September 14, 2013 - 12:47 AMT
PanARMENIAN.Net - The Weinstein Company acquired U.S. and multiple territories on The Disappearance Of Eleanor Rigby: His/Hers, Deadline said.
The Ned Benson-directed film stars Jessica Chastain, William Hurt, Viola Davis, James McAvoy, Ciarin Hinds, Isabelle Huppert, Jess Weixler and Nina Arianda.
The film tells the story of a married couple that experiences a difficult time in their relationship, as seen in two films. One is through the eyes of the husband, and the other is from the wife’s perspective.
It’s the second big fest deal for TWC after it spent $7 million and pledged $20 million P&A for the John Carney-directed Can A Song Save Your Life? That pic, which stars Keira Knightley, Mark Ruffalo and Adam Levine, was the biggest deal of the festival, since it was for U.S. rights. The other big deal was Focus paying $7 million for world rights to the Jason Bateman-directed Bad Words.
“There are lots of lonely people, but no Beatles music in “The Disappearance of Eleanor Rigby,” a curious and mostly absorbing investigation of the bust-up of a marriage as seen through the eyes of both respective parties.
This feature directing debut for Columbia U. grad Ned Benson (from a script that made the coveted Black List) is actually two feature-length films shown back-to-back — subtitled “Him” and “Her,” respectively — which is like a hitherto unknown rock band debuting with a double album. But “Eleanor Rigby” has more than just ambition on its side, including stellar lead performances by Jessica Chastain and James McAvoy, backed up by an eclectic supporting case that runs the gamut from Bill Hader to Isabelle Huppert (chain-smoking and guzzling red wine by the liter).
There are highs and lows here, and in their current form both halves could benefit from some judicious trimming, yet something about “Eleanor Rigby” gets under your skin and refuses to leave.
Acquired by the Weinstein Co. following its Toronto premiere, the pic faces any number of theatrical booking and marketing challenges, but should travel widely on the fest circuit and may prove ideal viewing for the VOD era, where it can be leisurely digested in one, two or even three sittings,” film critic Scott Foundas said in a review published at Variety.