Even 400 years after the death of William Shakespeare, his work still lives on. Not only are his plays still performed all around the world, but they also inspire artists to make their own versions. This is the case with Chen Hung-i and Muni Wei’s latest film “As We Like It”, for which they adapted the homonymous work, one of the bard’s pastoral comedies. The result of their first collaboration as co-directors is a bustling, bright film about love that had its world premiere at the International Film Festival Rotterdam.
As We Like It screened at International Film Festival Rotterdam
“As You Like It” highlights the simple country life versus the complexity and stressfulness of cities and towns. At the same time, it tells the story of a power struggle at the court, but above all the play is a love story involving not one but four happy couples.
As We Like It screened at International Film Festival Rotterdam
“As You Like It” highlights the simple country life versus the complexity and stressfulness of cities and towns. At the same time, it tells the story of a power struggle at the court, but above all the play is a love story involving not one but four happy couples.
- 2/8/2021
- by Nancy Fornoville
- AsianMoviePulse
Harry Macqueen’s drama Supernova is one of many films this weekend that will open in theaters before hitting a digital platform — this seems to be a new trend.
Written and directed by Macqueen, The Bleecker Street pic that follows Sam (Colin Firth) and Tusker (Stanley Tucci), a couple of 20 years. They are more in love now than they ever have been but in the two years since Tusker was diagnosed with early-onset dementia, their lives have had to change.
As Tusker’s condition progresses, Sam is forced to place his life on hold and become his partner’s full-time caregiver. To make the most of every moment of their lives,they plan a road trip while Tusker is still able to travel, to see friends and family and revisit memories.
While Tusker had once been Sam’s rock, but now they have switched places. Sam has resolved to give...
Written and directed by Macqueen, The Bleecker Street pic that follows Sam (Colin Firth) and Tusker (Stanley Tucci), a couple of 20 years. They are more in love now than they ever have been but in the two years since Tusker was diagnosed with early-onset dementia, their lives have had to change.
As Tusker’s condition progresses, Sam is forced to place his life on hold and become his partner’s full-time caregiver. To make the most of every moment of their lives,they plan a road trip while Tusker is still able to travel, to see friends and family and revisit memories.
While Tusker had once been Sam’s rock, but now they have switched places. Sam has resolved to give...
- 1/29/2021
- by Dino-Ray Ramos
- Deadline Film + TV
The average screen time for a Best Actress Oscar nominee is one hour, three minutes, and 28 seconds. Not surprisingly, over 45% of those who have contended for the award (and 47% of those who have won) have not even reached the one hour mark froo screen time. Here is a look at the category’s 10 shortest nominated performances, including four winners:
10. Frances McDormand (“Fargo”)
26 minutes, 29 seconds (27.01% of the film)
McDormand earned her first of two Best Actress Oscars in 1997 for playing the role of Marge Gunderson, a pleasant yet shrewd Minnesota police chief. Since she is absent from the first third of the film, her screen time is remarkably low, and even ranks 38 seconds below that of William H. Macy, her Best Supporting Actor-nominated castmate. To date, none of McDormand’s five Oscar-nominated performances have reached the one hour screen time mark.
9. Julie Christie (“McCabe & Mrs. Miller”)
25 minutes, 2 seconds (20.71% of the...
10. Frances McDormand (“Fargo”)
26 minutes, 29 seconds (27.01% of the film)
McDormand earned her first of two Best Actress Oscars in 1997 for playing the role of Marge Gunderson, a pleasant yet shrewd Minnesota police chief. Since she is absent from the first third of the film, her screen time is remarkably low, and even ranks 38 seconds below that of William H. Macy, her Best Supporting Actor-nominated castmate. To date, none of McDormand’s five Oscar-nominated performances have reached the one hour screen time mark.
9. Julie Christie (“McCabe & Mrs. Miller”)
25 minutes, 2 seconds (20.71% of the...
- 1/29/2021
- by Matthew Stewart
- Gold Derby
Photo: ‘Vita & Virginia’/Thunderbird Releasing Warning: this article contains spoilers for ‘Vita & Virginia’. The real-life relationship between writers Virginia Woolf and Vita Sackville-West is rendered a love letter to love in ‘Vita & Virginia’, which vividly presents how love ensnares us, enriches us, and devastates us. An arthouse biopic directed and co-written by Chanya Button, the film depicts only a sliver of both of these women’s lives in the 1920s—yet it’s an important one. Set in the intellectual and creative world of London’s bohemian art scene, Button’s film spans a condensed version of the period in which Sackville-West and Woolf met, became involved, and ended their affair. Related article: ‘God’s Own Country’: One of the Most Beautiful Love Stories Ever Told - A Gay Love Story That Wins Related article: Did you see the hidden messages in ‘Call Me By Your Name...
- 1/26/2021
- by Claire L. Wong
- Hollywood Insider - Substance & Meaningful Entertainment
The Netflix drama Malcolm & Marie, from Euphoria creator Sam Levinson, was one of the first — if not the first — movie that was shot during the coronavirus pandemic. The idea for the movie surfaced after Euphoria shut down production, and Levinson had a conversation with his Emmy-winning star Zendaya about the possibility of making a film during a time when Hollywood was pretty much on hiatus, and Levinson felt a responsibility to get his crew back to work.
“We sort of had to reverse engineer it in a way,” Levinson says during Deadline’s Contenders Film awards-season event, where he was joined by co-stars Zendaya and John David Washington. He explains that he wanted to have solely the two actors, and that at the time the only place they could shoot was in Carmel — the only place in California where one could shoot without a permit on private property.
The...
“We sort of had to reverse engineer it in a way,” Levinson says during Deadline’s Contenders Film awards-season event, where he was joined by co-stars Zendaya and John David Washington. He explains that he wanted to have solely the two actors, and that at the time the only place they could shoot was in Carmel — the only place in California where one could shoot without a permit on private property.
The...
- 1/23/2021
- by Dino-Ray Ramos
- Deadline Film + TV
Oscar winner Nicole Kidman cools off by posing for "Interview" magazine, photographed by Yu Tsai:
Kidman's breakthrough film role was in the 1989 thriller "Dead Calm", followed by performances in "Days of Thunder" (1990), "Far and Away" (1992) and "Batman Forever" (1995).
Other films include "Moulin Rouge!" (2001) earning her a 'Golden Globe Award' for Best Actress – Motion Picture Musical or Comedy and her first nomination for the Academy Award for Best Actress.
Kidman's performance as 'Virginia Woolf' in "The Hours" (2002) earned her an 'Academy Award' for Best Actress...
...the 'BAFTA Award' for Best Actress in a Leading Role, the 'Golden Globe' Award for Best Actress – Motion Picture Drama and the 'Silver Bear' for Best Actress at the 'Berlin International Film Festival'.
Kidman's other notable films include "To Die For" (1995), for which she won her first Golden Globe Award for Best Actress – Motion Picture Musical or Comedy, "Eyes Wide Shut" (1999), "The Others...
Kidman's breakthrough film role was in the 1989 thriller "Dead Calm", followed by performances in "Days of Thunder" (1990), "Far and Away" (1992) and "Batman Forever" (1995).
Other films include "Moulin Rouge!" (2001) earning her a 'Golden Globe Award' for Best Actress – Motion Picture Musical or Comedy and her first nomination for the Academy Award for Best Actress.
Kidman's performance as 'Virginia Woolf' in "The Hours" (2002) earned her an 'Academy Award' for Best Actress...
...the 'BAFTA Award' for Best Actress in a Leading Role, the 'Golden Globe' Award for Best Actress – Motion Picture Drama and the 'Silver Bear' for Best Actress at the 'Berlin International Film Festival'.
Kidman's other notable films include "To Die For" (1995), for which she won her first Golden Globe Award for Best Actress – Motion Picture Musical or Comedy, "Eyes Wide Shut" (1999), "The Others...
- 1/13/2021
- by Unknown
- SneakPeek
By Christina Litsa
Haruki Murakami, then based in Hawaii, recalls his early career as a jazz club owner, his sudden decision to write a book in his thirties and the inevitable change that came in his life after closing his club to achieve a steady and successful presence in writing, while he lists his experiences in marathons and in an ultramarathon.
From times to times, it seems that prolific writers feel the unbeatable need to discuss with the reader about the starting point, the inspiration, the reason behind their craft, in conjunction with their struggle of choosing the ultimate word to jot down in a hard-covered journal (as I like to imagine), the art of wording, a subtle one someone might think, but also one that requires a great deal of stamina as Murakami declares in his non-fiction book “What I Talk About When I Talk About...
Haruki Murakami, then based in Hawaii, recalls his early career as a jazz club owner, his sudden decision to write a book in his thirties and the inevitable change that came in his life after closing his club to achieve a steady and successful presence in writing, while he lists his experiences in marathons and in an ultramarathon.
From times to times, it seems that prolific writers feel the unbeatable need to discuss with the reader about the starting point, the inspiration, the reason behind their craft, in conjunction with their struggle of choosing the ultimate word to jot down in a hard-covered journal (as I like to imagine), the art of wording, a subtle one someone might think, but also one that requires a great deal of stamina as Murakami declares in his non-fiction book “What I Talk About When I Talk About...
- 12/8/2020
- by Guest Writer
- AsianMoviePulse
by Rwita Dutta
Virginia Woolf once said “A woman must have money and a room of her own if she is to write fiction.” This ubiquitous statement seems to be quite pertinent till date, especially that things can be enormously challenging for women in India where they have to balance home with work. Female gaze in art is still an obscure subject in India. The empowering point of view of a female filmmaker has the immense potentiality to emphasize the agency of women and their trial and tribulations. This documentary film, one of the significant works of recent times resonates the age old issue of women empowerment in today’s India.
Vrinda Samartha, primarily a documentary filmmaker from Bangalore, quite succinctly, dealt with this relatively rare subject of how relevant is financial independence, while talking about women’s empowerment, in Indian context. She, carefully, picked an important facet within the...
Virginia Woolf once said “A woman must have money and a room of her own if she is to write fiction.” This ubiquitous statement seems to be quite pertinent till date, especially that things can be enormously challenging for women in India where they have to balance home with work. Female gaze in art is still an obscure subject in India. The empowering point of view of a female filmmaker has the immense potentiality to emphasize the agency of women and their trial and tribulations. This documentary film, one of the significant works of recent times resonates the age old issue of women empowerment in today’s India.
Vrinda Samartha, primarily a documentary filmmaker from Bangalore, quite succinctly, dealt with this relatively rare subject of how relevant is financial independence, while talking about women’s empowerment, in Indian context. She, carefully, picked an important facet within the...
- 12/4/2020
- by Guest Writer
- AsianMoviePulse
German filmmaker Ulrike Ottinger has been making films for nearly 50 years now, creating experimental and often transgressive work that frequently walks the line between documentary reality and artistic truth. Nothing has fazed her in this time, even working in the bohemian heyday of the late Rainer Werner Fassbinder’s Berlin, but her latest film, in which she turns the camera on herself, proved to be the most challenging so far.
Making its Dutch premiere in IDFA’s Masters section—after debuting at the Berlin Film Festival, where she was honored with the Berlinale Camera—“Paris Calligrammes” finds the director reflecting on her own formative experiences as a young painter and photographer in Paris, where she lived from 1962 to early 1969. She moved there to learn etching, but, because of a voracious appetite for learning, she also attended lectures by anthropologist Claude Lévi-Strauss, philosopher Louis Althusser and sociologist Pierre Bourdieu at the Collège de France,...
Making its Dutch premiere in IDFA’s Masters section—after debuting at the Berlin Film Festival, where she was honored with the Berlinale Camera—“Paris Calligrammes” finds the director reflecting on her own formative experiences as a young painter and photographer in Paris, where she lived from 1962 to early 1969. She moved there to learn etching, but, because of a voracious appetite for learning, she also attended lectures by anthropologist Claude Lévi-Strauss, philosopher Louis Althusser and sociologist Pierre Bourdieu at the Collège de France,...
- 11/28/2020
- by Marta Balaga
- Variety Film + TV
Tilda Swinton is basically the David Bowie of film, a multi-faceted, eccentric chameleon who is equally comfortable in experimental, art house cinema, character driven indies and massive blockbusters. It helps that she’s a spitting image of Bowie too. In a 30+ year career between acting, performance art, theatre and more, it’s less that Swinton has gotten increasingly adventurous and more that now even mainstream audiences have come to accept her frequent innovations and daring transformations. She’s pulled her biggest gambit yet in Luca Guadagnino’s “Suspiria,” opening Oct. 26. Here’s how Swinton has evolved up till now.
Caravaggio (1986)
Tilda Swinton’s first film was the experimental drama “Caravaggio,” kicking off a long, working relationship with director Derek Jarman. It’s a fictionalized look at the life of Michelangelo and also is the film debut of actor Sean Bean.
Orlando (1992)
Tilda Swinton landed the lead role in Sally Potter’s Elizabethan-era drama “Orlando,...
Caravaggio (1986)
Tilda Swinton’s first film was the experimental drama “Caravaggio,” kicking off a long, working relationship with director Derek Jarman. It’s a fictionalized look at the life of Michelangelo and also is the film debut of actor Sean Bean.
Orlando (1992)
Tilda Swinton landed the lead role in Sally Potter’s Elizabethan-era drama “Orlando,...
- 11/5/2020
- by Brian Welk
- The Wrap
Andrew Bolton collaborated with Michael Cunningham and Stephen Daldry’s The Hours stars Meryl Streep, Nicole Kidman, and Julianne Moore, who read from Virginia Woolf’s Orlando: A Biography for About Time: Fashion and Duration Photo: Anne-Katrin Titze
In Christian D Bruun's Calendar Girl (a 2020 Doc NYC highlight), which features interviews with the who’s who of the fashion world, Diane von Furstenberg, Steven Kolb (CEO of the Council of Fashion Designers of America), and André Leon Talley), we see Andrew Bolton stroll through the China: Through the Looking Glass exhibit with Ruth Finley, creator of the Fashion Calendar.
Andrew Bolton with Anne-Katrin Titze: “I wanted to use the Phillip Glass soundtrack for The Hours” Photo: Anne-Katrin Titze
At the in-person press preview for About Time: Fashion and Duration, Andrew Bolton (the Wendy Yu Curator in Charge of the Costume Institute at The Metropolitan Museum of Art) told me how...
In Christian D Bruun's Calendar Girl (a 2020 Doc NYC highlight), which features interviews with the who’s who of the fashion world, Diane von Furstenberg, Steven Kolb (CEO of the Council of Fashion Designers of America), and André Leon Talley), we see Andrew Bolton stroll through the China: Through the Looking Glass exhibit with Ruth Finley, creator of the Fashion Calendar.
Andrew Bolton with Anne-Katrin Titze: “I wanted to use the Phillip Glass soundtrack for The Hours” Photo: Anne-Katrin Titze
At the in-person press preview for About Time: Fashion and Duration, Andrew Bolton (the Wendy Yu Curator in Charge of the Costume Institute at The Metropolitan Museum of Art) told me how...
- 10/29/2020
- by Anne-Katrin Titze
- eyeforfilm.co.uk
The second shot of Edward Yang’s 1986 The Terrorizers—which just ended a month-long run on Mubi but which is still available in the Mubi library—is a close-up of a woman’s eyes. But the image is grainy and monochrome and there are paper folds beneath both eyes that look like tears. This is followed a beat later by a similar shot of the woman’s open mouth and a man in profile, again highly pixellated. Anyone familiar with Mike Nichols’ film of Who’s Afraid of Virginia Woolf?, but especially anyone familiar with its French poster, might recognize the faces of Elizabeth Taylor and Richard Burton.The grande-sized poster (though you never see the title or any of the other lettering) hangs on the wall of a photographer who is living with his girlfriend. Over the course of the film their lives will intersect with a number of other disparate characters,...
- 10/8/2020
- MUBI
Atonement stings in Filip Jan Rymsza’s chilly Mosquito State, an elegant but increasingly tortured allegory for the unraveling of one unwitting architect of the 2007 subprime mortgage crisis. This obsessive fever dream opens with a predatory insect’s eye view of high-roller privilege then multiplies into a nightmarish infestation before vengefully claiming its sacrifice, in a poetic surrender that evokes Virginia Woolf. Juiced up with nods to Franz Kafka’s The Metamorphosis and to classic David Cronenberg bug-outs, much of it set to insidious techno beats, this is commandingly creepy psycho-horror, even if its forbidding narrative loses momentum.
The title sequence,...
The title sequence,...
Atonement stings in Filip Jan Rymsza’s chilly Mosquito State, an elegant but increasingly tortured allegory for the unraveling of one unwitting architect of the 2007 subprime mortgage crisis. This obsessive fever dream opens with a predatory insect’s eye view of high-roller privilege then multiplies into a nightmarish infestation before vengefully claiming its sacrifice, in a poetic surrender that evokes Virginia Woolf. Juiced up with nods to Franz Kafka’s The Metamorphosis and to classic David Cronenberg bug-outs, much of it set to insidious techno beats, this is commandingly creepy psycho-horror, even if its forbidding narrative loses momentum.
The title sequence,...
The title sequence,...
Is two-time Emmy winner Jeff Daniels about to add another trophy to his mantel? The versatile actor previously prevailed for “The Newsroom” (2013) and “Godless” (2018), and now he’s earning super-early Emmy buzz for his role as former FBI director James Comey in Showtime’s limited series “The Comey Rule” (watch the trailer above). The program, which debuts this September, tells the story of Comey’s transition from working in President Barack Obama‘s administration to his ultimate firing under President Donald Trump. Daniels has a rich history of starring in great productions, so below we take a look back through his 15 best movies ever — can you guess our #1 pick?
TV academy members love when well-known actors take on political figures — just look at Julianne Moore as Sarah Palin (“Game Change”), Barry Pepper as Robert F. Kennedy (“The Kennedys”), Paul Giamatti as John Adams (“John Adams”), as well as all of...
TV academy members love when well-known actors take on political figures — just look at Julianne Moore as Sarah Palin (“Game Change”), Barry Pepper as Robert F. Kennedy (“The Kennedys”), Paul Giamatti as John Adams (“John Adams”), as well as all of...
- 8/24/2020
- by Marcus James Dixon
- Gold Derby
“The Crown” just got another major talent added to its fifth and sixth seasons. Even ahead of a premiere date for Season 4, Australian actress Elizabeth Debicki has just been cast as Princess Diana in the Emmy-winning Netflix’s series’ Seasons 5 and 6. Netflix shared the news via Twitter, including a statement from Debicki. See below.
“Princess Diana’s spirit, her words and her actions live in the hearts of so many,” Elizabeth Debicki said. “Her actions live in the hearts of so many. It is my true privilege and honor to be joining this masterful series, which has had me absolutely hooked from episode one.”
Series creator Peter Morgan originally intended for the now-extended series to end with Season 5. For the upcoming fourth season, Emma Corrin will play a young Diana, who was born in 1961. Season 4 will also include Erin Doherty as Princess Anne, 2020 Emmy nominees Olivia Colman and Helena Bonham Carter...
“Princess Diana’s spirit, her words and her actions live in the hearts of so many,” Elizabeth Debicki said. “Her actions live in the hearts of so many. It is my true privilege and honor to be joining this masterful series, which has had me absolutely hooked from episode one.”
Series creator Peter Morgan originally intended for the now-extended series to end with Season 5. For the upcoming fourth season, Emma Corrin will play a young Diana, who was born in 1961. Season 4 will also include Erin Doherty as Princess Anne, 2020 Emmy nominees Olivia Colman and Helena Bonham Carter...
- 8/16/2020
- by Ryan Lattanzio
- Indiewire
Jessica Swale’s World War II-era “Summerland,” debuting on demand via IFC on July 31, turns the English coastal countryside into a character in the tale of a reclusive writer played by Gemma Arterton — and the house in which much of the action takes place serves as a portal to those surroundings.
Making her feature film debut, Swale, the Olivier-winning playwright who penned “Nell Gwynn,” enlisted set decorator Philippa Hart to create the ambience of the house. It’s there that Arterton’s Alice is writing a thesis about the mythology of the area, when a boy — an evacuee from London — is left in her care. Overcoming her initial misgivings, she establishes a friendship with the child that reawakens her emotionally and allows her to reconnect with the memories of a former love (Gugu Mbatha-Raw).
The house that’s featured in the movie is film-friendly — its exteriors were used in the final scenes of 2007’s “Atonement.
Making her feature film debut, Swale, the Olivier-winning playwright who penned “Nell Gwynn,” enlisted set decorator Philippa Hart to create the ambience of the house. It’s there that Arterton’s Alice is writing a thesis about the mythology of the area, when a boy — an evacuee from London — is left in her care. Overcoming her initial misgivings, she establishes a friendship with the child that reawakens her emotionally and allows her to reconnect with the memories of a former love (Gugu Mbatha-Raw).
The house that’s featured in the movie is film-friendly — its exteriors were used in the final scenes of 2007’s “Atonement.
- 7/31/2020
- by Valentina I. Valentini
- Variety Film + TV
Filmmaker Ann Hui and actress Tilda Swinton are each to receive the Golden Lion for Lifetime Achievement at the 77th Venice International Film Festival (2 September – 12 September, 2020).
The decision was made by the Board of Directors of the Biennale di Venezia upon the recommendation of Venice Film Festival Director, Alberto Barbera.
Accepting the award, Swinton said: “This great festival has been dear to my heart for three decades: to be honored by her in this way is extremely humbling. To come to Venice, this year of all years, to celebrate immortal cinema and her defiant survival in the face of all the challenges that evolution might throw at her – as at us all – will be my sincere joy.”
Swinton started making films with the director Derek Jarman in 1985 with Caravaggio. They made seven more films together including Edward II for which she won the Best Actress award at the 1991 Venice International Film Festival.
The decision was made by the Board of Directors of the Biennale di Venezia upon the recommendation of Venice Film Festival Director, Alberto Barbera.
Accepting the award, Swinton said: “This great festival has been dear to my heart for three decades: to be honored by her in this way is extremely humbling. To come to Venice, this year of all years, to celebrate immortal cinema and her defiant survival in the face of all the challenges that evolution might throw at her – as at us all – will be my sincere joy.”
Swinton started making films with the director Derek Jarman in 1985 with Caravaggio. They made seven more films together including Edward II for which she won the Best Actress award at the 1991 Venice International Film Festival.
- 7/20/2020
- by Andreas Wiseman
- Deadline Film + TV
Michael Cusumano here for the 30th episode of The New Classics.
It was hard. Absolutely.
Scene: The Bucket List
Halfway through Joachim Trier’s Oslo, August 31 we get an extended scene of the protagonist, Anders (Anders Danielsen Lie), sitting in a cafe and simply listening to the other patrons talk. He appears perfectly ordinary sitting there. Just a guy in a cafe. What we in the audience know, which everyone who meets him on this fateful day does not, is that Anders started the day by filling his pockets with rocks and wading into a lake, attempting suicide a la Virginia Woolf. He couldn't go through with it and spends the rest of the film teetering quietly on the brink...
It was hard. Absolutely.
Scene: The Bucket List
Halfway through Joachim Trier’s Oslo, August 31 we get an extended scene of the protagonist, Anders (Anders Danielsen Lie), sitting in a cafe and simply listening to the other patrons talk. He appears perfectly ordinary sitting there. Just a guy in a cafe. What we in the audience know, which everyone who meets him on this fateful day does not, is that Anders started the day by filling his pockets with rocks and wading into a lake, attempting suicide a la Virginia Woolf. He couldn't go through with it and spends the rest of the film teetering quietly on the brink...
- 6/16/2020
- by Michael C.
- FilmExperience
To many women and men, marriage is not only a happy occasion, but ultimately the center goal in their lives, unrelated to their cultural background. Especially in Western civilizations, marriage is not only connected to love and the concept of an eternal bond between people, but also a certain feeling of safety, emotionally and, perhaps more significantly, economically. Similar to the decision to buy a house and start a family, it sets a direction in one’s life, a victory, so to speak, to meet people’s expectations. In her home country, as director Yukiko Mishima explains, marriage, having children and buying/owning a house have become cultural rather than individual standards. Especially with regards to women, marriage as a means to create stability in one’s life also creates an immense pressure not to “slip up”.
“Shape of Red” is screening at Nippon Connection 2020
In her adaptation of Rio Shimamoto...
“Shape of Red” is screening at Nippon Connection 2020
In her adaptation of Rio Shimamoto...
- 6/12/2020
- by Rouven Linnarz
- AsianMoviePulse
“We don’t see things as they are, we see them as we are,” goes author Anaïs Nin’s frequently cited quote on human subjectivity. However overused, few summations could articulate the idea at the heart of Israeli filmmaker Ra’anan Alexandrowicz’s provocative non-fiction effort “The Viewing Booth” this precisely.
Capturing a viewer’s visceral and verbal responses to a series of short videos — all portraying devastating facets of Palestinian life under Israeli occupation — Alexandrowicz sets out to investigate what happens behind the eye of the beholder, while posing numerous queries as a result: Do we bring our own beliefs to what we watch? Is truth open to interpretation even if it’s supported by unassailable evidence? Does documentary film possess the power of changing hearts and minds for the better?
While these are hardly groundbreaking questions, asking and learning from them is perhaps more vital than it’s ever...
Capturing a viewer’s visceral and verbal responses to a series of short videos — all portraying devastating facets of Palestinian life under Israeli occupation — Alexandrowicz sets out to investigate what happens behind the eye of the beholder, while posing numerous queries as a result: Do we bring our own beliefs to what we watch? Is truth open to interpretation even if it’s supported by unassailable evidence? Does documentary film possess the power of changing hearts and minds for the better?
While these are hardly groundbreaking questions, asking and learning from them is perhaps more vital than it’s ever...
- 6/9/2020
- by Tomris Laffly
- Variety Film + TV
If your movie calls for a woman on the verge of — or completely in the throes of — a breakdown, Elisabeth Moss is the one for the job. With “Shirley,” Moss continues to flex her affinity for the mad, disheveled, unraveling, and messy, as already well-documented in films including “The Invisible Man,” “Her Smell,” “Queen of Earth,” and “Us.” In Josephine Decker’s new film, Moss stars as gothic fiction writer Shirley Jackson, opposite Michael Stuhlbarg as Jackson’s husband, the literary critic Stanley Hyman. Together, these two actors work at the peak of their powers to turn marriage into demented theater, coiling a young couple (played by Odessa Young and Logan Lerman) into their sick orbit and twisting the story into “Who’s Afraid of Virginia Woolf?” territory, but with a hallucinatory edge.
And it’s this character, who only sees emptiness beneath the face powder of polite society and openly mocks decorum,...
And it’s this character, who only sees emptiness beneath the face powder of polite society and openly mocks decorum,...
- 6/5/2020
- by Ryan Lattanzio
- Indiewire
by Cláudio Alves
When presenting the Best Actress Oscar during the 75th Academy Awards, Denzel Washington famously said "by a nose" before announcing Nicole Kidman as that year's winner for her work in The Hours. It was a reference to the way that, throughout that awards season, the actress's prosthetic enhanced transformation into Virginia Woolf had caused much controversy. Some people appreciated how Kidman left vanity at the door and allowed herself to be made unrecognizable, while many others found it to be distracting. In any case, it was a good booster to her Oscar campaign. The quality of a performance notwithstanding, there are few things that the Academy loves more than beautiful celebrities de-glamming.
Unfortunately, as it sometimes happens, while the performer was showered in gold, the team of makeup artists that made the physical transformation possible was left unrecognized. In the case of The Hours, they were even made ineligible…...
When presenting the Best Actress Oscar during the 75th Academy Awards, Denzel Washington famously said "by a nose" before announcing Nicole Kidman as that year's winner for her work in The Hours. It was a reference to the way that, throughout that awards season, the actress's prosthetic enhanced transformation into Virginia Woolf had caused much controversy. Some people appreciated how Kidman left vanity at the door and allowed herself to be made unrecognizable, while many others found it to be distracting. In any case, it was a good booster to her Oscar campaign. The quality of a performance notwithstanding, there are few things that the Academy loves more than beautiful celebrities de-glamming.
Unfortunately, as it sometimes happens, while the performer was showered in gold, the team of makeup artists that made the physical transformation possible was left unrecognized. In the case of The Hours, they were even made ineligible…...
- 6/4/2020
- by Cláudio Alves
- FilmExperience
Pushed over a metaphorical cliff, the two nonconformists in Josephine Decker’s “Shirley” — her follow-up to the mind-bending “Madeline’s Madeline” — bond over the maddening submissiveness expected of them, which they both come to furiously abhor. Their strange alliance makes for a psychologically layered portrait of unapologetic womanhood that’s dangerously sensual and sumptuously rebellious.
The film, which premiered at the Sundance Film Festival on Saturday, comes from a screenplay by Sarah Gubbins, which was adapted from Susan Scarf Merrell’s biographical fiction novel. Decker revives American genre writer Shirley Jackson (embodied by Elisabeth Moss) with a concoction of fact and magical realism, which may frame the film as a radically more exciting cousin to Stephen Daldry’s Virginia Woolf-centered, triptych drama “The Hours.”
Sensorial waves are sent through our systems right from the drama’s opening frames via cinematographer Sturla Brandth Grøvlen’s hypnotic camerawork and ethereal lighting.
The film, which premiered at the Sundance Film Festival on Saturday, comes from a screenplay by Sarah Gubbins, which was adapted from Susan Scarf Merrell’s biographical fiction novel. Decker revives American genre writer Shirley Jackson (embodied by Elisabeth Moss) with a concoction of fact and magical realism, which may frame the film as a radically more exciting cousin to Stephen Daldry’s Virginia Woolf-centered, triptych drama “The Hours.”
Sensorial waves are sent through our systems right from the drama’s opening frames via cinematographer Sturla Brandth Grøvlen’s hypnotic camerawork and ethereal lighting.
- 6/4/2020
- by Carlos Aguilar
- The Wrap
There is so much to cover from When Calls the Heart Season 7 Episode 8, it's hard to know where to start.
Thankfully, main characters don't often die in Hope Valley, so the likelihood of the person severely injured eventually mending is very good.
But Jesse and Clara continue to face stumbling blocks during their very short marriage, Henry needs to lay his business cards on the table, and Nathan needs to grow up and stop playing childish emotional games.
Let's begin with Lucas' business partnership with Henry.
Henry is playing a very dangerous game. He's responsible for the livelihoods of others. Lucas recognized a while ago that Henry was hiding something about the financial stability of the company, but Henry has flat refused to share the details.
That leaves Lucas with little choice other than getting a subpoena to see what he has every right to view. And we know Lucas doesn't need the money.
Thankfully, main characters don't often die in Hope Valley, so the likelihood of the person severely injured eventually mending is very good.
But Jesse and Clara continue to face stumbling blocks during their very short marriage, Henry needs to lay his business cards on the table, and Nathan needs to grow up and stop playing childish emotional games.
Let's begin with Lucas' business partnership with Henry.
Henry is playing a very dangerous game. He's responsible for the livelihoods of others. Lucas recognized a while ago that Henry was hiding something about the financial stability of the company, but Henry has flat refused to share the details.
That leaves Lucas with little choice other than getting a subpoena to see what he has every right to view. And we know Lucas doesn't need the money.
- 4/13/2020
- by Carissa Pavlica
- TVfanatic
Sky Cinema grabs a lot of the bigger blockbusters, but often promotes smaller movies that have gained a nice little following, so we’re keeping track of all the new films that are hitting the service in the coming month.
In April, you’ll get new premieres like Spider-Man: Far From Home and Detective Pikachu. As always, quite a few of the films in the lineup will also be available via Now TV, but here’s an official look at what’s coming to Sky Cinema over the next few weeks…
Premieres
Four Kids And It – April 3rd
Jacqueline Wilson’s spin-off novel gets the Sky Original treatment, as four kids hope their dreams are about to come true on a new search for the magical creature.
Vita And Virginia – April 5th
A touching drama based on the real-life love story between Virginia Woolf (Elizabeth Debicki) and Vita Sackville-West (Gemma Arterton...
In April, you’ll get new premieres like Spider-Man: Far From Home and Detective Pikachu. As always, quite a few of the films in the lineup will also be available via Now TV, but here’s an official look at what’s coming to Sky Cinema over the next few weeks…
Premieres
Four Kids And It – April 3rd
Jacqueline Wilson’s spin-off novel gets the Sky Original treatment, as four kids hope their dreams are about to come true on a new search for the magical creature.
Vita And Virginia – April 5th
A touching drama based on the real-life love story between Virginia Woolf (Elizabeth Debicki) and Vita Sackville-West (Gemma Arterton...
- 3/25/2020
- by Kirsten Howard
- Den of Geek
Who’s Afraid of Virginia Woolf?, the much-anticipated Broadway revival starring Laurie Metcalf and Rupert Everett with a powerhouse creative and production team, will not resume performances at Broadway’s Booth Theatre after the coronavirus shutdown, producers announced today.
In a brief announcement put out this morning by producers Scott Rudin, Barry Diller and David Geffen, the cancelation was attributed to “cast scheduling conflicts amid the shutdown.”
Broadway went dark on March 12 due to concern over the coronavirus, with a planned reopening of April 13, but the likelihood of extending the shutdown well into the summer is growing. The Broadway League representing theater owners...
In a brief announcement put out this morning by producers Scott Rudin, Barry Diller and David Geffen, the cancelation was attributed to “cast scheduling conflicts amid the shutdown.”
Broadway went dark on March 12 due to concern over the coronavirus, with a planned reopening of April 13, but the likelihood of extending the shutdown well into the summer is growing. The Broadway League representing theater owners...
- 3/21/2020
- by Greg Evans
- Deadline Film + TV
The Danish star of The Celebration and many others discusses what seeing America only through movies when she was growing up.
Show Notes: Movies Referenced In This Episode
Jack Ryan: Shadow Recruit (2014)
Jack Reacher (2012)
Gremlins (1984)
Piranha (1978)
The ’Burbs (1989)
Matinee (1993)
Hollywood Boulevard (1976)
The Celebration (1998)
On The Border (1998)
The Idiots (1998)
The Wizard of Oz (1939)
The Nutty Professor (1963)
Sawdust and Tinsel (1953)
Deep Throat (1972)
American Graffiti (1972)
Sexual Freedom In Denmark (1970)
The Good, The Bad and The Ugly (1967)
The Godfather (1972)
Stripes (1981)
Alice Doesn’t Live Here Anymore (1974)
Faces (1968)
Taking Off (1971)
Gloria (1980)
Gloria (1999)
The Biggest Heroes (1996)
Nashville (1975)
That Time of Year (2018)
Psycho (1960)
All That Jazz (1979)
California Split (1974)
The Player (1992)
Dog Day Afternoon (1975)
Network (1976)
Taxi Driver (1976)
Heathers (1988)
Fame (1980)
Judy (2019)
Star 80 (1983)
Lenny (1974)
Over The Edge (1979)
Rumble Fish (1983)
The Outsiders (1983)
Footloose (1983)
Raging Bull (1980)
Running On Empty (1988)
Midnight Cowboy (1969)
The Deer Hunter (1978)
Superman (1978)
Superman II (1980)
On The Waterfront (1954)
The Magnificent Seven (1960)
The Dirty Dozen (1967)
Rosemary’s Baby (1968)
Planet of the Apes...
Show Notes: Movies Referenced In This Episode
Jack Ryan: Shadow Recruit (2014)
Jack Reacher (2012)
Gremlins (1984)
Piranha (1978)
The ’Burbs (1989)
Matinee (1993)
Hollywood Boulevard (1976)
The Celebration (1998)
On The Border (1998)
The Idiots (1998)
The Wizard of Oz (1939)
The Nutty Professor (1963)
Sawdust and Tinsel (1953)
Deep Throat (1972)
American Graffiti (1972)
Sexual Freedom In Denmark (1970)
The Good, The Bad and The Ugly (1967)
The Godfather (1972)
Stripes (1981)
Alice Doesn’t Live Here Anymore (1974)
Faces (1968)
Taking Off (1971)
Gloria (1980)
Gloria (1999)
The Biggest Heroes (1996)
Nashville (1975)
That Time of Year (2018)
Psycho (1960)
All That Jazz (1979)
California Split (1974)
The Player (1992)
Dog Day Afternoon (1975)
Network (1976)
Taxi Driver (1976)
Heathers (1988)
Fame (1980)
Judy (2019)
Star 80 (1983)
Lenny (1974)
Over The Edge (1979)
Rumble Fish (1983)
The Outsiders (1983)
Footloose (1983)
Raging Bull (1980)
Running On Empty (1988)
Midnight Cowboy (1969)
The Deer Hunter (1978)
Superman (1978)
Superman II (1980)
On The Waterfront (1954)
The Magnificent Seven (1960)
The Dirty Dozen (1967)
Rosemary’s Baby (1968)
Planet of the Apes...
- 3/17/2020
- by Kris Millsap
- Trailers from Hell
This is a guest post from Ilana C. Myer, author of the epic fantasy trilogy The Harp and Ring Sequence. The final book in the series, The Poet King, is out next week.
There’s nothing like social media for making you question your life’s choices. That is certainly the case for writers: Thanks to Twitter, we can read opinions on how various things Should Be Written on a regular basis. And while I’m being tongue-in-cheek here, there’s a positive aspect to this.
Writers make about a hundred unconscious decisions per page, but the way we improve is by doubling back to examine them. Through examination, we may come to realize we have made an obvious, cliché choice and discard it; or alternatively, come to a deeper understanding of our choice, which allows for utilizing its potential to the fullest. Win/win.
A recurring theme that has...
There’s nothing like social media for making you question your life’s choices. That is certainly the case for writers: Thanks to Twitter, we can read opinions on how various things Should Be Written on a regular basis. And while I’m being tongue-in-cheek here, there’s a positive aspect to this.
Writers make about a hundred unconscious decisions per page, but the way we improve is by doubling back to examine them. Through examination, we may come to realize we have made an obvious, cliché choice and discard it; or alternatively, come to a deeper understanding of our choice, which allows for utilizing its potential to the fullest. Win/win.
A recurring theme that has...
- 3/16/2020
- by Kayti Burt
- Den of Geek
Despite a handful of films postponing their release dates as a precautionary measure in the wake of the coronavirus, the specialty box office is persevering and hoping that arthouse audience will come through. Last week, A24’s First Cow delivered a career-high opening for Kelly Reichardt — but that was before the coronavirus turned into a pandemic. With events being canceled, the rise of concern and social-distancing becoming a common practice, we’ll have to see how this will impact the limited release titles, which is a very different creature than wide-release titles.
Leading the pack this week is the Focus Features title Never Rarely Sometimes Always directed by Eliza Hittman and starring Sidney Flanigan, Talia Ryder, Théodore Pellerin, Ryan Eggold and Sharon Van Etten. The story follows two teenage girls in rural Pennsylvania. Faced with an unplanned pregnancy and a lack of support, Autumn (Flanigan) and her cousin Skylar (Ryder...
Leading the pack this week is the Focus Features title Never Rarely Sometimes Always directed by Eliza Hittman and starring Sidney Flanigan, Talia Ryder, Théodore Pellerin, Ryan Eggold and Sharon Van Etten. The story follows two teenage girls in rural Pennsylvania. Faced with an unplanned pregnancy and a lack of support, Autumn (Flanigan) and her cousin Skylar (Ryder...
- 3/13/2020
- by Dino-Ray Ramos
- Deadline Film + TV
With a seemingly endless amount of streaming options—not only the titles at our disposal, but services themselves–each week we highlight the noteworthy titles that have recently hit platforms. Check out this week’s selections below and an archive of past round-ups here.
1917 (Sam Mendes)
War is a cataclysm that scars everything in its proximity. From the bodies and psyches of the people who must fight in it, to the towns and cities that happen to be in its wake, down to the very land itself, the churn of battle destroys everything without remorse, consideration, or mercy. No movie interested in exploring the realities of war avoids these facts, but it is possible that no film in recent memory evidences this truth better than 1917. – Brian R. (full review)
Where to Stream: Amazon, iTunes, Google
Big Time Adolescence (Jason Orley)
Everyone knows that one person from high school who is...
1917 (Sam Mendes)
War is a cataclysm that scars everything in its proximity. From the bodies and psyches of the people who must fight in it, to the towns and cities that happen to be in its wake, down to the very land itself, the churn of battle destroys everything without remorse, consideration, or mercy. No movie interested in exploring the realities of war avoids these facts, but it is possible that no film in recent memory evidences this truth better than 1917. – Brian R. (full review)
Where to Stream: Amazon, iTunes, Google
Big Time Adolescence (Jason Orley)
Everyone knows that one person from high school who is...
- 3/13/2020
- by Jordan Raup
- The Film Stage
A part-time Broadway usher who recently worked at two theaters has tested positive for coronavirus, the theater owners have confirmed, as both shows – Who’s Afraid of Virginia Woolf? at the Booth Theatre and Six at the Brooks Atkinson – continued performances Wednesday night.
According to a joint statement from the Shubert Organization, owner of the Booth, and the Nederlander Organization, owner of the Brooks Atkinson, both venues were set to undergo deep cleanings by Wednesday night. The highly anticipated musical Six opens at the Brooks Atkinson tonight.
More from DeadlineScott Rudin Offers $50 Seats To Keep Five Broadway Theaters Full During Coronavirus ConcernTCM Classic Film Festival Canceled As Coronavirus SpreadsSpanish Soccer Suspended As Real Madrid Team Quarantined Due To Coronavirus; Major Tournaments Could Be Under Threat
Both shows are offering ticket exchanges. “Any ticketholder that prefers to attend a future performance of ‘Virginia Woolf’ or ‘Six’ will be provided the opportunity for...
According to a joint statement from the Shubert Organization, owner of the Booth, and the Nederlander Organization, owner of the Brooks Atkinson, both venues were set to undergo deep cleanings by Wednesday night. The highly anticipated musical Six opens at the Brooks Atkinson tonight.
More from DeadlineScott Rudin Offers $50 Seats To Keep Five Broadway Theaters Full During Coronavirus ConcernTCM Classic Film Festival Canceled As Coronavirus SpreadsSpanish Soccer Suspended As Real Madrid Team Quarantined Due To Coronavirus; Major Tournaments Could Be Under Threat
Both shows are offering ticket exchanges. “Any ticketholder that prefers to attend a future performance of ‘Virginia Woolf’ or ‘Six’ will be provided the opportunity for...
- 3/12/2020
- by Greg Evans
- Deadline Film + TV
Filmmaker Alma Har’el helped conceive Time’s 100 Women of the Year issue, designed to recognize the contributions of female leaders, innovators, activists, entertainers, athletes and artists who defined the century from 1920 through 2019. Along with original portraits, the magazine will release 100 covers reflecting the era of each year.
“I don’t think Time has ever done anything this big,” “Honey Boy” director Har’el says, speaking exclusively to Variety. “They usually do one of these covers a year. We’re doing 100 of them.”
“If I felt hungry to take solace in some of the histories of some of these women, I immersed myself in it in the most encompassing way I could,” she adds. The idea was born out of Ha’rel’s frustration and a need to “do something that takes me outside of myself.”
Har’el spent much of 2019 on the awards trail discussing “Honey Boy,” a drama written by and starring Shia Labeouf.
“I don’t think Time has ever done anything this big,” “Honey Boy” director Har’el says, speaking exclusively to Variety. “They usually do one of these covers a year. We’re doing 100 of them.”
“If I felt hungry to take solace in some of the histories of some of these women, I immersed myself in it in the most encompassing way I could,” she adds. The idea was born out of Ha’rel’s frustration and a need to “do something that takes me outside of myself.”
Har’el spent much of 2019 on the awards trail discussing “Honey Boy,” a drama written by and starring Shia Labeouf.
- 3/5/2020
- by Jazz Tangcay
- Variety Film + TV
Above: Letter to a FriendTwo of most memorable features I’ve seen this year in the Berlinale Forum and Forum Expanded sidebars deal with the ongoing material devastation wrought by Israel during its occupation of Palestine. The first is Letter to a Friend, by the Palestinian-American artist Emily Jacir; the second The Viewing Booth, by the Israeli filmmaker Ra’anan Alexandrowicz. While varied in their approaches, I was struck by how both films feature irony, as either an analytical device or as subterfuge. In Jacir’s film, irony is intellect’s key defense against despair. Meanwhile in Alexandrowicz’s, it informs a different defense mechanism, against absorbing another person’s pain.In the incredibly moving Letter to a Friend, Jacir creates a visual diary of her house in Bethlehem. It stands near a road that was closed off, when Israel raised the wall, in 2010. Jacir’s street is apparently featured in...
- 2/28/2020
- MUBI
Director Brett Haley’s “All The Bright Places” may tackle a few dark issues, but this teen weepie about two hurting souls is drenched in warmth and compassion. Adapted by Jennifer Niven and Liz Hannah from Niven’s bestselling young adult novel, Haley’s feature contains all the necessary ingredients for success that films like “The Fault in Our Stars” and its ilk have — undeniably cute leads adept at conjuring cheers and tears, a solid soundtrack and a pass-the-tissues third act — yet its pure beating heart and humanistic undertones make it somewhat of a standout. That said, audiences might want to exercise some caution as content dealing with suicide, grief and mental health, while handled with an extremely sensitive touch, might be triggering for those who feel compromised.
While out running one morning, Theodore Finch (Justice Smith) spots classmate Violet Markey (Elle Fanning) silently contemplating jumping off a bridge. She...
While out running one morning, Theodore Finch (Justice Smith) spots classmate Violet Markey (Elle Fanning) silently contemplating jumping off a bridge. She...
- 2/28/2020
- by Courtney Howard
- Variety Film + TV
The fertile fantasy of writer-director-composer Sally Potter, memorably on display in her adaptation of Virginia Woolf’s multi-lives tale Orlando, comes disappointingly close to straight family drama in The Roads Not Taken, in which a working daughter spends a difficult day caring for her senile father.
Almost a mirror image of Wayne Wang’s recent Coming Home Again, it lacks the refined delicacy of the Korean-American tale about a mother dying of cancer and her grown son who puts his life on hold to care for her. Instead, it traces Leo’s mental voyage back to key moments his life, suggesting ...
Almost a mirror image of Wayne Wang’s recent Coming Home Again, it lacks the refined delicacy of the Korean-American tale about a mother dying of cancer and her grown son who puts his life on hold to care for her. Instead, it traces Leo’s mental voyage back to key moments his life, suggesting ...
- 2/26/2020
- The Hollywood Reporter - Film + TV
The fertile fantasy of writer-director-composer Sally Potter, memorably on display in her adaptation of Virginia Woolf’s multi-lives tale Orlando, comes disappointingly close to straight family drama in The Roads Not Taken, in which a working daughter spends a difficult day caring for her senile father.
Almost a mirror image of Wayne Wang’s recent Coming Home Again, it lacks the refined delicacy of the Korean-American tale about a mother dying of cancer and her grown son who puts his life on hold to care for her. Instead, it traces Leo’s mental voyage back to key moments his life, suggesting ...
Almost a mirror image of Wayne Wang’s recent Coming Home Again, it lacks the refined delicacy of the Korean-American tale about a mother dying of cancer and her grown son who puts his life on hold to care for her. Instead, it traces Leo’s mental voyage back to key moments his life, suggesting ...
- 2/26/2020
- The Hollywood Reporter - Movie News
Above: Josephine Decker's ShirleyThere’s a book I’ve been dying to read on the history of the color yellow. Nothing reminded me more how urgently I need to read it than Josephine Decker’s sumptuously filmed fiction feature, Shirley, which premiered at the Sundance Film Festival, and in whose art design, yellow plays a crucial role. Sundance is also where Decker premiered her critically acclaimed indie film, Madeline’s Madeline (2018), about an unstable young woman aspiring to be an actress, and locked in a troubled relationship with her mother. But while in Madeline's Madeline Decker used disorienting camera movements, often in extreme close-ups to her protagonist, to build up tension, she deploys these tools sparingly in her new film, to dramatic effect.In Shirley, a famous writer, played with searing intensity and crackling dark humor by Elisabeth Moss, is in a creative and psychological slump. But then she...
- 1/28/2020
- MUBI
Is this finally Scarlett Johansson‘s year to win an Oscar? Perhaps the answer lies in the eerie parallels to Julianne Moore‘s scenario in 2002.
She’s nominated for Academy Awards in the leading and supporting acting categories. Both are for acclaimed films with multiple nods. She plays a wife. She plays a mother. There’s debate as to which performance is more award-worthy. And she’s likely to lose twice.
Is this Scarlett Johansson this year? Or Julianne Moore in 2002?
There are some eerie parallels between the predicaments of ScarJo and JuMo.
Predict the Oscar winners now; change through February 9
Seventeen years ago, Moore was Golden Globe-nominated for Best Actress in Motion Picture – Drama for her role as a conflicted wife in “Far from Heaven.” She lost to Nicole Kidman in “The Hours,” who played a real person (Virginia Woolf) and was physically transformed onscreen (notably with that prosthetic nose.
She’s nominated for Academy Awards in the leading and supporting acting categories. Both are for acclaimed films with multiple nods. She plays a wife. She plays a mother. There’s debate as to which performance is more award-worthy. And she’s likely to lose twice.
Is this Scarlett Johansson this year? Or Julianne Moore in 2002?
There are some eerie parallels between the predicaments of ScarJo and JuMo.
Predict the Oscar winners now; change through February 9
Seventeen years ago, Moore was Golden Globe-nominated for Best Actress in Motion Picture – Drama for her role as a conflicted wife in “Far from Heaven.” She lost to Nicole Kidman in “The Hours,” who played a real person (Virginia Woolf) and was physically transformed onscreen (notably with that prosthetic nose.
- 1/27/2020
- by Tariq Khan
- Gold Derby
The Devil Wears…Dior!
Meryl Streep arrived to the 2020 Golden Globe Awards (in which she’s nominated for her record-breaking 34th time!) in a couture confection fit for a legend.
The 70-year-old actress opted for a Dior Haute Couture metallic dark forest green lamé gown that her stylist Micaela Erlanger calls as “elegant and timeless as she is.”
Erlanger adds: “I love the fabric and the soft pleating of the dress, it moves so beautifully. The material is a dark forest green but depending on the light it changes and can also look golden or gunmetal! We love how special it is.
Meryl Streep arrived to the 2020 Golden Globe Awards (in which she’s nominated for her record-breaking 34th time!) in a couture confection fit for a legend.
The 70-year-old actress opted for a Dior Haute Couture metallic dark forest green lamé gown that her stylist Micaela Erlanger calls as “elegant and timeless as she is.”
Erlanger adds: “I love the fabric and the soft pleating of the dress, it moves so beautifully. The material is a dark forest green but depending on the light it changes and can also look golden or gunmetal! We love how special it is.
- 1/6/2020
- by Katie Intner, Kaitlyn Frey
- PEOPLE.com
Lionsgate dropped a “Bombshell” with Jay Roach‘s true life drama, which recounts the sexual harassment scandal that rocked Fox News. The film has emerged as a major Oscar contender with four SAG bids, including Best Ensemble and acting nominations for Charlize Theron, Nicole Kidman and Margot Robbie. Theron and Robbie additionally contend in the lead and supporting actress categories at the Golden Globes and Critics’ Choice Awards, placing them in the heat of the awards race.
Gold Derby recently conducted video interviews with Kidman, screenwriter Charles Randolph and costume designer Colleen Atwood. Scroll down and click on any name below to be taken to their full chat.
See ‘Bombshell’ reviews: Charlize Theron is ‘remarkable’ in a Fox News satire that could be this year’s ‘Vice’
Though the subject matter “may be disturbing and cause you to recoil,” Kidman believes “it does entertain you” at the same time. In playing Gretchen Carlson,...
Gold Derby recently conducted video interviews with Kidman, screenwriter Charles Randolph and costume designer Colleen Atwood. Scroll down and click on any name below to be taken to their full chat.
See ‘Bombshell’ reviews: Charlize Theron is ‘remarkable’ in a Fox News satire that could be this year’s ‘Vice’
Though the subject matter “may be disturbing and cause you to recoil,” Kidman believes “it does entertain you” at the same time. In playing Gretchen Carlson,...
- 12/24/2019
- by Zach Laws
- Gold Derby
It seems obvious now, after the 2018 success of auto-fiction “Lady Bird” — which earned five Oscar nominations, including the fifth nod for a woman for Best Director — that Greta Gerwig was the perfect match to write and direct Sony’s latest movie adaptation of Louisa May Alcott’s 19th century classic “Little Women.” But back in 2015, Gerwig was best known as a New York actress who starred in the giddy New York romantic comedy “Frances Ha,” which she wrote with partner Noah Baumbach.
Here are the key decisions that turned “Little Women” from a gleam in the eye of then-Sony chairman Amy Pascal, who eventually produced the movie, into the well-reviewed Oscar contender that opens nationwide on Christmas Day.
1. Greta Gerwig got into the room to pitch.
When Gerwig’s agent told her that Sony was developing another “Little Women” movie, the actress begged for a meeting. Gerwig had recently reread...
Here are the key decisions that turned “Little Women” from a gleam in the eye of then-Sony chairman Amy Pascal, who eventually produced the movie, into the well-reviewed Oscar contender that opens nationwide on Christmas Day.
1. Greta Gerwig got into the room to pitch.
When Gerwig’s agent told her that Sony was developing another “Little Women” movie, the actress begged for a meeting. Gerwig had recently reread...
- 12/23/2019
- by Anne Thompson
- Thompson on Hollywood
It seems obvious now, after the 2018 success of auto-fiction “Lady Bird” — which earned five Oscar nominations, including the fifth nod for a woman for Best Director — that Greta Gerwig was the perfect match to write and direct Sony’s latest movie adaptation of Louisa May Alcott’s 19th century classic “Little Women.” But back in 2015, Gerwig was best known as a New York actress who starred in the giddy New York romantic comedy “Frances Ha,” which she wrote with partner Noah Baumbach.
Here are the key decisions that turned “Little Women” from a gleam in the eye of then-Sony chairman Amy Pascal, who eventually produced the movie, into the well-reviewed Oscar contender that opens nationwide on Christmas Day.
Read More: Women Directors Were Snubbed at the Globes But Their Movies Still Have a Shot in the Oscar Race
1. Greta Gerwig got into the room to pitch.
When Gerwig’s agent...
Here are the key decisions that turned “Little Women” from a gleam in the eye of then-Sony chairman Amy Pascal, who eventually produced the movie, into the well-reviewed Oscar contender that opens nationwide on Christmas Day.
Read More: Women Directors Were Snubbed at the Globes But Their Movies Still Have a Shot in the Oscar Race
1. Greta Gerwig got into the room to pitch.
When Gerwig’s agent...
- 12/23/2019
- by Anne Thompson
- Indiewire
Nicole Kidman admits the subject matter in “Bombshell” “may be disturbing and cause you to recoil … but at the same time it does entertain you.” The film tells the true story of the sexual harassment scandal that brought down Roger Ailes, the chairman and CEO of Fox News. Kidman plays Gretchen Carlson, who first blew the whistle by suing Ailes in 2016, opening a floodgate of allegations against the network and its chief executive. Watch our exclusive video interview with Kidman about “Bombshell” as well as the second season of “Big Little Lies” above.
Ailes’s abuses of power were no laughing matter, but director Jay Roach and writer Charles Randolph were an “alluring” combo for Kidman because of their track record making sharp satires out of difficult subjects. Roach won multiple Emmys for exploring the 2000 presidential election (“Recount”) and Sarah Palin‘s 2008 vice presidential bid (“Game Change”), while Randolph won...
Ailes’s abuses of power were no laughing matter, but director Jay Roach and writer Charles Randolph were an “alluring” combo for Kidman because of their track record making sharp satires out of difficult subjects. Roach won multiple Emmys for exploring the 2000 presidential election (“Recount”) and Sarah Palin‘s 2008 vice presidential bid (“Game Change”), while Randolph won...
- 12/3/2019
- by Daniel Montgomery
- Gold Derby
Hollywood veteran Meryl Streep will attend Met Gala for the first time, when she hosts the event along with Lin-Manuel Miranda and Emma Stone next year.
Streep, 70, has never made an appearance at the annual event at the Metropolitan Museum of Art. This will change next year as she has been announced as one of the hosts of the event, reports pagesix.com.
Also Read:?Jeff Goldblum defends director Woody Allen
Streep will serve as co-chair of the 2020 gala alongside Stone and fellow first-timer Miranda, as well as fashion designer Nicolas Ghesquiere of Louis Vuitton.
The French fashion brand will also be sponsoring the event, which will be held on May 4.
Anna Wintour will serve as the perennial chairwoman of the event, a title she has held since 1995.
While past themes have explored the concepts of camp, punk, Catholicism and more, the theme for next year's gala is "About Time:...
Streep, 70, has never made an appearance at the annual event at the Metropolitan Museum of Art. This will change next year as she has been announced as one of the hosts of the event, reports pagesix.com.
Also Read:?Jeff Goldblum defends director Woody Allen
Streep will serve as co-chair of the 2020 gala alongside Stone and fellow first-timer Miranda, as well as fashion designer Nicolas Ghesquiere of Louis Vuitton.
The French fashion brand will also be sponsoring the event, which will be held on May 4.
Anna Wintour will serve as the perennial chairwoman of the event, a title she has held since 1995.
While past themes have explored the concepts of camp, punk, Catholicism and more, the theme for next year's gala is "About Time:...
- 11/8/2019
- GlamSham
Fashionistas, listen up: The 2020 Met Gala Committee has been announced. Next year, Emma Stone and Meryl Streep will be co-chairs at the coveted event. The A-listers will be joined by Hamilton's Lin-Manuel Miranda, Louis Vuitton artistic director Nicolas Ghesquière and, of course, Anna Wintour. Fun fact: this actually marks Streep's first Met Gala ever! In addition to naming its new co-chairs, the Costume Institute of the Metropolitan Museum of Art also revealed the 150th annual Met Gala's theme: About Time: Fashion and Duration. Speaking to The New York Times, Costume Institute's curator Andrew Bolton explained that the theme was inspired by several Virginia Woolf novels...
- 11/7/2019
- E! Online
I Can Hear the Mermaids Singing: Eggers Unleashes a Hyper-Stylized Portrait of Nautical Madness
Virginia Woolf, remarked “Lighthouses are endlessly suggestive signifiers of both human isolation and our ultimate connectedness to each other.” Such is the duality set forth in Robert Eggers’ metaphorical sophomore film The Lighthouse, which follows a similar thread of humans succumbing to madness and potential supernatural forces as seen in his 2015 debut The Witch. His latest doesn’t offer an opportunity for his characters to live as deliciously, but this exquisitely shot black and white two-hander offers up a powerful Willem Dafoe flanked by Robert Pattinson as a mentor and his protégé dealing with lurkers at the threshold in early twentieth century Maine.…...
Virginia Woolf, remarked “Lighthouses are endlessly suggestive signifiers of both human isolation and our ultimate connectedness to each other.” Such is the duality set forth in Robert Eggers’ metaphorical sophomore film The Lighthouse, which follows a similar thread of humans succumbing to madness and potential supernatural forces as seen in his 2015 debut The Witch. His latest doesn’t offer an opportunity for his characters to live as deliciously, but this exquisitely shot black and white two-hander offers up a powerful Willem Dafoe flanked by Robert Pattinson as a mentor and his protégé dealing with lurkers at the threshold in early twentieth century Maine.…...
- 10/18/2019
- by Nicholas Bell
- IONCINEMA.com
Tilda Swinton, the iconoclastic British actress and producer, is set to preside over the 18th edition of the Marrakech International Film Festival, succeeding to American director James Gray.
Swinton, who won an Oscar and a BAFTA award for best supporting actress for “Michael Clayton,” has been leading an eclectic acting career. She has collaborated with prominent directors from different countries, for instance Bong Joon Ho on “Snowpiercer,” and “Okja;” Lynn Ramsay on “We Need to Talk About Kevin;” Jim Jarmusch on “Broken Flowers,” “The Dead Don’t Die” and “Only Lovers Left Alive;” the Coen Brothers on “Hail, Caesar!” and “Burn After Reading;” Luca Guadagnino on “I Am Love,” “A Bigger Splash” and “Suspiria;” and Wes Anderson on four films, including “Moonrise Kingdom” and the upcoming “The French Dispatch” which she recently wrapped shooting. She also starred in the Marvel Studios blockbuster “Doctor Strange.”
“It is my honour to serve...
Swinton, who won an Oscar and a BAFTA award for best supporting actress for “Michael Clayton,” has been leading an eclectic acting career. She has collaborated with prominent directors from different countries, for instance Bong Joon Ho on “Snowpiercer,” and “Okja;” Lynn Ramsay on “We Need to Talk About Kevin;” Jim Jarmusch on “Broken Flowers,” “The Dead Don’t Die” and “Only Lovers Left Alive;” the Coen Brothers on “Hail, Caesar!” and “Burn After Reading;” Luca Guadagnino on “I Am Love,” “A Bigger Splash” and “Suspiria;” and Wes Anderson on four films, including “Moonrise Kingdom” and the upcoming “The French Dispatch” which she recently wrapped shooting. She also starred in the Marvel Studios blockbuster “Doctor Strange.”
“It is my honour to serve...
- 10/17/2019
- by Elsa Keslassy
- Variety Film + TV
Damon Lindelof disagrees with Martin Scorsese about his recent claims that Marvel movies don’t qualify as cinema.
The director’s proclamation, along with the polarized critical reception of “Joker,” are the latest salvos in a long history of questioning comic book movies’ place in cinematic history. The lingering question: Can superhero fare be considered “high art?” Lindelof, the creator of HBO’s “Watchmen” series weighed in on the debate, while defending his show’s artistic merits and social relevance.
“There’s a space in Marvel movies that they are beginning to explore and are beginning to be provocative and interesting,” Lindelof told Variety on the red carpet at the “Watchmen” premiere in Hollywood on Monday night. “‘Logan’ or ‘Black Panther’ are very close in my opinion to cinema and to put all Marvel movies in the same box doesn’t seem fair.”
Lindelof went on to suggest that Scorsese’s opinion might be ill-informed.
The director’s proclamation, along with the polarized critical reception of “Joker,” are the latest salvos in a long history of questioning comic book movies’ place in cinematic history. The lingering question: Can superhero fare be considered “high art?” Lindelof, the creator of HBO’s “Watchmen” series weighed in on the debate, while defending his show’s artistic merits and social relevance.
“There’s a space in Marvel movies that they are beginning to explore and are beginning to be provocative and interesting,” Lindelof told Variety on the red carpet at the “Watchmen” premiere in Hollywood on Monday night. “‘Logan’ or ‘Black Panther’ are very close in my opinion to cinema and to put all Marvel movies in the same box doesn’t seem fair.”
Lindelof went on to suggest that Scorsese’s opinion might be ill-informed.
- 10/15/2019
- by Dano Nissen
- Variety Film + TV
A HBO series based on Tom Perrotta’s excellent novel about porn and consent offers up wit, intelligence and a remarkable central performance
There’s something about the work of the American novelist Tom Perrotta that makes it ideally suited for adaptation, a complex and quite often hugely frustrating process. There are lauded authors, such as Philip Roth, James Joyce and Virginia Woolf, whose books haven’t survived the journey quite so well, time and time again, yet Perrotta has a flawless, if limited, track record. His stinging high school satire Election became one of 1999’s most acclaimed films before the darkly comic suburban drama Little Children brought one of Kate Winslet’s best performances to date and most recently, HBO’s ambitious three-season extension of The Leftovers was met with a rapturous reception.
Related: Greed review – Steve Coogan gleams in knockabout satire of the mega-rich...
There’s something about the work of the American novelist Tom Perrotta that makes it ideally suited for adaptation, a complex and quite often hugely frustrating process. There are lauded authors, such as Philip Roth, James Joyce and Virginia Woolf, whose books haven’t survived the journey quite so well, time and time again, yet Perrotta has a flawless, if limited, track record. His stinging high school satire Election became one of 1999’s most acclaimed films before the darkly comic suburban drama Little Children brought one of Kate Winslet’s best performances to date and most recently, HBO’s ambitious three-season extension of The Leftovers was met with a rapturous reception.
Related: Greed review – Steve Coogan gleams in knockabout satire of the mega-rich...
- 9/11/2019
- by Benjamin Lee in Toronto
- The Guardian - Film News
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