“This week, when a woman known for her powerfully iconic beauty announced that she had undergone an elective double mastectomy to reduce her genetically high risk of breast cancer, it was a cultural and medical earthquake — a revelation so arresting it became the subject of Time’s newest cover story,” writes senior editor Jeffrey Kluger.

Titled “The Angelina Effect,” the story examines how Jolie’s revelation puts genetic testing — which found she carried the cancer-related BRCA1 gene — in the spotlight.

While the decision is seen as the “right choice for her,” Kluger writes, he also cautions that science currently does “a terrible job of calculation our resulting risks.”

“In the U.S., 36% of women who do test positive opt for preventive mastectomy, but some doctors argue that regular MRIs and other screening tests may be sufficient to detect the disease,” he says.

The issue, on newsstands Friday, is the first cover story featuring the megastar.

Knight of Cups is now in post production.

The Hollywood Reporter displayed the first official still from Knight of Cups, featuring Portman and Bale walking on the beach.

The film’s tightly guarded plot is said to be about celebrities and excess.

Basner’s company, celebrating its fifth anniversary, has built a reputation for auteur driven projects. They include Sofia Coppola, whose film The Bling Ring opens the Un Certain Regard section of the Cannes Film Festival on Thursday.

Two other films on FilmNation’s international sales are in Cannes this year: J.C. Chandor’s All is Lost, starring Robert Redford, which plays out of competition, and Alexander Payne’s Nebraska, a competition title.

Paramount is handling Nebraska domestically as well as in the U.K. And Germany. FilmNation is handling everywhere else.

The 2013 Filmmaker on the Edge Award (sponsored by the Coolidge Corner Theatre Foundation) will be awarded to writer/director Harmony Korine (SPRINGBREAKERS, GUMMO, MISTER LONELY, KIDS) in conversation with John Waters at Provincetown’s Town Hall on Saturday, June 22nd.

The Festival will close on June 23rd with a block party and the presentation of the HBO Audience Awards (this event is being produced by Rafanelli Events of Boston, New York, DC and Palm Beach).

Tickets go on sale on May 25th. Festival passes are on sale now.

Opening Night film:
LOVELACE
Directed by Rob Epstein and Jeffrey Friedman
(East Coast Premiere)

Closing Night film:
EMANUEL AND THE TRUTH ABOUT FISHES
Directed by Francesca Gregorini
(East Coast Premiere)

Friday Night Spotlight:
I AM DIVINE
Directed by Jeffrey Schwarz

Saturday Night Spotlight:
I’M SO EXCITED!
Directed by Pedro Almodovar
(East Coast Premiere)

The complete film line-up will be available on the Festival website on Friday, May 10th at: www.ptownfilmfest.org

Presenting Sponsors of the 2013 Festival are HBO, Crown & Anchor, MALLRD Foundation, Bubala’s, Local 186, Xfinity, Ultra.

Official Card: American Express.

PIFF is also supported by grants from The Academy of Motion Picture Arts & Sciences, The National Endowment for the Arts, Massachusetts Cultural Council, Provincetown Tourism Fund and the GALE Fund of the Cape Cod Foundation.

About PFS & PIFF:
The Provincetown Film Society, Inc. (PFS) is the year-round organization and home of the 15-year-old Provincetown International Film Festival (PIFF) and the Waters Edge Cinema. PFS is dedicated to showcasing new achievements in independent film and honoring the work of acclaimed and emerging directors, producers and actors. This is achieved through its 5-day Festival in June as well as its year-round theater operation , the Waters Edge Cinema. PFS is equally devoted to expanding the audience for independent film and to serving our Provincetown and Outer Cape community by filling the void for annual film programming and reflecting the community’s rich diversity in our selected films and honorees. An integral part of PFS’s mission is to contribute to the economic and creative vitality of America’s oldest art colony.

Jim Jarmusch’s vampire romance “Only Lovers Left Alive,” with Tilda Swinton and Tom Hiddleston, took the last competition slot. “Le Dernier des injustes,” a Holocaust documentary from France’s Claude Lanzmann (“Shoah”) will play out of competition.

“Tore Tanzt,” the feature debut of Germany’s Katrin Gebbe, made Un Certain Regard, as did Kurdistan-born Hiner Saleem’s border drama “My Sweet Pepperland” and Argentine director Lucia Puenzo’s “Wakolda,” about a former Nazi hiding in a Patagonia village.

Jarmusch’s “Only Lovers Left Alive” is produced by Jeremy Thomas’ Recorded Picture Co., and “Wakolda” is a Spanish movie co-produced by Jose Maria and Miguel Morales’ Wanda Vision. In addition, U.K. co-production “Monsoon Shootout” will receive a Midnight Screening.

“Only Lovers Left Alive” is directed by an American, “Wakolda” by an Argentinean, produced by Luis Puenzo at Buenos Aires’ Historias Cinematograficas.

Neither U.K. nor Spain has ever had the large established audiences for art-house movies of France, nor France’s zeal to co-produce or co-finance talent from all over the world. “My Sweet Pepperland” is backed by France’s Memento Films Distribution.

variety.com/2013/biz/news/johnny-depp-in-talks-to-join-disneys-into-the-woods-exclusive-1200419236/

He will also receive the Spirit of Independence Award at the festival, which will take place from June 13-23 in downtown Los Angeles.

As guest director, Russell will host a screening of “Three Kings” that will also include a discussion with the filmmaker about his body of work. He’ll also attend the fest’s 12th annual filmmaker retreat at Skywalker Ranch in Marin County.

Russell’s “Silver Linings Playbook” won the Spirit award for best director and screenplay.

The festival also announced several other events. Actress Maya Rudolph and composer Gustavo Santaolalla will be part of its master class series. David Mamet and Ricky Jay will take part in its “In Conversation” session. “An Evening With Costa-Gavras” is

planned, with the filmmaker discussing his work and screening his latest film “Capital.”

“The Great Gatsby,” the seventh screen version of Fitzgerald’s novel is the opening night of the 66th Cannes Film Festival, May 15. The eagerly-awaited picture bows in the U.S. on May 10.

The director said: “one of the greatest privileges of my career was working with this cast,” which includes Leonardo DiCaprio, Carey Mulligan, Tobey Maguire and Joel Edgerton. “The entire cast of young actors are at the height of their powers,” he said. “Everyone’s investment in this project has been 100 percent.”

Describing “The Great Gatsby” as a zeitgeist movie, a “reflection of our time,” Luhrmann said that the novel, set in the early 1920s is a “great, tragic love story with action, passion, drama.”

Adding that Fitzgerald “was criticized for putting pop culture in his books,” the director said he choose to do just that, involving Jay-Z and other contemporary artists to “make this feel of the moment.”

The presentation included striking, bold imagery and emotive close ups that took advantage of the 3D format. The movie was lensed in 3D using Red Epic cameras on 3Ality 3D rigs. The team included director of photography Simon Duggan (who is also behind Warners’ upcoming 300: Rise of an Empire), and production and costume designer Catherine Martin

(Luhrmann’s wife who also worked on Luhrmann’s films including Moulin Rouge and Romeo + Juliet).

“F. Scott Fitzgerald was a great fan of new technology,” said Luhrmann, who realized the 3D’s potential when he had an opportunity to watch Alfred Hitchcock’s Dial M for Murder in its original 3D format “and seeing the actors move in the space.”

Luhrmann related that for Gatsby, it would be “great to see the actors perform in [3D space] in these 11 minute scenes. That would be our special effect.”

The previous version of “The Great Gatsby,” directed by Jack Clayton in 1974 and starring Robert Redford and Mia Farrwo, was both an artistic and commercial failure.

The prize is awarded annually by Film Directors Guild and sponsored by CANAL+ Cinéma. It is a tribute paid by the directors to honor one of their own, chosen from the international filmmaking community for the innovative qualities, the courage and independent mindedness of his or her work.

Since its creation in 2002, this award has been given to Jacques Rozier, Clint Eastwood, Nanni Moretti, Ousmane Sembene, David Cronenberg, Alain Cavalier, Jim Jarmusch, Naomi Kawase, Agnès Varda, Jafar Panahi and Nuri Bilge Ceylan in 2012.

There will be an afternoon conversation with Campion, followed by a screening at Cannes’ Théâtre Croisette.

The prize will be presented that evening during the viagra price Directors’ Fortnight opening ceremony.

The 65-year-old Griffiths, with his portly appearance and distinctive voice, had a long career on the British stage with the Royal Shakespeare Company, winning acclaim in such roles as Falstaff. He became known to the film world fans with the 1987 “Withnail and

I,” which became a cult hit and led to other film and TV work.

One of his best performances occurred when he was nearing 60, in Alan Bennett’s “The History Boys,” playing a popular teacher who was the centerpiece of the play. He won the Evening Standard award for his work, and the Tony award when it moved to Broadway in 2006. That year, he re-created the role in the Nicholas Hytner-directed film.

Last year, Griffiths starred with Danny DeVito in the West End revival of Neil Simon’s “The Sunshine Boys,” which was scheduled to kick off the new season at L.A.’s Ahmanson Theatre Center Theatre Group, with a Sept. 24-Nov. 3 run. In a statement, CTG producing director Douglas C. Baker said, “He was one of the greats and will be dearly missed by all. ‘The Sunshine Boys’ producers, creative team, and CTG will meet soon to discuss future plans for the production.”

Griffiths had a fine sense of humor and large store of theatrical anecdotes, for which he was famous along with occasional bursts of temper. At an American Theater Wing panel discussion in April 2006, he talked about touring Hong Kong and New Zealand with “History Boys,” when some of the best lines didn’t get the anticipatory laughs.

Quoting George Burns he said, “I say something, they laugh and I shut up. they stop laughing and I say something else.” But in Hong Kong where the “History Boys” performance was accompanied by surtitles in Mandarin, Cantonese and English, he said, “You say a line and wait for the laugh but it never comes and it never comes so you look foolish like you’ve forgotten your line but you have not.”

National Theater director Nicholas Hytner, who directed “History Boys,” called Griffiths’ performance in that play “a masterpiece of wit, delicacy, mischief and desolation, often simultaneously.”

Besides that work, Griffiths starred in another Rialto transfer from London: “Equus” with his “Harry Potter” co-star Daniel Radcliffe.

Griffiths also played poet W.H. Auden in Bennett’s “The Habit of Art,” a hugely persuasive performance despite the lack of physical resemblance between the two men.