According to Cinando, Robert Pattinson “High Life” has found distributors in Slovakia, Czech Republic, Albania and Hungary.

  

According to Cinando:

 

“MCF is well known for the distribution of European film, independent, art-house films and holds exclusive rights for 20th Century Fox movies. MCF covers film rights for Serbia, Montenegro, Macedonia, Bosnia and Herzegovina and Albania. Company’s main focus is film distribution for cinema, television and video, but MCF activities expand to production, festival organization, VOD, IPTV & mobile content services. In just a ten years, since its foundation, MCF has become one of the most relevant distributors in this region.”

MCF’s website has no mention of the film as yet, but stay tuned.

 

Wow.  So Claire Denis originally wrote this with Philip Seymour Hoffman in mind and now Rob’s faith in her convinced her to move on with Rob.  That’s pretty damn impressive. Those are huge shoes to fill and I’m thrilled that both Rob and Claire agree that they can do it.  Brilliant. I especially love this comment from Claire “Robert is very enigmatic, with a powerful presence. He gives off an aura that immediately makes you want to film him.”  Truth.  Good luck on your first day of shooting Claire. You’ll be fine.

Thanks Posh.

Transcript after the cut.

 

Colin Crummy from Vice I-D recently interviewed Mia Goth who mentioned a little bit about her character in High Life, and I mean a snippet.  But at this stage I will take anything.  Also, Mia didn’t specifically mention Rob, but the article does:

“It’s an analogy that Mia takes further; talking about her acting prep like a boxer (she doesn’t speak too much on set and plugs into music to get into the zone. “I listen to Mick Jenkins, Kendrick Lamar, J. Cole, Kanye West… I like their drive and how they want to be the best they can be.”) She expects her sparring partner in cinema to be equally heavyweight, citing Tom Hardy, Michael Fassbender and Joaquin Phoenix as a few of the leading men she’d like to work with. “I’m drawn to actors who do dark material, the darker the better I always say!”

Dark materials with quality people in front of and behind the camera are on the Mia Goth ‘To Do’ list for 2016. She’s just finished filming the supernatural horror A Cure for Wellness, co-starring Dane DeHaan and she is about to head into production on High Life, the English language debut by acclaimed French director Claire Denis which co stars Robert Pattinson and Patricia Arquette. Mia plays “a conflict astronaut in space” in that one, though she can’t say too much about it at this stage except to say she’s heading to the Science Museum after our chat for a spot of galactical research.”

Guess she can tick Rob off that sparring partner list.

 

I always get a little excited when I see the distributors coming on board for Rob’s films and I get to add them to our film page.  High Life will be distributed in the UAE by one of Rob’s staunch supporters - Front Row Filmed Entertainment. Fantastic times ahead – I can feel it in my bones.

 

 

There’s no Rob mention, but I thought I would post a couple of extracts to give us a feel for what to possibly expect for High Life.  From The Playlist:

“Stuart A. Staples has been making music as part of Tindersticks for 25 years. The band, in a couple different incarnations, has created not only its own records, but six scores for films by Claire Denis, with a seventh to be written for the director later this year for her upcoming “High Life.”

…

Is this project at all like working on film scores with Claire Denis?
There’s a process…. working with Claire, it’s not a machine, it’s a feeling. It gets a little more intense every day, and that’s an exciting thing to be involved in. Claire’s films have always asked us to look in different areas of our music, and that’s fed back into how we approach our own music. It’s a big part of that thing we were talking about — it’s 25 years on, but we’re still in the stage of a feeling of discovery, and working with Claire has a lot to do with that.

…

Was the score for “Bastards,” which was very much electronic, a direct pointer to this record?
Maybe, but working on “White Material” really helped. That one asked us to really mess with forms and structures of ideas. That fed into this album. There’s always something with Claire in the way she talks about an idea more than what’s in the script or what’s on the set. That is the most inspiring thing. When we worked on “Trouble Every Day,” for instance, if you just read the script or if someone described the action, you would take it one way, as a thing leaning on horror or gore, maybe as an erotic gore film. But all the time of writing that work, as Claire’s talking, she described what she was really interested in as all about kissing, why lovers want to bite each other. That’s the only thing she’s really interested in with that film. So we start from this point, a kind of romanticism, and it runs all the way through the progression of the idea, and you end up with this really strong thing. It’s a gift, really, making this romantic score for a quite tough movie, one that is difficult in parts.