Cannes
James Gray’s long-awaited period drama, “The Immigrant,” finally screened in Cannes early this morning. Starring the excellent cast of Joaquin Phoenix, Marion Cotillard and Jeremy Renner, “The Immigrant” centers on a conniving pimp (Phoenix) who manipulates a destitute Polish immigrant (Cotillard) into a life of prostitution. Saddled with a sick sister, she works to pay for her medicine and her dismal life seems hopeless until a curious magician (Renner) enters her life.

Cannes Review: James Gray’s Careful, Poised 'The Immigrant' Builds Slowly To A Resonant Climax

  • By Jessica Kiang
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  • May 24, 2013 6:46 AM
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  • 18 Comments
A strangely chimeric movie, that only reveals its truest colors in its closing moments, James Gray’s “The Immigrant” which screened In Competition this morning in Cannes is a meticulous reframing of the director’s familiar themes and concerns that mostly lived up to our high expectations, while never bursting their bounds the way we might have dared to hope. It’s a beautifully shot film marked by deeply felt performances from its leads, that will play to those attuned to the loveliness of Gray’s minor-key redemption stories, but is unlikely to win new converts among the impatient or those whose expectation of a period drama is something more traditionally epic and grandiose.

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