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Nihilism and neon-popped lust collide in Brazilian filmmaker Karim Aïnouz’s Portuguese-language “Motel Destino,” set in a love motel so sordid that lay tourists should best avoid it, and only criminals and castaways are likely to check in. The “Invisible Life” director’s steamy psychosexual thriller set in the sweatiest armpit of the equator speaks melodrama and noir but with a Brazilian accent, Aïnouz returning to his home state of Ceará to shoot on his own turf for the first time in five years. The writer/director lifts from classics such as Lawrence Kasdan’s “Body Heat” and Billy Wilder’s “Double Indemnity” but also from ‘70s Brazilian sex comedies to tell a perverse yarn of extramarital betrayal turned murderous. But while the pre-“Body Heat” noirs he’s channeling could only suggest rather than spell out sex, Aïnouz goes graphic — and relentlessly — in an arthouse-only erotic genre piece that...
- 5/22/2024
- by Ryan Lattanzio
- Indiewire
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![Image](https://m.media-amazon.com/images/M/MV5BZGM4ZTY3YjgtYmUyZS00MTBiLTgyYjMtN2Y3YjkzYjllMDU3XkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX140_CR0,0,140,140_.jpg)
World War II was still raging in May 1944. The allied invasion of Normandy — aka D-Day — was just around the corner on June 6th. Americans kept the home fires burning and escaped from the global conflict by going to the movies. Two of the biggest films of the year, Leo McCarey’s “Going My Way” and George Cukor’s “Gaslight,” recently celebrated their 80th anniversaries.
Actually, “Going My Way” had a special “Fighting Front” premiere on April 27th: 65 prints were shipped to battle fronts and shown “from Alaska to Italy, and from England to the jungles of Burma.” The sentimental comedy-drama-musical arrived in New York on May 3rd.
And it was just the uplifting film audiences needed. Bing Crosby starred as Father O’Malley, a laid-back young priest who arrives at a debt-ridden New York City church that is run by the older, set-in-his ways Father Fitzgibbon (Barry Fitzgerald). The elder...
Actually, “Going My Way” had a special “Fighting Front” premiere on April 27th: 65 prints were shipped to battle fronts and shown “from Alaska to Italy, and from England to the jungles of Burma.” The sentimental comedy-drama-musical arrived in New York on May 3rd.
And it was just the uplifting film audiences needed. Bing Crosby starred as Father O’Malley, a laid-back young priest who arrives at a debt-ridden New York City church that is run by the older, set-in-his ways Father Fitzgibbon (Barry Fitzgerald). The elder...
- 5/9/2024
- by Susan King
- Gold Derby
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Charles Boyer and Ingrid Bergman in GaslightScreenshot: Fandango/YouTube
1944 signaled a high-water mark for film noir with the release of Double Indemnity. The film codified elements that we now think of as genre tropes: the detective delivering backstory via voiceover, the shadows of Venetian blinds on the wall. But, really,...
1944 signaled a high-water mark for film noir with the release of Double Indemnity. The film codified elements that we now think of as genre tropes: the detective delivering backstory via voiceover, the shadows of Venetian blinds on the wall. But, really,...
- 5/4/2024
- by Drew Gillis
- avclub.com
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Directors are lining up left and right each month to share their favorite films from the TCM lineup, and the latest is Jason Reitman. He follows Steven Spielberg going deep on “Meet Me in St. Louis,” Martin Scorsese praising “Madonna of the Seven Moons,” Guillermo del Toro making the case why overlooked “Suspicion” is top-tier Hitchcock, and so many more.
IndieWire simply loves directors sharing their favorite films and paying tribute to the directors and screenwriters behind them. And that enthusiasm comes across loud and clear in “SNL 1975” director Reitman’s picks. First up, Reitman, whose always had an ear for dialogue himself, talks about what’s so great about the patter in Barry Levinson’s “Diner.”
“[‘Diner’] is probably one of the best first movies for a filmmaker of all time,” Reitman said. “And the dialogue is delicious. You can’t look at a Quentin Tarantino movie and...
IndieWire simply loves directors sharing their favorite films and paying tribute to the directors and screenwriters behind them. And that enthusiasm comes across loud and clear in “SNL 1975” director Reitman’s picks. First up, Reitman, whose always had an ear for dialogue himself, talks about what’s so great about the patter in Barry Levinson’s “Diner.”
“[‘Diner’] is probably one of the best first movies for a filmmaker of all time,” Reitman said. “And the dialogue is delicious. You can’t look at a Quentin Tarantino movie and...
- 4/2/2024
- by Christian Blauvelt
- Indiewire
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Daniel Sackheim’s intriguing landscapes of Los Angeles evoke a time of classic film of the Film Noir period. His landscapes of Downtown Los Angeles, Hollywood Blvd, the distant pier of Santa Monica create a moody scene iridescent of classics like Double Indemnity; Mildred Pierce, The Third Man, and Shadow of a Doubt. The seductive tones of a bygone era are visually stimulating creating a mood of mystery that captured the eyes of audiences when The Maltese Falcon was first released.
Sackheim’s directing credits include Lovecraft Country, Game of Thrones, True Detective, Tom Clancy’s Jack Ryan, and Ozark to name a few. Having been a director for many years before delving into photography, he says his eye tends to land on a cinematic sensibility naturally. This perspective then informs his approach to photographic storytelling.
“There is not so much one specific film, though there are iconic images from...
Sackheim’s directing credits include Lovecraft Country, Game of Thrones, True Detective, Tom Clancy’s Jack Ryan, and Ozark to name a few. Having been a director for many years before delving into photography, he says his eye tends to land on a cinematic sensibility naturally. This perspective then informs his approach to photographic storytelling.
“There is not so much one specific film, though there are iconic images from...
- 3/18/2024
- by Robert Lang
- Deadline Film + TV
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World-renowned director Steven Spielberg was at the height of his career when he made the Oscar-winning film "Schindler's List," but he wasn't the only filmmaker who was interested in adapting the novel of the same name for the silver screen. The acclaimed director Billy Wilder, an auteur of classic Hollywood cinema who penned and directed such renowned films as "The Apartment" and "Sunset Boulevard," was also vying for the rights to turn this story into a movie. However, by the time Thomas Keneally's evocative historical novel was published in 1993, Wilder's career was already winding down.
For a long time, Wilder enjoyed one of the most prosperous careers in Hollywood. His Oscar-nominated 1944 film "Double Indemnity" is considered the signal film of noir cinema and the model of the femme fatale trope. After Wilder's smashing success "Sunset Boulevard" earned three Oscars in 1951, he quickly went on to release several star vehicles...
For a long time, Wilder enjoyed one of the most prosperous careers in Hollywood. His Oscar-nominated 1944 film "Double Indemnity" is considered the signal film of noir cinema and the model of the femme fatale trope. After Wilder's smashing success "Sunset Boulevard" earned three Oscars in 1951, he quickly went on to release several star vehicles...
- 3/4/2024
- by Shae Sennett
- Slash Film
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There’s nothing IndieWire loves more than directors talking about their favorite movies. So, of course, we took notice when, in late 2023, Turner Classic Movies started looping in directors to share their favorites from TCM’s lineup each month: Steven Spielberg’s TCM picks kicked things off, then Martin Scorsese waxed rhapsodic about “Madonna of the Seven Moons,” and Guillermo del Toro gushed about the greatness of Alfred Hitchcock’s “Suspicion.”
Now Chris Columbus is sharing his own TCM picks, along with some especially insightful anecdotes. Watch the video above.
Columbus starts off sharing his love of “Singin’ in the Rain”: “An amazing, almost flawless movie. You can say that about very few movies. I showed ‘Singin’ in the Rain’ to my 16-month-old granddaughter who was absolutely absorbed in the musical numbers. Moreso than any Disney animated films. I go back to it once or twice a year.
Particularly...
Now Chris Columbus is sharing his own TCM picks, along with some especially insightful anecdotes. Watch the video above.
Columbus starts off sharing his love of “Singin’ in the Rain”: “An amazing, almost flawless movie. You can say that about very few movies. I showed ‘Singin’ in the Rain’ to my 16-month-old granddaughter who was absolutely absorbed in the musical numbers. Moreso than any Disney animated films. I go back to it once or twice a year.
Particularly...
- 3/1/2024
- by Christian Blauvelt
- Indiewire
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If Valentine cards are too lame and saccharine for your taste, then maybe you need something a little more hard-boiled for this lovers’ holiday. Perhaps, “What do I call you besides stupid?” or “We go together like guns and ammunition” are more in line with the romantic sentiments you’d like to express to your gumshoe or femme fatale. If that’s the case, then here are some lethally attractive film noir romances with the cynical bite your cold heart craves.
Marriage vows state, “till death do us part.” But in noir, that death is very rarely of natural causes. I mean, there’s a reason women in noir are referred to as femme fatales – they can be deadly.
Here’s a list of the 10 best classic American films noir to celebrate with on Valentine’s Day.
Spoiler Alert: If you haven’t already figured it out, I will be...
Marriage vows state, “till death do us part.” But in noir, that death is very rarely of natural causes. I mean, there’s a reason women in noir are referred to as femme fatales – they can be deadly.
Here’s a list of the 10 best classic American films noir to celebrate with on Valentine’s Day.
Spoiler Alert: If you haven’t already figured it out, I will be...
- 2/14/2024
- by Beth Accomando
- Showbiz Junkies
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![Keir O'Donnell](https://m.media-amazon.com/images/M/MV5BMDhjZmY2ZDQtMmYxZi00NjFjLWJiMDktMTRkYjllYTgwODA4XkEyXkFqcGdeQXVyMTIxMjU5OTA@._V1_QL75_UY207_CR12,0,140,207_.jpg)
Actor turned director Keir O’Donnell’s first feature behind the camera is a primary coloured effort with some smart plot twists
Although largely comic in tone, this frothy thriller is obviously modelled on classic films noir, with their tales of betrayal and cunning, gullible heroes tricked into crime by femmes fatales, and the ever-present backbeat of quiet economic desperation. But Keir O’Donnell, a character actor making his writing-directing debut, has juiced up the formula with a palette of poppy primary colours and bright stabs of pink, and an ironic, self-mocking tone. That should help this slip down easy with new-generation viewers who may never have seen such classics as The Postman Always Rings Twice or Double Indemnity, let alone later remakes or homages like Body Heat or Blue Velvet.
It also helps that O’Donnell has cast Gen-z-star-on-the-rise Joe Keery (Steve from Stranger Things) as protagonist Baron, a guileless poor...
Although largely comic in tone, this frothy thriller is obviously modelled on classic films noir, with their tales of betrayal and cunning, gullible heroes tricked into crime by femmes fatales, and the ever-present backbeat of quiet economic desperation. But Keir O’Donnell, a character actor making his writing-directing debut, has juiced up the formula with a palette of poppy primary colours and bright stabs of pink, and an ironic, self-mocking tone. That should help this slip down easy with new-generation viewers who may never have seen such classics as The Postman Always Rings Twice or Double Indemnity, let alone later remakes or homages like Body Heat or Blue Velvet.
It also helps that O’Donnell has cast Gen-z-star-on-the-rise Joe Keery (Steve from Stranger Things) as protagonist Baron, a guileless poor...
- 2/5/2024
- by Leslie Felperin
- The Guardian - Film News
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Maya Hawke and Jon Hamm have joined Christoph Waltz in the starry cast for Stephen Frears’ upcoming drama, Wilder & Me.
Stephen Frears has managed to assemble quite a formidable cast for his upcoming drama, Wilder & Me, based on Jonathan Coe’s novel Mr Wilder And Me.
Christoph Waltz has long been cast in one of the title roles as the legendary director Billy Wilder, who wrote and directed some of America’s all-time great films across his long career – Double Indemnity, The Lost Weekend, Sunset Boulevard, Some Like It Hot, The Apartment... we could go on, but there’s a news post we ought to be getting on with.
Wilder & Me’s other major role, though, has gone to Maya Hawke, who’ll play the young composer Calista (essentially the ‘Me’ of the title). The film will be set during the latter stages of Wilder’s career – specifically in late 1970s Greece,...
Stephen Frears has managed to assemble quite a formidable cast for his upcoming drama, Wilder & Me, based on Jonathan Coe’s novel Mr Wilder And Me.
Christoph Waltz has long been cast in one of the title roles as the legendary director Billy Wilder, who wrote and directed some of America’s all-time great films across his long career – Double Indemnity, The Lost Weekend, Sunset Boulevard, Some Like It Hot, The Apartment... we could go on, but there’s a news post we ought to be getting on with.
Wilder & Me’s other major role, though, has gone to Maya Hawke, who’ll play the young composer Calista (essentially the ‘Me’ of the title). The film will be set during the latter stages of Wilder’s career – specifically in late 1970s Greece,...
- 2/2/2024
- by Ryan Lambie
- Film Stories
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Remembering ‘Remember the Night’: A Christmas movie classic with Barbara Stanwyck and Fred MacMurray
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Barbara Stanwyck and Fred MacMurray sizzled as the duplicitous lovers in Billy Wilder’s exceptional 1944 film noir “Double Indemnity.” But that classic based on James M. Cain’s novel wasn’t their first pairing. Four years earlier, they played very different lovers in “Remember the Night,” which was penned by the brilliant Preston Sturges and directed by Mitchell Leisen. The exquisite holiday film, ironically released in January of 1940, has become a Christmas favorite thanks to TCM, streaming services and DVDs.
MacMurray stars as Jack, a young New York City assistant district attorney. Stanwyck’s Lee has seen her share of bad breaks is on trial before Christmas for shoplifting a bracelet at a jewelry store. MacMurray decides to bail her out of jail for the holidays and ends up taking her back to his Indiana family farm where she is warmly welcomed by his mother and aunt. His mother (Beulah Bondi...
MacMurray stars as Jack, a young New York City assistant district attorney. Stanwyck’s Lee has seen her share of bad breaks is on trial before Christmas for shoplifting a bracelet at a jewelry store. MacMurray decides to bail her out of jail for the holidays and ends up taking her back to his Indiana family farm where she is warmly welcomed by his mother and aunt. His mother (Beulah Bondi...
- 12/11/2023
- by Susan King
- Gold Derby
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Femme fatales have existed since the dawn of narrative art. This intoxicating female archetype is known for her alluring sensuality and dark habit of causing harm or destruction to any man who falls into her grasp. From the sirens of Greek literature and Shakespeare’s Lady MacBeth to the vamps of the silent film era and gangster movie gun molls, femme fatales have continued to change with times.
A surge of classic examples arose in pulp literature and the subsequent film noir heyday of the 1940s and 50s – possibly a response to shifting gender roles in the wake of World War II. Many consider Barbara Stanwyck’s Phyllis Dietrichson to be the prototypical film fatale of the silver screen. In Double Indemnity, this magnetic blonde seduces a hapless salesman and convinces him to kill her husband in order to cash in on the titular insurance policy.
Despite her classical origins,...
A surge of classic examples arose in pulp literature and the subsequent film noir heyday of the 1940s and 50s – possibly a response to shifting gender roles in the wake of World War II. Many consider Barbara Stanwyck’s Phyllis Dietrichson to be the prototypical film fatale of the silver screen. In Double Indemnity, this magnetic blonde seduces a hapless salesman and convinces him to kill her husband in order to cash in on the titular insurance policy.
Despite her classical origins,...
- 12/5/2023
- by Jenn Adams
- bloody-disgusting.com
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It might be Thanksgiving, but for Phil Connors, every day is Groundhog Day. And poor Ned Ryerson, he was sucked right into the weatherman’s seemingly endless loop of misery. But his portrayer, Stephen Tobolowsky, remains proud of what is surely his most popular movie, even though the production was doozier than a Punxsutawney puddle – something we detailed in an episode of “Wtf Happened To This Movie?!”
On the occasion of Groundhog Day’s 30th anniversary, Tobolowsky said the production brought much debate between co-screenwriters Harold Ramis and Danny Rubin. “After the first week, Harold Ramis got with Danny Rubin, our writer, and he says, ‘What’s the story we’re really telling here?’ Are we going to have a series of sequences where Bill just has no consequences and acts crazy, like he was doing in all of those movies back then, or are we telling the story about,...
On the occasion of Groundhog Day’s 30th anniversary, Tobolowsky said the production brought much debate between co-screenwriters Harold Ramis and Danny Rubin. “After the first week, Harold Ramis got with Danny Rubin, our writer, and he says, ‘What’s the story we’re really telling here?’ Are we going to have a series of sequences where Bill just has no consequences and acts crazy, like he was doing in all of those movies back then, or are we telling the story about,...
- 11/23/2023
- by Mathew Plale
- JoBlo.com
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Exclusive: The company that holds rights to the literary estates of Langston Hughes and Evelyn Waugh is heading on a West Coast charm offensive and has snapped up the estate of Somerset Maugham.
International Literary Properties (Ilp) launched in 2019 but has so far focused on the UK and East Coast. Over the coming weeks, however, UK and Europe CEO Hilary Strong has numerous meetings in the diary with LA producers as Ilp looks to strike deals for adaptations of books from its 50-author roster across TV, film and in other areas.
“As we continue to buy considerable assets we need to broaden our relationships with the U.S. production community and showrunners,” Strong told Deadline. “We are going out to make sure people understand the message so we can start to develop producer networks in Hollywood akin to what we have on the East Coast and in the UK.”
Hilary...
International Literary Properties (Ilp) launched in 2019 but has so far focused on the UK and East Coast. Over the coming weeks, however, UK and Europe CEO Hilary Strong has numerous meetings in the diary with LA producers as Ilp looks to strike deals for adaptations of books from its 50-author roster across TV, film and in other areas.
“As we continue to buy considerable assets we need to broaden our relationships with the U.S. production community and showrunners,” Strong told Deadline. “We are going out to make sure people understand the message so we can start to develop producer networks in Hollywood akin to what we have on the East Coast and in the UK.”
Hilary...
- 11/8/2023
- by Max Goldbart
- Deadline Film + TV
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Richard Linklater’s “Hit Man” stars Glen Powell as Gary Johnson, a milquetoast philosophy professor who moonlights as an undercover cop set on flushing out people who hire contract killers.
One day, Johnson gets the call to pose as a killer for hire, and proves he has a real talent for impersonation — and arrests. He dons different contract killer personas for different stings. When he meets Madison (Adria Arjona), a woman who wants her husband killed, he tries to talk her out of the decision. Instead, they fall for each other.
A modern-day noir — based on a true story by Skip Hollandsworth that ran 20 years ago in Texas Monthly — is infused with shaggy humor, sexy chemistry between the leads, and a giant twist. Powell and Arjona deliver star turns in Linklater’s Venice screener, and a terrific time at the movies for adults.
Linklater and Powell co-wrote the screenplay. AGC Intl.
One day, Johnson gets the call to pose as a killer for hire, and proves he has a real talent for impersonation — and arrests. He dons different contract killer personas for different stings. When he meets Madison (Adria Arjona), a woman who wants her husband killed, he tries to talk her out of the decision. Instead, they fall for each other.
A modern-day noir — based on a true story by Skip Hollandsworth that ran 20 years ago in Texas Monthly — is infused with shaggy humor, sexy chemistry between the leads, and a giant twist. Powell and Arjona deliver star turns in Linklater’s Venice screener, and a terrific time at the movies for adults.
Linklater and Powell co-wrote the screenplay. AGC Intl.
- 9/6/2023
- by Carole Horst
- Variety Film + TV
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![Image](https://m.media-amazon.com/images/M/MV5BNDUxZmUwOTctNTYxZi00MjNmLThkZWItYmI2Nzk2YjFmY2VlXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX140_CR0,0,140,207_.jpg)
For the first time since beginning this editorial series, we’re discussing a documentary rather than a fiction film. That’s because Yellow Veil just released a supersized documentary about the history of the Erotic Thriller called We Kill For Love: The Lost World of the Erotic Thriller (2023).
Clocking in at 163 minutes, this is a thorough, occasionally indulgent documentary written and directed by Anthony Penta. The doc uses a framing device featuring an archivist character, played by Michael Reed, cataloguing countless VHS tapes and watching “Suspect Interviews” (aka talking head interviews) in his dimly lit office. These segments recur throughout We Kill For Love, and also feature voice-over narration from Penta that are partially purple prose, partially quotations from academic articles and books on the genre.
The vast majority of the documentary, however, is taken up by clips and talking head interviews. There’s a good variety of interviewees, including scholars such Linda Ruth Williams,...
Clocking in at 163 minutes, this is a thorough, occasionally indulgent documentary written and directed by Anthony Penta. The doc uses a framing device featuring an archivist character, played by Michael Reed, cataloguing countless VHS tapes and watching “Suspect Interviews” (aka talking head interviews) in his dimly lit office. These segments recur throughout We Kill For Love, and also feature voice-over narration from Penta that are partially purple prose, partially quotations from academic articles and books on the genre.
The vast majority of the documentary, however, is taken up by clips and talking head interviews. There’s a good variety of interviewees, including scholars such Linda Ruth Williams,...
- 9/5/2023
- by Joe Lipsett
- bloody-disgusting.com
![Image](https://m.media-amazon.com/images/M/MV5BYWRiZjc3ZWEtMGRiNS00MzY2LWI2NjctNjhkOTE3NmZiYWZjXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,11,500,281_.jpg)
“The Afterparty” has placed all sorts of lenses on its murder mystery wedding romp in Season 2: the generic conventions of rom-com and film noir, specific directorial styles like Alfred Hitchcock’s and Wes Anderson’s, and even whole modes of filmmaking as in Feng’s (Ken Jeong) found-footage episode peppered with vertical iPhone videos ready for TikTok.
The sheer number of different visual styles the show needs is a challenge, but so is creating a “normal” look for the present-day interrogation scenes with Danner (Tiffany Haddish), Aniq (Sam Richardson), and Zoë (Zoe Chao). Working out the feeling of that grounding “home base” look was as challenging as crafting the show’s most extreme visual styles, and in both cases required cinematographer Ross Riege to do a lot of calibrating in order to get it right — and then keep it straight.
“We’d shoot something [in the] present day, and then the...
The sheer number of different visual styles the show needs is a challenge, but so is creating a “normal” look for the present-day interrogation scenes with Danner (Tiffany Haddish), Aniq (Sam Richardson), and Zoë (Zoe Chao). Working out the feeling of that grounding “home base” look was as challenging as crafting the show’s most extreme visual styles, and in both cases required cinematographer Ross Riege to do a lot of calibrating in order to get it right — and then keep it straight.
“We’d shoot something [in the] present day, and then the...
- 8/30/2023
- by Sarah Shachat
- Indiewire
![Image](https://m.media-amazon.com/images/M/MV5BY2IzMDA4ZGYtMGM2My00OTY1LTkwNmUtMDliNDA4NTlkYmY0XkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX140_CR0,0,140,140_.jpg)
![Image](https://m.media-amazon.com/images/M/MV5BY2IzMDA4ZGYtMGM2My00OTY1LTkwNmUtMDliNDA4NTlkYmY0XkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX140_CR0,0,140,140_.jpg)
He is best remembered as the affable dad on the long-running television series “My Three Sons” and for his good-natured characters in a string in Disney films. But Fred MacMurray had a rich and varied career that spanned over half a century.
Frederick Martin MacMurray was born on August 30, 1908, in Kankakee, Il. His father was a concert violinist, and young Fred initially followed his father steps into the music business. He worked as a saxophonist and vocalist to pay his way through college, eventually moving to Los Angeles and joining the California Collegians vocal ensemble. This led him cross-country to Broadway, where he was discovered by a Paramount scout, who brought him back to L.A. and film stardom.
MacMurray is widely considered one of the most underrated actors of the Golden Age of Hollywood. He held his own against some of the industry’s most talented actresses, including four...
Frederick Martin MacMurray was born on August 30, 1908, in Kankakee, Il. His father was a concert violinist, and young Fred initially followed his father steps into the music business. He worked as a saxophonist and vocalist to pay his way through college, eventually moving to Los Angeles and joining the California Collegians vocal ensemble. This led him cross-country to Broadway, where he was discovered by a Paramount scout, who brought him back to L.A. and film stardom.
MacMurray is widely considered one of the most underrated actors of the Golden Age of Hollywood. He held his own against some of the industry’s most talented actresses, including four...
- 8/25/2023
- by Susan Pennington, Misty Holland and Chris Beachum
- Gold Derby
![La Bête Humaine (1938)](https://m.media-amazon.com/images/M/MV5BMTcyNzUxMTYwNl5BMl5BanBnXkFtZTgwMzIxNjQ0MjE@._V1_QL75_UY207_CR1,0,140,207_.jpg)
![La Bête Humaine (1938)](https://m.media-amazon.com/images/M/MV5BMTcyNzUxMTYwNl5BMl5BanBnXkFtZTgwMzIxNjQ0MjE@._V1_QL75_UY207_CR1,0,140,207_.jpg)
Based on Emile Zola’s 1980 novel La Bête Humaine, Fritz Lang’s Human Desire is an entirely different beast than Jean Renoir’s 1938 adaptation. The Renoir film’s pointed humanism and everybody-has-their-reasons ethos is swapped out here for a considerably steelier point of view. Indeed, the film is less interested in its characters’ interiority than it is in viewing their lives through a fatalistic lens.
What’s most compelling about Lang’s film is how elegantly it toys with noir tropes and subverts our expectations, particularly with regard to Vicki (Gloria Grahame), who’s initially presented as your prototypical femme fatale. Vicki is trying to convince her new lover, Jeff (Glenn Ford), to murder her slovenly, abusive husband, Carl (Broderick Crawford). It’s a setup familiar from countless noirs, most notably Billy Wilder’s Double Indemnity and Tay Garnett’s The Postman Always Rings Twice, so the audience is already...
What’s most compelling about Lang’s film is how elegantly it toys with noir tropes and subverts our expectations, particularly with regard to Vicki (Gloria Grahame), who’s initially presented as your prototypical femme fatale. Vicki is trying to convince her new lover, Jeff (Glenn Ford), to murder her slovenly, abusive husband, Carl (Broderick Crawford). It’s a setup familiar from countless noirs, most notably Billy Wilder’s Double Indemnity and Tay Garnett’s The Postman Always Rings Twice, so the audience is already...
- 7/19/2023
- by Derek Smith
- Slant Magazine
![Billy Wilder](https://m.media-amazon.com/images/M/MV5BMTA2MDc2MDIwMzFeQTJeQWpwZ15BbWU2MDA3MTg0Ng@@._V1_QL75_UX140_CR0,1,140,207_.jpg)
![Billy Wilder](https://m.media-amazon.com/images/M/MV5BMTA2MDc2MDIwMzFeQTJeQWpwZ15BbWU2MDA3MTg0Ng@@._V1_QL75_UX140_CR0,1,140,207_.jpg)
Mr. Wilder And Me author Jonathan Coe with Anne-Katrin Titze: “I love Powell and Pressburger, so I was very happy to get in a reference to them.”
With Film Forum’s Written and Directed By Billy Wilder tribute, programmed by Bruce Goldstein, starting next week in New York, Jonathan Coe’s Mr. Wilder And Me is the perfect summer read.
Jonathan Coe on Fedora: “The imagery always reminds me of that Georges Franju film Eyes Without A Face.”
In the first instalment with the author we discuss Christoph Waltz as Billy Wilder in Stephen Frears’ yet-to-be-filmed adaptation of Jonathan’s novel; meeting Volker Schlöndorff just before the Covid lockdown; the images of Nicolas Roeg’s Don’t Look Now staying with him; a connection between Georges Franju’s [film id=13604]Eyes Without A...
With Film Forum’s Written and Directed By Billy Wilder tribute, programmed by Bruce Goldstein, starting next week in New York, Jonathan Coe’s Mr. Wilder And Me is the perfect summer read.
Jonathan Coe on Fedora: “The imagery always reminds me of that Georges Franju film Eyes Without A Face.”
In the first instalment with the author we discuss Christoph Waltz as Billy Wilder in Stephen Frears’ yet-to-be-filmed adaptation of Jonathan’s novel; meeting Volker Schlöndorff just before the Covid lockdown; the images of Nicolas Roeg’s Don’t Look Now staying with him; a connection between Georges Franju’s [film id=13604]Eyes Without A...
- 7/8/2023
- by Anne-Katrin Titze
- eyeforfilm.co.uk
![Image](https://m.media-amazon.com/images/M/MV5BNTFlODJkOTktNjcyNy00ODM2LTkyNTktZmM0ZGY4M2VmNTNlXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX140_CR0,0,140,140_.jpg)
![Image](https://m.media-amazon.com/images/M/MV5BNTFlODJkOTktNjcyNy00ODM2LTkyNTktZmM0ZGY4M2VmNTNlXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX140_CR0,0,140,140_.jpg)
She was one of the hardest working, most versatile actresses of the Golden Era of Hollywood, lauded by directors, costars and crew members for her professionalism and pleasant demeanor. During a time when most actors were typecasts, her most famous roles included a range of characters from society lady to sassy con artist, working class girl to helpless invalid and from heartbroken mother to one of the most infamous femme fatales of film noir.
Barbara Stanwyck was born Ruby Catherine Stevens on July 16, 1907, in Brooklyn, NY. Orphaned very young, Ruby dropped out of school at the age of 14, starting a series of odd jobs, eventually working for the telephone company. However, she had big dreams, and was soon a chorus girl in several shows, including the Ziegfeld Follies. In 1926, she had a part in the moderately successful play “The Noose,” and decided to change her name – “Barbara” was the name of her character,...
Barbara Stanwyck was born Ruby Catherine Stevens on July 16, 1907, in Brooklyn, NY. Orphaned very young, Ruby dropped out of school at the age of 14, starting a series of odd jobs, eventually working for the telephone company. However, she had big dreams, and was soon a chorus girl in several shows, including the Ziegfeld Follies. In 1926, she had a part in the moderately successful play “The Noose,” and decided to change her name – “Barbara” was the name of her character,...
- 7/8/2023
- by Susan Pennington, Misty Holland and Chris Beachum
- Gold Derby
![Image](https://m.media-amazon.com/images/M/MV5BMzgxNGNlZjAtZThmMC00ZDg4LThmZjktNWIyZGY0Y2M2ODExXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX140_CR0,0,140,140_.jpg)
![Image](https://m.media-amazon.com/images/M/MV5BMzgxNGNlZjAtZThmMC00ZDg4LThmZjktNWIyZGY0Y2M2ODExXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX140_CR0,0,140,140_.jpg)
Billy Wilder was the six-time Oscar winner who left behind a series of classically quotable features from Hollywood’s Golden Age, crafting sharp witted and darkly cynical stories that blended comedy and pathos in equal measure. Let’s take a look back at 25 of his greatest films, ranked worst to best.
Wilder was born to a family of Austrian Jews in 1906. After working as a journalist, he developed an interest in filmmaking and collaborated on the silent feature “People on Sunday” (1929) with fellow rookies Fred Zinnemann, Robert Siodmak and Edgar G. Ulmer. With the rise of Adolph Hitler, Wilder fled to Paris, where he co-directed the feature “Mauvaise Graine” (1934). Tragically, his mother, stepfather and grandmother all died in the Holocaust.
After moving to Hollywood, Wilder enjoyed a successful career as a screenwriter, earning Oscar nominations for penning 1939’s “Ninotchka” and 1941’s “Hold Back the Dawn” and “Ball of Fire.” He...
Wilder was born to a family of Austrian Jews in 1906. After working as a journalist, he developed an interest in filmmaking and collaborated on the silent feature “People on Sunday” (1929) with fellow rookies Fred Zinnemann, Robert Siodmak and Edgar G. Ulmer. With the rise of Adolph Hitler, Wilder fled to Paris, where he co-directed the feature “Mauvaise Graine” (1934). Tragically, his mother, stepfather and grandmother all died in the Holocaust.
After moving to Hollywood, Wilder enjoyed a successful career as a screenwriter, earning Oscar nominations for penning 1939’s “Ninotchka” and 1941’s “Hold Back the Dawn” and “Ball of Fire.” He...
- 6/17/2023
- by Zach Laws and Chris Beachum
- Gold Derby
![Image](https://m.media-amazon.com/images/M/MV5BZDY4ZDBlODUtYmQ2Yy00ZmE3LTg5ZWUtOTBmOTY5YzUxMTgyXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,0,500,281_.jpg)
History ended in the 1990s, at least according to a famous essay by American political scientist Francis Fukuyama. Under his inflammatory headline, Fukuyama argues that the end of the Cold War and the establishment of the United States as the world’s sole global power pole meant that liberal democracies have become the ultimate form of government. As if to prove the argument correct, the US and the UK entered a period of governmental peace and capitalist expansion.
However, those of us who actually lived through the 90s know that the decade wasn’t nearly as rosy as some predicted (or recall). Against the picture of ascendancy painted by Bill Clinton and, eventually, Tony Blair, pop culture reflected the fragmented state of actual lives, and we ended up with some of the most controversial movies of all time.
In addition to the big breakthroughs of the decade, such as Quentin Tarantino...
However, those of us who actually lived through the 90s know that the decade wasn’t nearly as rosy as some predicted (or recall). Against the picture of ascendancy painted by Bill Clinton and, eventually, Tony Blair, pop culture reflected the fragmented state of actual lives, and we ended up with some of the most controversial movies of all time.
In addition to the big breakthroughs of the decade, such as Quentin Tarantino...
- 5/31/2023
- by Kirsten Howard
- Den of Geek
![Image](https://m.media-amazon.com/images/M/MV5BZDIwY2EwY2QtZWU1OS00ZjkwLWI1ZWUtZDM5NGMzNjBiYmIyXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,43,500,281_.jpg)
Flying saucers and alien invasion movies were the trend in the 1950s. UFO sightings in Washington State in 1947 and the famous crash near Roswell, New Mexico in 1948 had ignited a fever for all things alien. The movies soon followed the public interest with films like The Thing from Another World (1951), The Day the Earth Stood Still (1951), War of the Worlds (1953), This Island Earth (1955), Earth vs. The Flying Saucers (1956), Invasion of the Saucer-Men (1957), and many more of varying levels of quality. Many of these science fiction/horror hybrids were aimed toward an audience of children and teenagers and often featured young people, but few placed the viewer so deeply in the child’s perspective as the 1953 classic Invaders from Mars.
In many ways, Invaders from Mars walked so that Invasion of the Body Snatchers could run just three years later. Much of this is due to its extremely low budget and independent production.
In many ways, Invaders from Mars walked so that Invasion of the Body Snatchers could run just three years later. Much of this is due to its extremely low budget and independent production.
- 5/30/2023
- by Brian Keiper
- bloody-disgusting.com
![Image](https://m.media-amazon.com/images/M/MV5BMjY5OWE3ZjItZDQyOS00ZjZiLWIyMzYtNzlkMDIwNjIwZjRmXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UY281_CR0,0,500,281_.jpg)
(Welcome to Did They Get It Right?, a series where we look at Oscars categories from yesteryear and examine whether the Academy's winners stand the test of time.)
When we think of great Hollywood directors, we think of names like John Ford, Frank Capra, Billy Wilder, and moving on up to the likes of Steven Spielberg. These are filmmakers who not only had strong artistic and creative instincts and abilities, but they also knew how to translate those skills into making films that appealed to gigantic mass audiences. They made the films that Hollywood always strives to make.
Unquestionably, another filmmaker who belongs on that list is Alfred Hitchcock, the so-dubbed "Master of Suspense." That moniker suits him perfectly, as he was able to craft some of the most tense pictures ever produced in Hollywood. He perfectly understood set-up and payoff. He knew how to ride the line between euphemism and explicitness,...
When we think of great Hollywood directors, we think of names like John Ford, Frank Capra, Billy Wilder, and moving on up to the likes of Steven Spielberg. These are filmmakers who not only had strong artistic and creative instincts and abilities, but they also knew how to translate those skills into making films that appealed to gigantic mass audiences. They made the films that Hollywood always strives to make.
Unquestionably, another filmmaker who belongs on that list is Alfred Hitchcock, the so-dubbed "Master of Suspense." That moniker suits him perfectly, as he was able to craft some of the most tense pictures ever produced in Hollywood. He perfectly understood set-up and payoff. He knew how to ride the line between euphemism and explicitness,...
- 5/28/2023
- by Mike Shutt
- Slash Film
![Image](https://m.media-amazon.com/images/M/MV5BMmI2ZDA0ODAtZmY0NS00NDFjLWIxODYtODMyZTkyNDQzNTUzXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,13,500,281_.jpg)
The desert will again be a hotbed of deceit and larceny in luxurious black-and-white as the Arthur Lyons Film Noir Festival returns to Palm Springs this Thursday through Sunday, with the quintessential noir classics “The Killing” and “Double Indemnity” bookending a marathon weekend that otherwise tends toward more rarely screened ‘40s and ‘50s titles.
Several sons or daughters of the original actors or directors will be on hand, but of special interest to festival attendees will be the presence of one of the actual filmmakers: James B. Harris, 94, Stanley Kubrick’s producing partner for several of his best early films, who’ll be able to speak first-hand about the making of 1956’s “The Killing,” the crime drama that turned out to be Kubrick’s first real masterpiece.
“I’m just utterly thrilled that ‘The Killing’ will show and Jimmy will be the guest on opening night,” says the festival’s longtime guiding light,...
Several sons or daughters of the original actors or directors will be on hand, but of special interest to festival attendees will be the presence of one of the actual filmmakers: James B. Harris, 94, Stanley Kubrick’s producing partner for several of his best early films, who’ll be able to speak first-hand about the making of 1956’s “The Killing,” the crime drama that turned out to be Kubrick’s first real masterpiece.
“I’m just utterly thrilled that ‘The Killing’ will show and Jimmy will be the guest on opening night,” says the festival’s longtime guiding light,...
- 5/9/2023
- by Chris Willman
- Variety Film + TV
Obsession is a series starring Indira Varma and Charlie Murphy. It is based on the novel by Josephine Hart.
A dark-looking, good thriller story that, pretending to look daring, doesn’t take too many risks after all. However, it knows how to play the dark thriller at times (not always) and, in its irregularity, serves as a good piece of entertainment for fans of the genre.
About the Series
There are times when, on a blind date or in a movie, you have to know what you want and where you’re going. In other words, be clear about things. Obsession is a British series that, almost like a TV movie, pretends to go to the dark side of life, deep down, like in a Lou Reed-style but unwillingly to look at the David Lynch-side of things.
Woven with a deep moralistic tone, it is a film that...
A dark-looking, good thriller story that, pretending to look daring, doesn’t take too many risks after all. However, it knows how to play the dark thriller at times (not always) and, in its irregularity, serves as a good piece of entertainment for fans of the genre.
About the Series
There are times when, on a blind date or in a movie, you have to know what you want and where you’re going. In other words, be clear about things. Obsession is a British series that, almost like a TV movie, pretends to go to the dark side of life, deep down, like in a Lou Reed-style but unwillingly to look at the David Lynch-side of things.
Woven with a deep moralistic tone, it is a film that...
- 4/13/2023
- by Veronica Loop
- Martin Cid - TV
![Image](https://m.media-amazon.com/images/M/MV5BOGIyZTVlNjMtOWE0ZS00OTFmLTlkYmItNWM4YmJhYjQ1ZDZhXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UY281_CR0,0,500,281_.jpg)
Los Angeles is such a large and sprawling city, it doesn't have a singular identity. As can be seen from the wide variety of movies set here, neighborhoods in the east, south, and west of LA, from the beaches to the vast San Fernando Valley, all have extremely different flavors. LA is a city of transplants and immigrants, and I'm no exception, as I moved here 6.5 years ago from the UK. Most of the best-known LA movies were made by outsiders trying to get to grips with a city that in one sense is dominated by the movie industry but also has a rich cultural life outside of that.
One of the best ways to discover LA is through documentaries, such as "City of Gold" (2015), "Los Angeles Plays Itself" (2003), and "Dogtown and Z-Boys" (2001). Like most people, my perception of LA was entirely built by the movies I watched growing up,...
One of the best ways to discover LA is through documentaries, such as "City of Gold" (2015), "Los Angeles Plays Itself" (2003), and "Dogtown and Z-Boys" (2001). Like most people, my perception of LA was entirely built by the movies I watched growing up,...
- 3/26/2023
- by Fiona Underhill
- Slash Film
![Image](https://m.media-amazon.com/images/M/MV5BMmU4NDQ0MDItMDE3My00ODE5LTliMGQtYjY0NDZhMGFjNjQ5XkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,0,500,281_.jpg)
The headline of this column is doubtlessly unfair. I’m judging a movie before I’ve seen it, before it has even been made. Given the vast volume of junky indifferent product that now slides through the megaplex, and the streaming ocean, on a weekly basis, why not settle in for an ambitious remake of “Vertigo,” Alfred Hitchcock’s romantically kinky and voluptuous dream thriller of 1958? At least it’s not “Texas Chainsaw Xviii” or another “Minions” movie. At least it will be interesting (right?).
Robert Downey Jr., who is in talks to produce and possibly star in a remake of “Vertigo” at Paramount (home of the original film), is a great actor. But once he became a box-office superstar, 15 years ago, with “Iron Man,” he got sucked into the escapist vortex of Marvel and “Sherlock Holmes” and duds like “Dolittle.” Downey, who is about to turn 58, needs to rediscover himself as an actor.
Robert Downey Jr., who is in talks to produce and possibly star in a remake of “Vertigo” at Paramount (home of the original film), is a great actor. But once he became a box-office superstar, 15 years ago, with “Iron Man,” he got sucked into the escapist vortex of Marvel and “Sherlock Holmes” and duds like “Dolittle.” Downey, who is about to turn 58, needs to rediscover himself as an actor.
- 3/25/2023
- by Owen Gleiberman
- Variety Film + TV
![Image](https://m.media-amazon.com/images/M/MV5BM2MyZDI2N2QtZTUxNy00YWQxLTk3NWYtZjFiMGQ0MTAxNmQwXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,47,500,281_.jpg)
Any belief that the Oscars award the right films, directors and performances has faded over the years.
While every ceremony has a smattering of correct decisions – trophies handed to the right people for the right films – more often than not, the pervading feeling is one of pessimism caused by a deluge of undeserving recipients.
The Oscars are a far cry from what they claim to be – a celebration of the previous year’s cinematic offerings. But his does not stop people from trawling the internet the following morning in the hope that maybe, just maybe, the winners list impresses rather than disappoints.
With the 2023 ceremony taking place in March, we have highlighted 17 films that really should not have been awarded Oscars.
A Beautiful Mind (2001)
A Beautiful Mind is one of the mustier Best Pictures winners of the century so far. While its win was a coup for DreamWorks – the film...
While every ceremony has a smattering of correct decisions – trophies handed to the right people for the right films – more often than not, the pervading feeling is one of pessimism caused by a deluge of undeserving recipients.
The Oscars are a far cry from what they claim to be – a celebration of the previous year’s cinematic offerings. But his does not stop people from trawling the internet the following morning in the hope that maybe, just maybe, the winners list impresses rather than disappoints.
With the 2023 ceremony taking place in March, we have highlighted 17 films that really should not have been awarded Oscars.
A Beautiful Mind (2001)
A Beautiful Mind is one of the mustier Best Pictures winners of the century so far. While its win was a coup for DreamWorks – the film...
- 3/12/2023
- by Jacob Stolworthy
- The Independent - Film
![Image](https://m.media-amazon.com/images/M/MV5BNzMxMmY1NzktMDQwOS00YmVlLTk2OTgtYzVkOTJjMjVhYTAyXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,8,500,281_.jpg)
In much the same way you can’t make an omelette without breaking a few eggs, you can’t have the Oscars without breaking a few hearts along the way.
Over the years, a glut of films have swept the board at the Academy Awards. In 1991, The Silence of the Lambs became the first and so far only horror film to win Oscars in all five major categories: Best Picture, Best Director, Best Actor, Best Actress, and Best Adapted Screenplay. Titanic, of course, won 11 Oscars in 1998 with James Cameron naturally declaring: “I’m the King of the World!”
More recently still, movies like Slumdog Millionaire and Gravity took home a slew of Oscars for their efforts. But while the movies that take home the night’s big awards continue to live long in the memory – Crash aside – it’s worth not just sparing a thought for the also-rans and nearly...
Over the years, a glut of films have swept the board at the Academy Awards. In 1991, The Silence of the Lambs became the first and so far only horror film to win Oscars in all five major categories: Best Picture, Best Director, Best Actor, Best Actress, and Best Adapted Screenplay. Titanic, of course, won 11 Oscars in 1998 with James Cameron naturally declaring: “I’m the King of the World!”
More recently still, movies like Slumdog Millionaire and Gravity took home a slew of Oscars for their efforts. But while the movies that take home the night’s big awards continue to live long in the memory – Crash aside – it’s worth not just sparing a thought for the also-rans and nearly...
- 3/12/2023
- by John Saavedra
- Den of Geek
![Image](https://m.media-amazon.com/images/M/MV5BM2MyZDI2N2QtZTUxNy00YWQxLTk3NWYtZjFiMGQ0MTAxNmQwXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,47,500,281_.jpg)
Any belief that the Oscars award the right films, directors and performances has faded over the years.
While every ceremony has a smattering of correct decisions – trophies handed to the right people for the right films – more often than not, the pervading feeling is one of pessimism caused by a deluge of undeserving recipients.
The Oscars are a far cry from what they claim to be – a celebration of the previous year’s cinematic offerings. But his does not stop people from trawling the internet the following morning in the hope that maybe, just maybe, the winners list impresses rather than disappoints.
With the 2023 ceremony taking place in March, we have highlighted 17 films that really should not have been awarded Oscars.
A Beautiful Mind (2001)
A Beautiful Mind is one of the mustier Best Pictures winners of the century so far. While its win was a coup for DreamWorks – the film...
While every ceremony has a smattering of correct decisions – trophies handed to the right people for the right films – more often than not, the pervading feeling is one of pessimism caused by a deluge of undeserving recipients.
The Oscars are a far cry from what they claim to be – a celebration of the previous year’s cinematic offerings. But his does not stop people from trawling the internet the following morning in the hope that maybe, just maybe, the winners list impresses rather than disappoints.
With the 2023 ceremony taking place in March, we have highlighted 17 films that really should not have been awarded Oscars.
A Beautiful Mind (2001)
A Beautiful Mind is one of the mustier Best Pictures winners of the century so far. While its win was a coup for DreamWorks – the film...
- 3/11/2023
- by Jacob Stolworthy
- The Independent - Film
![Image](https://m.media-amazon.com/images/M/MV5BYzY2Y2E1Y2QtMmFiYS00Mjk0LWIwZDQtZTc0MzBkMmIxNTc1XkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,75,500,281_.jpg)
Barbara Stanwyck is an early-Hollywood icon. The actor overcame a challenging childhood to become a performer of remarkable range, equally praised for her work in screwball comedies, Westerns, and film noirs. Unfortunately, the Big Valley star’s personal life was as fraught as some of her more complicated characters, but her artistic legacy made her a wealthy woman and a timeless on-screen presence.
Barbara Stanwyck grew up an orphan and began working as a pre-teen Barbara Stanwyck in ‘The Big Valley’ | ABC Photo Archives/Disney General Entertainment Content via Getty Images
The youngest of five children, Barbara Stanwyck was born Ruby Catherine Stevens on Jul. 16, 1907, in Brooklyn, New York. Tragedy struck early in her life. Her mother, Catherine, died after a drunk passenger pushed her off a moving streetcar in 1911. Two weeks after the funeral, Stanwyck’s father, Byron, left to join a work crew digging the Panama Canal and...
Barbara Stanwyck grew up an orphan and began working as a pre-teen Barbara Stanwyck in ‘The Big Valley’ | ABC Photo Archives/Disney General Entertainment Content via Getty Images
The youngest of five children, Barbara Stanwyck was born Ruby Catherine Stevens on Jul. 16, 1907, in Brooklyn, New York. Tragedy struck early in her life. Her mother, Catherine, died after a drunk passenger pushed her off a moving streetcar in 1911. Two weeks after the funeral, Stanwyck’s father, Byron, left to join a work crew digging the Panama Canal and...
- 3/8/2023
- by Sam Hines
- Showbiz Cheat Sheet
![Image](https://m.media-amazon.com/images/M/MV5BM2MyZDI2N2QtZTUxNy00YWQxLTk3NWYtZjFiMGQ0MTAxNmQwXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,47,500,281_.jpg)
Any belief that the Oscars award the right films, directors and performances has faded over the years.
While every ceremony has a smattering of correct decisions – trophies handed to the right people for the right films – more often than not, the pervading feeling is one of pessimism caused by a deluge of undeserving recipients.
The Oscars are a far cry from what they claim to be – a celebration of the previous year’s cinematic offerings. But his does not stop people from trawling the internet the following morning in the hope that maybe, just maybe, the winners list impresses rather than disappoints.
With the 2023 ceremony taking place in March, we have highlighted 17 films that really should not have been awarded Oscars.
A Beautiful Mind (2001)
A Beautiful Mind is one of the mustier Best Pictures winners of the century so far. While its win was a coup for DreamWorks – the film...
While every ceremony has a smattering of correct decisions – trophies handed to the right people for the right films – more often than not, the pervading feeling is one of pessimism caused by a deluge of undeserving recipients.
The Oscars are a far cry from what they claim to be – a celebration of the previous year’s cinematic offerings. But his does not stop people from trawling the internet the following morning in the hope that maybe, just maybe, the winners list impresses rather than disappoints.
With the 2023 ceremony taking place in March, we have highlighted 17 films that really should not have been awarded Oscars.
A Beautiful Mind (2001)
A Beautiful Mind is one of the mustier Best Pictures winners of the century so far. While its win was a coup for DreamWorks – the film...
- 3/4/2023
- by Jacob Stolworthy
- The Independent - Film
![Image](https://m.media-amazon.com/images/M/MV5BZGE3YjNiMzEtNDBlZi00OTJhLTk3NTEtNTBjNDJlYzYyNDkwXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UY281_CR0,0,500,281_.jpg)
This year, all the Oscar-contending directors are nominated for original screenplay: the Daniels, Todd Field, Martin McDonagh, Ruben Östlund and Steven Spielberg (writing with Tony Kushner).
This is the first time it’s happened in AMPAS history.
The only year that came close was 2017, when all five helmers had written or co-written their scripts, though they didn’t all get writing noms.
So here’s Film History 101.
In Hollywood lore, Preston Sturges is often credited as the first scribe to become a hyphenate, as writer-director of the 1940 “The Great McGinty.” But as with all Hollywood “facts,” there is only an element of truth here.
In the next few years, he was joined by some heavyweights: Orson Welles (“Citizen Kane”) and John Huston (“The Maltese Falcon”) in 1941; Leo McCarey (co-writer of “Going My Way”); Billy Wilder (writing with Raymond Chandler) for “Double Indemnity” in 1944; and Joseph L. Mankiewicz (“Dragonwyck”), 1946.
However, a writer-director wasn’t an innovation.
This is the first time it’s happened in AMPAS history.
The only year that came close was 2017, when all five helmers had written or co-written their scripts, though they didn’t all get writing noms.
So here’s Film History 101.
In Hollywood lore, Preston Sturges is often credited as the first scribe to become a hyphenate, as writer-director of the 1940 “The Great McGinty.” But as with all Hollywood “facts,” there is only an element of truth here.
In the next few years, he was joined by some heavyweights: Orson Welles (“Citizen Kane”) and John Huston (“The Maltese Falcon”) in 1941; Leo McCarey (co-writer of “Going My Way”); Billy Wilder (writing with Raymond Chandler) for “Double Indemnity” in 1944; and Joseph L. Mankiewicz (“Dragonwyck”), 1946.
However, a writer-director wasn’t an innovation.
- 3/3/2023
- by Tim Gray
- Variety Film + TV
![Image](https://m.media-amazon.com/images/M/MV5BODI4ZTEwYWEtNjUxYS00YTZhLTljNTEtMjU3ZmUxMDFmNTRkXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,53,500,281_.jpg)
The Best Picture win at the Oscars is the highest prize in the film industry. However, some films manage to take home the top award, yet they still don’t manage to stand the test of time. There are some Best Picture winners that no one talks about, even though they’ll always be a part of Academy Award history.
‘The Broadway Melody’ (1929) L-r: Charles King as Eddie Kearns, Bessie Love as Harriet ‘Hank’ Mahoney, Mary Doran as Flo, Anita Page as Queen Mahoney, and Nacio Herb Brown as Pianist | John Springer Collection/Corbis/Corbis via Getty Images
Harriet ‘Hank’ Mahoney (Bessie Love) and Queenie Mahoney (Anita Page) are vaudeville sister performers looking to break into the Broadway scene. However, romantic melodrama quickly overshadows their attempt to pursue fame as a duo.
The Broadway Melody is the second film to win the Best Picture Oscar, with only Wings coming before it.
‘The Broadway Melody’ (1929) L-r: Charles King as Eddie Kearns, Bessie Love as Harriet ‘Hank’ Mahoney, Mary Doran as Flo, Anita Page as Queen Mahoney, and Nacio Herb Brown as Pianist | John Springer Collection/Corbis/Corbis via Getty Images
Harriet ‘Hank’ Mahoney (Bessie Love) and Queenie Mahoney (Anita Page) are vaudeville sister performers looking to break into the Broadway scene. However, romantic melodrama quickly overshadows their attempt to pursue fame as a duo.
The Broadway Melody is the second film to win the Best Picture Oscar, with only Wings coming before it.
- 2/28/2023
- by Jeff Nelson
- Showbiz Cheat Sheet
![Image](https://m.media-amazon.com/images/M/MV5BYjY2Zjk3YTYtYTljYy00Zjk2LTk5OWItMzE1MjA1MmNmNDkxXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UY281_CR0,0,500,281_.jpg)
(Welcome to The Daily Stream, an ongoing series in which the /Film team shares what they've been watching, why it's worth checking out, and where you can stream it.)
The Movie: "A Simple Favor"
Where You Can Stream It: Prime Video
The Pitch: "A Simple Favor" poses a very (appropriately) simple question: what if Phillip Marlowe was a suburban single mom with a vlog? You'd get Stephanie Smothers (Anna Kendrick), best friend to Emily Nelson (Blake Lively) who went missing after asking Stephanie for, you guessed it, a simple favor. In the aftermath of Emily's disappearance, Stephanie takes it upon herself to find her bestie, which leads her down a dark path littered with secrets, some of which are her own.
Emily Nelson works as a PR executive for a high-end fashion designer with an attitude, Dennis Nylon, and she knows how to handle him (and others like him). "You've gotta go right at 'em,...
The Movie: "A Simple Favor"
Where You Can Stream It: Prime Video
The Pitch: "A Simple Favor" poses a very (appropriately) simple question: what if Phillip Marlowe was a suburban single mom with a vlog? You'd get Stephanie Smothers (Anna Kendrick), best friend to Emily Nelson (Blake Lively) who went missing after asking Stephanie for, you guessed it, a simple favor. In the aftermath of Emily's disappearance, Stephanie takes it upon herself to find her bestie, which leads her down a dark path littered with secrets, some of which are her own.
Emily Nelson works as a PR executive for a high-end fashion designer with an attitude, Dennis Nylon, and she knows how to handle him (and others like him). "You've gotta go right at 'em,...
- 2/19/2023
- by Ariel Fisher
- Slash Film
![Image](https://m.media-amazon.com/images/M/MV5BM2MyZDI2N2QtZTUxNy00YWQxLTk3NWYtZjFiMGQ0MTAxNmQwXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,47,500,281_.jpg)
Any belief that the Oscars award the right films, directors and performances has faded over the years.
While every ceremony has a smattering of correct decisions – trophies handed to the right people for the right films – more often than not, the pervading feeling is one of pessimism caused by a deluge of undeserving recipients.
The Oscars are a far cry from what they claim to be – a celebration of the previous year’s cinematic offerings. But his does not stop people from trawling the internet the following morning in the hope that maybe, just maybe, the winners list impresses rather than disappoints.
With the 2023 ceremony taking place in March, we have highlighted 17 films that really should not have been awarded Oscars.
A Beautiful Mind (2001)
A Beautiful Mind is one of the mustier Best Pictures winners of the century so far. While its win was a coup for DreamWorks – the film...
While every ceremony has a smattering of correct decisions – trophies handed to the right people for the right films – more often than not, the pervading feeling is one of pessimism caused by a deluge of undeserving recipients.
The Oscars are a far cry from what they claim to be – a celebration of the previous year’s cinematic offerings. But his does not stop people from trawling the internet the following morning in the hope that maybe, just maybe, the winners list impresses rather than disappoints.
With the 2023 ceremony taking place in March, we have highlighted 17 films that really should not have been awarded Oscars.
A Beautiful Mind (2001)
A Beautiful Mind is one of the mustier Best Pictures winners of the century so far. While its win was a coup for DreamWorks – the film...
- 2/19/2023
- by Jacob Stolworthy
- The Independent - Film
![Image](https://m.media-amazon.com/images/M/MV5BYzcyNzY4YjEtY2M0My00MjE1LThmZjAtOWYyMmY3MjZjODk5XkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UY281_CR0,0,500,281_.jpg)
Steven Spielberg and Martin Scorsese are the most famous working directors of the last several decades, but that doesn't mean that they're in competition. In fact, the two filmmakers are fans of each other's work. Spielberg is particularly fond of Scorsese's 1990 mob movie, the widely acclaimed modern classic, "Goodfellas." And who can blame him? What's not to like? But "Goodfellas" is more than just a good movie to Spielberg — it's a master class in directing.
"Henry Hill, Jimmy the Gent, Tommy DeVito, Paulie, Karen, Billy Batts, the Lufthansa heist ... all someone has to do is mention some of these names and I get the sudden and irresistible urge to watch Martin Scorsese's 'Goodfellas' again," the director reminisced in an interview with Variety. "I've lost count of how many times I've experienced this epic cinematic masterpiece, which includes a brilliant screenplay by Nicholas Pileggi and Scorsese, and one...
"Henry Hill, Jimmy the Gent, Tommy DeVito, Paulie, Karen, Billy Batts, the Lufthansa heist ... all someone has to do is mention some of these names and I get the sudden and irresistible urge to watch Martin Scorsese's 'Goodfellas' again," the director reminisced in an interview with Variety. "I've lost count of how many times I've experienced this epic cinematic masterpiece, which includes a brilliant screenplay by Nicholas Pileggi and Scorsese, and one...
- 2/7/2023
- by Shae Sennett
- Slash Film
![Image](https://m.media-amazon.com/images/M/MV5BODYwYTZiNjQtMDdmNC00NzlmLTg1MzYtYWFjYzUyN2EzOGI5XkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,36,500,281_.jpg)
Actor Liam Neeson is set to portray the iconic character Philip Marlowe in the upcoming film, Marlowe. But he is hardly the first. Neeson has become known in recent decades for his leading roles in action movies like The Grey and Taken.
In Marlowe, he’ll go noir as he attempts to fill the shoes of one of the most storied private eyes in history: a character who’s been played by some of the biggest actors in Hollywood history.
Liam Neeson takes his penchant for action movies noir in ‘Marlowe’ Marlowe stars Diane Kruger and Liam Neeson | Jb Lacroix/WireImage
Set in Bay Cities, California, in the ’50s, Marlowe follows a “tough as nails private detective” as he investigates the disappearance of a beautiful heiress’ ex-lover. But the more he digs into the case, the more he realizes the spider’s web has spun far larger than he originally thought.
In Marlowe, he’ll go noir as he attempts to fill the shoes of one of the most storied private eyes in history: a character who’s been played by some of the biggest actors in Hollywood history.
Liam Neeson takes his penchant for action movies noir in ‘Marlowe’ Marlowe stars Diane Kruger and Liam Neeson | Jb Lacroix/WireImage
Set in Bay Cities, California, in the ’50s, Marlowe follows a “tough as nails private detective” as he investigates the disappearance of a beautiful heiress’ ex-lover. But the more he digs into the case, the more he realizes the spider’s web has spun far larger than he originally thought.
- 2/5/2023
- by Lindsay Kusiak
- Showbiz Cheat Sheet
![Image](https://m.media-amazon.com/images/M/MV5BMzBhOWVkZjktZWE5Ny00NTZjLWE4NjEtYzUxYjBmNjFlNTA2XkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UY281_CR0,0,500,281_.jpg)
(Welcome to The Daily Stream, an ongoing series in which the /Film team shares what they've been watching, why it's worth checking out, and where you can stream it.)
The Movie: "Irma la Douce"
Where You Can Stream It: Prime Video
The Pitch: Jack Lemmon stars as by-the-book but naïve police officer Nestor Patou who starts a new beat in Paris' red light district. Being a vigilant lawman, he decides to round up all of the sex workers and arrest them, which in turn exposes the corrupt ring within the police force that allows this to usually go on unnoticed by the cops. Nestor is swiftly fired from the force and finds himself drawn to one of the sex workers, the titular Irma la Douce (Shirley MacLaine). After he dispatches her abusive pimp, the two end up moving in together, but Nestor is rather uneasy about Irma still providing service to other men for work.
The Movie: "Irma la Douce"
Where You Can Stream It: Prime Video
The Pitch: Jack Lemmon stars as by-the-book but naïve police officer Nestor Patou who starts a new beat in Paris' red light district. Being a vigilant lawman, he decides to round up all of the sex workers and arrest them, which in turn exposes the corrupt ring within the police force that allows this to usually go on unnoticed by the cops. Nestor is swiftly fired from the force and finds himself drawn to one of the sex workers, the titular Irma la Douce (Shirley MacLaine). After he dispatches her abusive pimp, the two end up moving in together, but Nestor is rather uneasy about Irma still providing service to other men for work.
- 1/21/2023
- by Mike Shutt
- Slash Film
![Image](https://m.media-amazon.com/images/M/MV5BYWJiZGE1ZjItNTY3Ni00OGMxLWFjMmItMDk4MTYwZGZiOTM5XkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UY281_CR0,0,500,281_.jpg)
Every year the Academy of Motion Picture Arts and Sciences gives out shiny gold Oscar statuettes to actors in four categories: Best Actor, Best Actress, Best Supporting Actor, and Best Supporting Actress. But believe it or not, what they don't do, anywhere in the Oscar rulebook, is clearly define what the difference is between a lead performance and a supporting performance.
In the end, they leave that decision up to the Academy voters, who can sometimes make weird calls. How the heck they thought Viola Davis was just "supporting" Denzel Washington in "Fences" is anyone's guess, for example. But the thing is, one rule the Academy does have for these categories, is that you are absolutely not allowed to be nominated for Best Lead and Best Supporting for the same performance, in the same film, in the same year.
At least, not anymore. Because someone already did get nominated for...
In the end, they leave that decision up to the Academy voters, who can sometimes make weird calls. How the heck they thought Viola Davis was just "supporting" Denzel Washington in "Fences" is anyone's guess, for example. But the thing is, one rule the Academy does have for these categories, is that you are absolutely not allowed to be nominated for Best Lead and Best Supporting for the same performance, in the same film, in the same year.
At least, not anymore. Because someone already did get nominated for...
- 1/19/2023
- by William Bibbiani
- Slash Film
![Image](https://m.media-amazon.com/images/M/MV5BYmVjMzA1ODctZGVkYi00OWU3LWIyNmQtNTZiOTYwY2M0MWZlXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,1,500,281_.jpg)
Goodfellas is right up there with one of the greatest mob stories ever told. But many people hold it to an even higher degree as one of the greatest movies ever made. Recently, Steven Spielberg wrote a short guest essay for Variety on why the movie, made by his peer, Martin Scorsese, is not only one of his favorite movies but he also feels it’s a masterclass in filmmaking.
Spielberg mentions that all you need to do is mention the name of one of the characters from the film and that puts him in the mood to watch the gangster epic. He elaborates, “It’s no longer a guilty pleasure to sit for 2 hours and 26 minutes, but rather a master class for any aspiring filmmaker who wants to see a breathtaking balancing act of multiple storylines, timelines, shocking violence and violent humor. The film has an intoxicating energy expressed not only through masterful editing,...
Spielberg mentions that all you need to do is mention the name of one of the characters from the film and that puts him in the mood to watch the gangster epic. He elaborates, “It’s no longer a guilty pleasure to sit for 2 hours and 26 minutes, but rather a master class for any aspiring filmmaker who wants to see a breathtaking balancing act of multiple storylines, timelines, shocking violence and violent humor. The film has an intoxicating energy expressed not only through masterful editing,...
- 12/29/2022
- by EJ Tangonan
- JoBlo.com
![Image](https://m.media-amazon.com/images/M/MV5BNzdlNDRiN2YtMGY3Yy00N2Q2LWE4ODEtNjhjMTlkZDUxYjVmXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UY281_CR0,0,500,281_.jpg)
Motion pictures, for better or worse, shape the way that we view history. They bring the past to life using realistic costumes, production design, and visual effects. They tell vivid stories about real-life figures and important events that shaped the world around us to this day, and which provide meaningful parallels to the lives we currently lead.
And yet, if the movies have taught us anything, it's that every single historical figure, at some point in their storied life, has also solved at least one murder mystery. Or at least they fought a mummy or something. The desire to tell tales of historical fiction is perfectly understandable, but our collective and very specific urge to transform biographies into pulpy fan fiction is a little weird, if you think about it.
Consider, if you will, Scott Cooper's "The Pale Blue Eye," which co-stars Harry Melling as a young Edgar Allan Poe,...
And yet, if the movies have taught us anything, it's that every single historical figure, at some point in their storied life, has also solved at least one murder mystery. Or at least they fought a mummy or something. The desire to tell tales of historical fiction is perfectly understandable, but our collective and very specific urge to transform biographies into pulpy fan fiction is a little weird, if you think about it.
Consider, if you will, Scott Cooper's "The Pale Blue Eye," which co-stars Harry Melling as a young Edgar Allan Poe,...
- 12/22/2022
- by William Bibbiani
- Slash Film
![Steven Spielberg at an event for The 79th Annual Academy Awards (2007)](https://m.media-amazon.com/images/M/MV5BMTY1NjAzNzE1MV5BMl5BanBnXkFtZTYwNTk0ODc0._V1_QL75_UX140_CR0,1,140,207_.jpg)
![Steven Spielberg at an event for The 79th Annual Academy Awards (2007)](https://m.media-amazon.com/images/M/MV5BMTY1NjAzNzE1MV5BMl5BanBnXkFtZTYwNTk0ODc0._V1_QL75_UX140_CR0,1,140,207_.jpg)
Steven Spielberg has said Goodfellas is his favourite Martin Scorsese picture.
Scorsese’s 1990 popular crime/drama follows Henry (late Ray Liotta), a member of the Irish-Italian mafia, and his two unstable friends Jimmy (Robert de Niro) and Tommy (Joe Pesci) as they advance beyond petty crimes to violent murder.
“I’ve lost count of how many times I’ve experienced this epic cinematic masterpiece,” Spielberg wrote of the director’s Goodfellas in a new essay for Variety.
The Jaws director argued that “there are no background performances” in the film, claiming De Niro, Pesci and Liotta as “one of cinema history’s greatest acting ensembles”.
“It’s no longer a guilty pleasure to sit for 2 hours and 26 minutes,” Spielberg continued, “but rather a master class for any aspiring filmmaker who wants to see a breathtaking balancing act of multiple storylines, timelines, shocking violence and violent humour.”
Spielberg praised the movie...
Scorsese’s 1990 popular crime/drama follows Henry (late Ray Liotta), a member of the Irish-Italian mafia, and his two unstable friends Jimmy (Robert de Niro) and Tommy (Joe Pesci) as they advance beyond petty crimes to violent murder.
“I’ve lost count of how many times I’ve experienced this epic cinematic masterpiece,” Spielberg wrote of the director’s Goodfellas in a new essay for Variety.
The Jaws director argued that “there are no background performances” in the film, claiming De Niro, Pesci and Liotta as “one of cinema history’s greatest acting ensembles”.
“It’s no longer a guilty pleasure to sit for 2 hours and 26 minutes,” Spielberg continued, “but rather a master class for any aspiring filmmaker who wants to see a breathtaking balancing act of multiple storylines, timelines, shocking violence and violent humour.”
Spielberg praised the movie...
- 12/21/2022
- by Inga Parkel
- The Independent - Film
![Image](https://m.media-amazon.com/images/M/MV5BZTliNzExNGItNTAwNy00ZjNmLThmMDctNDkxY2NlNmYwMWRkXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,0,500,281_.jpg)
This essay is one of several contributed by filmmakers and actors as part of Variety’s 100 Greatest Movies of All Time package.
Henry Hill, Jimmy the Gent, Tommy DeVito, Paulie, Karen, Billy Batts, the Lufthansa heist … all someone has to do is mention some of these names and I get the sudden and irresistible urge to watch Martin Scorsese’s “Goodfellas” again. I’ve lost count of how many times I’ve experienced this epic cinematic masterpiece, which includes a brilliant screenplay by Nicholas Pileggi and Scorsese, and one of cinema history’s greatest acting ensembles: De Niro, Pesci, Liotta, and some of the most memorable supporting roles ever — from Samuel L. Jackson, Michael Imperioli, Chuck Low and Tony Darrow to Catherine and Charles Scorsese … there are no background performances in “Goodfellas.”
It’s no longer a guilty pleasure to sit for 2 hours and 26 minutes, but rather a master class...
Henry Hill, Jimmy the Gent, Tommy DeVito, Paulie, Karen, Billy Batts, the Lufthansa heist … all someone has to do is mention some of these names and I get the sudden and irresistible urge to watch Martin Scorsese’s “Goodfellas” again. I’ve lost count of how many times I’ve experienced this epic cinematic masterpiece, which includes a brilliant screenplay by Nicholas Pileggi and Scorsese, and one of cinema history’s greatest acting ensembles: De Niro, Pesci, Liotta, and some of the most memorable supporting roles ever — from Samuel L. Jackson, Michael Imperioli, Chuck Low and Tony Darrow to Catherine and Charles Scorsese … there are no background performances in “Goodfellas.”
It’s no longer a guilty pleasure to sit for 2 hours and 26 minutes, but rather a master class...
- 12/21/2022
- by Steven Spielberg
- Variety Film + TV
![Image](https://m.media-amazon.com/images/M/MV5BNjY5ZTI0OGEtMmY4MC00NDU0LTk2ZjMtNzI0ZmEyY2NiMzM2XkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX140_CR0,1,140,207_.jpg)
![Image](https://m.media-amazon.com/images/M/MV5BNjY5ZTI0OGEtMmY4MC00NDU0LTk2ZjMtNzI0ZmEyY2NiMzM2XkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX140_CR0,1,140,207_.jpg)
South Korea’s Oscar© 2023 Entry for Best International Feature: ‘Decision to Leave’ by Park Chan-wookSure to be on the top of many people’s list as one of the best films of the year (including my own along with ‘Eo’), at the very least it should be nominated for for best international feature Oscar. This melodrama keeps you in the tense suspense of ‘Double Indemnity’, ‘The Postman Rings Twice’ or ‘Gaslight’.
From a mountain peak in South Korea, a man plummets to his death. Did he jump, or was he pushed? When detective Hae-joon (Park Hae-il) arrives on the scene, he begins to suspect the dead man’s wife Seo-rae (Tang Wei). As he digs deeper into the investigation, he finds himself trapped in a web of deception and desire. By falling in love with her, he commits worst crime he could commit as a police officer.
writer Jeong Seo-kyeong
Decision to Leave is co-written by Jeong Seo-kyeong with the director Park Chan-wook. It is shot in and around Busan. The romantic thriller premiered at this year’s Cannes Film Festival and is being released in select U.S. theaters by Mubi.
During the Hammer Museum- Moma Contender Series, the screenwriter Jeong Seo-kyeong spoke about her many collaboration with Park Chan-took.You can watch the 32 minute conversation here with film critic Katie Walsh. Or read below for the written version, slightly edited and abridged.
The music itself is exceptional. I wanted to go out immediately and buy it and could not stop singing it as I drove home from the movie. The original music was composed by his long time collaborator Cho Young-wuk (Oldboy, The Handmaiden, The Little Drummer Girl, Lady Vengeance, Thirst). The soundtrack is available to stream/download in most international markets and on Spotify. Watch the offical music video here for the theme song “Fog” or “Mist” (안개)” by Jung Hoon Hee(정훈희) & Song Chang Sick(송창식). Record label: Bertelsmann Music Group. Awards: Blue Dragon Film Award for Best Music, Grand Bell Award for Best Music, Korean Film Awards for Best Music.
Aside from the original mustic there is the recurring fourth movement of Mahler’s 5th Symphony thoughout the film. When asked her about the use of music this is what she answered.
When we were writing the script, the Mahler’s Fifth was actually the first score that we thought of. I needed a song that goes with someone in that lone space high up on the mountain, a music that speaks to how he feels separated from the rest of the world. That’s why I chose two songs by Mahler. And when Director Park saw the first draft, he called me up and he said, “Oh, it’s all good, but why did you have to use Mahler? Did you not watch Death in Venice? That song was perfectly used there already, so why would we have to use it again?”
But I never saw Death in Venice.
So he said, “Okay, I’ll try to work it out on my own.” And I think he did try his best to find something else, but he had to return to Mahler.
Have you seen Tar? They also use Mahler. No.
She conducts Mahler’s Fifth in Tar. So it’s a theme this year.
To return to her writing, Katie Walsh and Jeong Seo-kyeong’s conversation is below.
You started working with Director Park in 2005 with Lady Vengeance. So I’m so curious how you two connected and started working together on that film.
There was a short film competition and he was a jury member and he selected the film. And that’s how we got to know each other. From what I remember, the script of the short film was very weird and I think that’s exactly what he liked about it. So he said, I’ve got this idea. I’m working on this this vengeance trilogy and I want your sensibility on this.
At that point, just when we were about to start working together, he had just won the Grand Jury Prize at Cannes [for Oldboy] and he became a worldwide director.
I thought to myself, wow, I’m going to be working with such a worldwide famous director. I was very stunned by that and he was busy at the time, so I had to start on the screenplay on my own at first.
He was on his promotional tour for the film and I was working on the first draft of the screenplay by myself. And from what I remember, it was a pathetic first draft.
But he was not taken aback by the draft at all. And instead he calmly said, “okay, let’s start revising it together”.
In Korea, there’s a method of working in which we share one hotel room and we stay there and work together for days. So the crew members were sitting around this large table in this hotel room. There are two monitors, two keyboards and one hard drive. And we were working together. When one person is writing, the other person can see it on the screen. Next to that table was a long couch where all the other crew members were sitting. It almost felt like writing that screenplay was a game of table tennis.
So he writes and then I write. I would see something that I ddin’t like and I would revise it. He would see something he didn’t like and he would revise it. So we would go back and forth like that. Instead of sharing conversations by mouth, we were seeing what was happening on the screen and that’s how we talked about the story.
At that time I was a first time writer and I was working on my first screenplay. So I really had to give it all my best to catch up with him. It really was an unfair game, if I may say. Whenever we would ask people which they liked better, they would always be on the director’s side.
But 20 years later, today, the crew member actually take my side more now.
So you still work like this?
No. Oh. After Thirst, I had my first child. And while we were working on Stoker I had my second child close. That’s why I couldn’t make a lot of time. And that’s why we can’t spend that much time together anymore.
So now I write the first draft of the screenplay and we revise it for three or four days or up to a week. Then he writes the final draft after a discussion with the crew members and the actors and myself.
Wow. That’s remarkable. I was going to ask how you guys work together, what you’re working process was like. So I’m I’m thrilled that it just came up naturally. And that is such a trial by fire. I mean, I’m sure that was like film school being in that hotel room, having to write against Park Chan-wook in a competitive manner.
I actually majored in screenwriting at school, but after graduation, I realized I actually don’t know anything about screenwriting. Like, really, like, genuinely. I was learning screenwriting from director Park Film School and I’m still learning today.
Park Chan-wook
And I’m sure director Park feels the same way.
Yeah. Yeah. So Decision to Leave is an original script.
You’ve worked on some adaptations before, but what was the spark of idea for this screenplay?
Director Park, while working on Little Drummer Girl in London, sent me an email. He suggested, “What about a story about a detective? And in his area, there are two husbands who are murdered by his wife.”
His idea at the time actually reminded me a lot of Thirst… a murder caused by adultery.
I told him, “I don’t think we can work on this one. First of all, neither of us can write a melodrama. But even more, I really can’t write a story about adultery.”
But Director Park answered, “What do you mean? I’m great at writing this stuff.”
I told him no. I don’t think we can work like this. So we had an argument about that, actually. During that argument, I realized I was already developing the characters for this story. And I found myself with a finished synopsis for the film. That’s how the film came to be.
It sounds like there’s some creative energy in the conflict or in the argument. Can you talk a little bit about that and how you’re sort of working against each other and then it’s generating ideas for you.
For this film and it’s so for most of the films that we work together on, I relate a lot to the female characters and director Park tends to relate to the male characters. And the reason I didn’t want to work on a melodrama is because I had a terrible memory from Thirst. I did not like the ending of Thirst. Why did the female character have to die when she did not want to. It would have been nice if she lived on as a vampire. So when the film was over I think I felt just like Tae-ju. She’s like, “I don’t want to die but since I love him, I guess there’s no other choice”. So I thought to myself, “Well, I don’t want it to be that way, but I guess I have no other choice.”
For Decision to Leave, I do like the ending but I did have to ask the question why the female character had to die. I had a lot of frustrations regarding that. Why Seo-rae seem to like Hae-jun more than he likes her. Why does Hae-jun seem like he can’t give up on his wife or Seo-rae.
Seo-rae says, “The moment you said you loved me, your love is over. The moment your love ends, my love begins.”
And Seo-rae has to give up give up her whole life for Hae-jun. But Hae-jun only gives up on his self-esteem.
But watching the finished film, I was struck with a realization that for some people, giving up on one’s self-esteem is the same as giving up one’s life.
There was some conflict while we were writing the film, but watching the finished film, I think I understood and connected with the overall ending.
I’m also curious about the casting of Tang Wei, who’s a Chinese actress, obviously living in Korea. And did you write the character of Seo-rae for Tang Wei or was it? Did you change that character to be Chinese once you knew she was going to be in the film?
I told director Park I didn’t want to write a melodrama because I was not confident I would do a good job. One exception was, that if the female character were played by Tang Wei, then I would write it. Because I was in love with Tang Wei.
That’s a good answer. Makes sense. I understand.
And that’s why the female character turned out to- turned out to be a Chinese person.
Well, she’s fabulous in the film. So we thank you for your instincts, for being in love with her.
One of the things I love about this film is the use of technology. It feels so honest as to how we use technology in our everyday lives, how we’re always texting and the way the characters communicate through technology. But also it becomes part of the mystery and how he solves the mystery and then also how he’s sort of driven mad at the end. So when you’re writing with director Park, how are you incorporating how the characters are using technology into the writing process? He makes it so cinematic, but I know that you must be putting that into the script as well.
If you consider authors like Agatha Christie at the time when she was writing her crime novel and compare them to those who are writing crime novels today, we have so much technology. Phones are always filming and are recording evidence. There’s not a lot that we can work with because anyone can take photos and have voice recordings and there are always CCTV cameras everywhere.
So I realized it’s impossible to have that romanticist classical crime story. Instead we must actively incorporate the use of modern technology. When Director Park first received a draft of the script. He asked me, “Why are there so many scenes with cell phones? I’ve never seen so many cell phones in a movie except in Searching.”
Director Park initially did not want to film any scenes with cell phones. But later he gave up on giving up on those cell phone scenes and instead filmed from the point of view of a cell phone. That is actually a very innovative, creative take on that. But I do feel that people took that in very well because we often feel that phones are looking at us.
As for me as a writer, the use of Apple Watches actually gave me a lot of creative freedom because it’s difficult to have scenes to incorporate the protagonist in a voiceover out of nowhere. But with the Apple Watch and the recording, it made that so much easier.
You have worked across so many genres with Director Park, vampire, vengeance, melodrama. The Handmaiden is a historical drama, romance. It’s an adaptation. Do you think there’s a consistent theme or tone that you and Director Park always come back to that spans your body of work?
The thing is, Director Park and I actually don’t agree on the themes most of the time. For instance, for Lady Vengeance, the theme was vengeance. But I don’t quite understand why people are so obsessed with vengeance.
So I actually called my friend and asked, “Why do people have to take revenge on each other instead of striving for peace?”
As for Thirst, the theme was guilt or salvation. But the thing is, I don’t feel a lot of guilt in my life. As long as I don’t do anything bad, there is no need for guit or salvation. That’s what I think.
If I were a vampire, I would think to myself, “Oh, this is how the mankind is going to evolve. So I should find a new method of life”.
So in those ways I don’t think the themes quite worked with me, but as we were working together, I didn’t realize we were working toward one common theme. I think it has to do with respect or the dignity of mankind.
In all of these different genres, the protagonists tend to be thrown into very extreme situations. And yet even in these extreme situations, these protagonists try not to lose their sense of dignity. I think when Hae-jun was talking about how Seo-rae had such upright posture, I think it really spoke to her sense of dignity.
That is a common theme throughout films like I’m a Cyborg But That’s Okayor The Handmaiden.
I was wondering, did you ever come up with that alternative finale or like, did you suggest an alternative finale?
The ending is actually something that makes logical sense. This is a story that begins very high up and then ends very low. We start on the mountain and close on the ocean. So conclusively it makes logical sense that it would end up with someone digging a hole.
I actually tend to think that an ending in which a woman dies for love is quite unnatural. But if a man dies, that’s a little more natural. But despite those personal frustrations, I cannot think of any other ending that would work better.
Director Park seems to write a lot of stories featuring female protagonists. What are the difficulties you face when you’re writing about a female protagonist while you’re working with a male director?
It is very easy. I’ve actually written a story in which it only features male protagonists. It’s called Believer. That story is filled with male characters. And I had such a hard time, I thought I was going to die.
I think one of the most difficult parts of being a writer is if a female writer is trying to write a good male character, and when a male writer is trying to write a good female character.
But despite all those difficulties, Director Park actually portrays the female characters very well. He writes characters in such a way that they don’t have to sacrifice their femininity in order to walk their path of life.
Over 20 years of working together, our collaboration has evolved so much that it’s actually difficult to tell which line is written by me and which line is written by Director Park.
In the movie The Handmaiden, one of the most feminine looking lines, was actually written by Director Park. I’m not sure if I’m allowed to say that line out loud.
It’s a line by the character Sook-hee and she says, “If I could have milk from my breasts, I wish I could feed you, my lady.”
Can you imagine that?
Well, his female characters are so strong, I’m sure that is your influence, of course, in your writing, but also, in just the working relationship that he has with you.
I wish I could also have developed writing better male characters, but I think I’m a little behind if we have to make a comparison.
Keep writing women, we like it.
I wanted to ask about Seo-Rae’s mother-daughter relationship because I felt like that was such a pivotal moment in the story.
The relationship between Seo-rae and her mother was actually described in more lengthy terms. Because I think the entire story started the moment Seo-rae killed her mother. There is nothing more serious. She doesn’t commit a more serious crime than killing the mother that she loves so much.
So I think in some ways, Seo-rae has already died the moment she had to go through that.
I think she has taken a journey with her mother and her grandfather to the mountain that her mother said belonged to her, and then she starts her journey down. After she has placed the ashes of her mother and her grandfather at that mountain, she starts her own journey towards death down from the mountain. Because I think every animal, including mankind, wants to find death where they were born.
So that is why Seo-rae believed that her mother wanted to be buried in the mountains and Seo-rae goes towards the ocean because she belongs to the ocean.
I think the only way she might have found salvation from her ordeal could have been to leave and go somewhere else with Hae-jun, but that didn’t happen, so inevitably she had to go to the ocean.
And all of that began with the death of Seo-rae’s mother.
Well, thank you all so much for being here. Thank you so much. Thank you, Jiwon. Thank you, Chung Seo-kyung. And thank you for watching this film and talking to us about it.
The film’s producer, CJEnt is also the international sales agent as well as the So. Korean distributor of the film. Internationally it has licensed the film to Mubi for USA, UK, Ireland, France, Germany, Latin America, Turkey, India, and Airlines and to Arna Media and Vesta for Russia, Bac Films for France, Cinobo for Greece, Cinéart for Benelux, Golden Village Pictures for Singapore, Happinet Phantom Studios for Japan, Lucky Red for Italy, Madman Entertainment for Australia and New Zealand, Movie Cloud for Taiwan, NonStop Entertainment for Scandinavia, Plaion Pictures for Germany, Purple Plan (2022) (Brunei, Malaysia and Singapore, The Filmbridge for Mongolia, Alambique Filmes for Portugal, Avalon for Spain
MoviesOscarsSouth KoreaThriller...
From a mountain peak in South Korea, a man plummets to his death. Did he jump, or was he pushed? When detective Hae-joon (Park Hae-il) arrives on the scene, he begins to suspect the dead man’s wife Seo-rae (Tang Wei). As he digs deeper into the investigation, he finds himself trapped in a web of deception and desire. By falling in love with her, he commits worst crime he could commit as a police officer.
writer Jeong Seo-kyeong
Decision to Leave is co-written by Jeong Seo-kyeong with the director Park Chan-wook. It is shot in and around Busan. The romantic thriller premiered at this year’s Cannes Film Festival and is being released in select U.S. theaters by Mubi.
During the Hammer Museum- Moma Contender Series, the screenwriter Jeong Seo-kyeong spoke about her many collaboration with Park Chan-took.You can watch the 32 minute conversation here with film critic Katie Walsh. Or read below for the written version, slightly edited and abridged.
The music itself is exceptional. I wanted to go out immediately and buy it and could not stop singing it as I drove home from the movie. The original music was composed by his long time collaborator Cho Young-wuk (Oldboy, The Handmaiden, The Little Drummer Girl, Lady Vengeance, Thirst). The soundtrack is available to stream/download in most international markets and on Spotify. Watch the offical music video here for the theme song “Fog” or “Mist” (안개)” by Jung Hoon Hee(정훈희) & Song Chang Sick(송창식). Record label: Bertelsmann Music Group. Awards: Blue Dragon Film Award for Best Music, Grand Bell Award for Best Music, Korean Film Awards for Best Music.
Aside from the original mustic there is the recurring fourth movement of Mahler’s 5th Symphony thoughout the film. When asked her about the use of music this is what she answered.
When we were writing the script, the Mahler’s Fifth was actually the first score that we thought of. I needed a song that goes with someone in that lone space high up on the mountain, a music that speaks to how he feels separated from the rest of the world. That’s why I chose two songs by Mahler. And when Director Park saw the first draft, he called me up and he said, “Oh, it’s all good, but why did you have to use Mahler? Did you not watch Death in Venice? That song was perfectly used there already, so why would we have to use it again?”
But I never saw Death in Venice.
So he said, “Okay, I’ll try to work it out on my own.” And I think he did try his best to find something else, but he had to return to Mahler.
Have you seen Tar? They also use Mahler. No.
She conducts Mahler’s Fifth in Tar. So it’s a theme this year.
To return to her writing, Katie Walsh and Jeong Seo-kyeong’s conversation is below.
You started working with Director Park in 2005 with Lady Vengeance. So I’m so curious how you two connected and started working together on that film.
There was a short film competition and he was a jury member and he selected the film. And that’s how we got to know each other. From what I remember, the script of the short film was very weird and I think that’s exactly what he liked about it. So he said, I’ve got this idea. I’m working on this this vengeance trilogy and I want your sensibility on this.
At that point, just when we were about to start working together, he had just won the Grand Jury Prize at Cannes [for Oldboy] and he became a worldwide director.
I thought to myself, wow, I’m going to be working with such a worldwide famous director. I was very stunned by that and he was busy at the time, so I had to start on the screenplay on my own at first.
He was on his promotional tour for the film and I was working on the first draft of the screenplay by myself. And from what I remember, it was a pathetic first draft.
But he was not taken aback by the draft at all. And instead he calmly said, “okay, let’s start revising it together”.
In Korea, there’s a method of working in which we share one hotel room and we stay there and work together for days. So the crew members were sitting around this large table in this hotel room. There are two monitors, two keyboards and one hard drive. And we were working together. When one person is writing, the other person can see it on the screen. Next to that table was a long couch where all the other crew members were sitting. It almost felt like writing that screenplay was a game of table tennis.
So he writes and then I write. I would see something that I ddin’t like and I would revise it. He would see something he didn’t like and he would revise it. So we would go back and forth like that. Instead of sharing conversations by mouth, we were seeing what was happening on the screen and that’s how we talked about the story.
At that time I was a first time writer and I was working on my first screenplay. So I really had to give it all my best to catch up with him. It really was an unfair game, if I may say. Whenever we would ask people which they liked better, they would always be on the director’s side.
But 20 years later, today, the crew member actually take my side more now.
So you still work like this?
No. Oh. After Thirst, I had my first child. And while we were working on Stoker I had my second child close. That’s why I couldn’t make a lot of time. And that’s why we can’t spend that much time together anymore.
So now I write the first draft of the screenplay and we revise it for three or four days or up to a week. Then he writes the final draft after a discussion with the crew members and the actors and myself.
Wow. That’s remarkable. I was going to ask how you guys work together, what you’re working process was like. So I’m I’m thrilled that it just came up naturally. And that is such a trial by fire. I mean, I’m sure that was like film school being in that hotel room, having to write against Park Chan-wook in a competitive manner.
I actually majored in screenwriting at school, but after graduation, I realized I actually don’t know anything about screenwriting. Like, really, like, genuinely. I was learning screenwriting from director Park Film School and I’m still learning today.
Park Chan-wook
And I’m sure director Park feels the same way.
Yeah. Yeah. So Decision to Leave is an original script.
You’ve worked on some adaptations before, but what was the spark of idea for this screenplay?
Director Park, while working on Little Drummer Girl in London, sent me an email. He suggested, “What about a story about a detective? And in his area, there are two husbands who are murdered by his wife.”
His idea at the time actually reminded me a lot of Thirst… a murder caused by adultery.
I told him, “I don’t think we can work on this one. First of all, neither of us can write a melodrama. But even more, I really can’t write a story about adultery.”
But Director Park answered, “What do you mean? I’m great at writing this stuff.”
I told him no. I don’t think we can work like this. So we had an argument about that, actually. During that argument, I realized I was already developing the characters for this story. And I found myself with a finished synopsis for the film. That’s how the film came to be.
It sounds like there’s some creative energy in the conflict or in the argument. Can you talk a little bit about that and how you’re sort of working against each other and then it’s generating ideas for you.
For this film and it’s so for most of the films that we work together on, I relate a lot to the female characters and director Park tends to relate to the male characters. And the reason I didn’t want to work on a melodrama is because I had a terrible memory from Thirst. I did not like the ending of Thirst. Why did the female character have to die when she did not want to. It would have been nice if she lived on as a vampire. So when the film was over I think I felt just like Tae-ju. She’s like, “I don’t want to die but since I love him, I guess there’s no other choice”. So I thought to myself, “Well, I don’t want it to be that way, but I guess I have no other choice.”
For Decision to Leave, I do like the ending but I did have to ask the question why the female character had to die. I had a lot of frustrations regarding that. Why Seo-rae seem to like Hae-jun more than he likes her. Why does Hae-jun seem like he can’t give up on his wife or Seo-rae.
Seo-rae says, “The moment you said you loved me, your love is over. The moment your love ends, my love begins.”
And Seo-rae has to give up give up her whole life for Hae-jun. But Hae-jun only gives up on his self-esteem.
But watching the finished film, I was struck with a realization that for some people, giving up on one’s self-esteem is the same as giving up one’s life.
There was some conflict while we were writing the film, but watching the finished film, I think I understood and connected with the overall ending.
I’m also curious about the casting of Tang Wei, who’s a Chinese actress, obviously living in Korea. And did you write the character of Seo-rae for Tang Wei or was it? Did you change that character to be Chinese once you knew she was going to be in the film?
I told director Park I didn’t want to write a melodrama because I was not confident I would do a good job. One exception was, that if the female character were played by Tang Wei, then I would write it. Because I was in love with Tang Wei.
That’s a good answer. Makes sense. I understand.
And that’s why the female character turned out to- turned out to be a Chinese person.
Well, she’s fabulous in the film. So we thank you for your instincts, for being in love with her.
One of the things I love about this film is the use of technology. It feels so honest as to how we use technology in our everyday lives, how we’re always texting and the way the characters communicate through technology. But also it becomes part of the mystery and how he solves the mystery and then also how he’s sort of driven mad at the end. So when you’re writing with director Park, how are you incorporating how the characters are using technology into the writing process? He makes it so cinematic, but I know that you must be putting that into the script as well.
If you consider authors like Agatha Christie at the time when she was writing her crime novel and compare them to those who are writing crime novels today, we have so much technology. Phones are always filming and are recording evidence. There’s not a lot that we can work with because anyone can take photos and have voice recordings and there are always CCTV cameras everywhere.
So I realized it’s impossible to have that romanticist classical crime story. Instead we must actively incorporate the use of modern technology. When Director Park first received a draft of the script. He asked me, “Why are there so many scenes with cell phones? I’ve never seen so many cell phones in a movie except in Searching.”
Director Park initially did not want to film any scenes with cell phones. But later he gave up on giving up on those cell phone scenes and instead filmed from the point of view of a cell phone. That is actually a very innovative, creative take on that. But I do feel that people took that in very well because we often feel that phones are looking at us.
As for me as a writer, the use of Apple Watches actually gave me a lot of creative freedom because it’s difficult to have scenes to incorporate the protagonist in a voiceover out of nowhere. But with the Apple Watch and the recording, it made that so much easier.
You have worked across so many genres with Director Park, vampire, vengeance, melodrama. The Handmaiden is a historical drama, romance. It’s an adaptation. Do you think there’s a consistent theme or tone that you and Director Park always come back to that spans your body of work?
The thing is, Director Park and I actually don’t agree on the themes most of the time. For instance, for Lady Vengeance, the theme was vengeance. But I don’t quite understand why people are so obsessed with vengeance.
So I actually called my friend and asked, “Why do people have to take revenge on each other instead of striving for peace?”
As for Thirst, the theme was guilt or salvation. But the thing is, I don’t feel a lot of guilt in my life. As long as I don’t do anything bad, there is no need for guit or salvation. That’s what I think.
If I were a vampire, I would think to myself, “Oh, this is how the mankind is going to evolve. So I should find a new method of life”.
So in those ways I don’t think the themes quite worked with me, but as we were working together, I didn’t realize we were working toward one common theme. I think it has to do with respect or the dignity of mankind.
In all of these different genres, the protagonists tend to be thrown into very extreme situations. And yet even in these extreme situations, these protagonists try not to lose their sense of dignity. I think when Hae-jun was talking about how Seo-rae had such upright posture, I think it really spoke to her sense of dignity.
That is a common theme throughout films like I’m a Cyborg But That’s Okayor The Handmaiden.
I was wondering, did you ever come up with that alternative finale or like, did you suggest an alternative finale?
The ending is actually something that makes logical sense. This is a story that begins very high up and then ends very low. We start on the mountain and close on the ocean. So conclusively it makes logical sense that it would end up with someone digging a hole.
I actually tend to think that an ending in which a woman dies for love is quite unnatural. But if a man dies, that’s a little more natural. But despite those personal frustrations, I cannot think of any other ending that would work better.
Director Park seems to write a lot of stories featuring female protagonists. What are the difficulties you face when you’re writing about a female protagonist while you’re working with a male director?
It is very easy. I’ve actually written a story in which it only features male protagonists. It’s called Believer. That story is filled with male characters. And I had such a hard time, I thought I was going to die.
I think one of the most difficult parts of being a writer is if a female writer is trying to write a good male character, and when a male writer is trying to write a good female character.
But despite all those difficulties, Director Park actually portrays the female characters very well. He writes characters in such a way that they don’t have to sacrifice their femininity in order to walk their path of life.
Over 20 years of working together, our collaboration has evolved so much that it’s actually difficult to tell which line is written by me and which line is written by Director Park.
In the movie The Handmaiden, one of the most feminine looking lines, was actually written by Director Park. I’m not sure if I’m allowed to say that line out loud.
It’s a line by the character Sook-hee and she says, “If I could have milk from my breasts, I wish I could feed you, my lady.”
Can you imagine that?
Well, his female characters are so strong, I’m sure that is your influence, of course, in your writing, but also, in just the working relationship that he has with you.
I wish I could also have developed writing better male characters, but I think I’m a little behind if we have to make a comparison.
Keep writing women, we like it.
I wanted to ask about Seo-Rae’s mother-daughter relationship because I felt like that was such a pivotal moment in the story.
The relationship between Seo-rae and her mother was actually described in more lengthy terms. Because I think the entire story started the moment Seo-rae killed her mother. There is nothing more serious. She doesn’t commit a more serious crime than killing the mother that she loves so much.
So I think in some ways, Seo-rae has already died the moment she had to go through that.
I think she has taken a journey with her mother and her grandfather to the mountain that her mother said belonged to her, and then she starts her journey down. After she has placed the ashes of her mother and her grandfather at that mountain, she starts her own journey towards death down from the mountain. Because I think every animal, including mankind, wants to find death where they were born.
So that is why Seo-rae believed that her mother wanted to be buried in the mountains and Seo-rae goes towards the ocean because she belongs to the ocean.
I think the only way she might have found salvation from her ordeal could have been to leave and go somewhere else with Hae-jun, but that didn’t happen, so inevitably she had to go to the ocean.
And all of that began with the death of Seo-rae’s mother.
Well, thank you all so much for being here. Thank you so much. Thank you, Jiwon. Thank you, Chung Seo-kyung. And thank you for watching this film and talking to us about it.
The film’s producer, CJEnt is also the international sales agent as well as the So. Korean distributor of the film. Internationally it has licensed the film to Mubi for USA, UK, Ireland, France, Germany, Latin America, Turkey, India, and Airlines and to Arna Media and Vesta for Russia, Bac Films for France, Cinobo for Greece, Cinéart for Benelux, Golden Village Pictures for Singapore, Happinet Phantom Studios for Japan, Lucky Red for Italy, Madman Entertainment for Australia and New Zealand, Movie Cloud for Taiwan, NonStop Entertainment for Scandinavia, Plaion Pictures for Germany, Purple Plan (2022) (Brunei, Malaysia and Singapore, The Filmbridge for Mongolia, Alambique Filmes for Portugal, Avalon for Spain
MoviesOscarsSouth KoreaThriller...
- 12/20/2022
- by Sydney
- Sydney's Buzz
![Image](https://m.media-amazon.com/images/M/MV5BYzhmNDZhMzQtY2Y2OS00Nzc2LWFmNWYtYjAxMDZmYzQ3YTdmXkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,0,500,281_.jpg)
Back in June, when this series covered Wild Things, I introduced neo-noirs as a response in the 70s and 80s to the noirs of the 40s and 50s. Historical film buffs will know that the Hays Code, which censored Hollywood films based on moral grounds, dictated edits to plot and character until it was abolished in 1968. This is one of the main reasons why films of the 70s began to lean into more gory, salacious and, yes, sexy material.
The 70s and 80s were ripe with remakes of film noirs because the coded violence and sexuality could finally be brought to the fore instead of hiding it in metaphor and innuendo. We’ll talk about several of these films in later entries of this column, but since it is Noirvember, why not use this opportunity to explore a text that cemented several erotic thriller conventions and tropes?
The Noir film...
The 70s and 80s were ripe with remakes of film noirs because the coded violence and sexuality could finally be brought to the fore instead of hiding it in metaphor and innuendo. We’ll talk about several of these films in later entries of this column, but since it is Noirvember, why not use this opportunity to explore a text that cemented several erotic thriller conventions and tropes?
The Noir film...
- 11/29/2022
- by Joe Lipsett
- bloody-disgusting.com
![Image](https://m.media-amazon.com/images/M/MV5BZGYyZGE3YTEtYjlkMi00N2VkLWI2MGEtMjEzYjE4N2MzYzY5XkEyXkFqcGdeQXVyMTE0MzQwMjgz._V1_QL75_UX500_CR0,0,500,281_.jpg)
Film Noir is a universe based around mystery, the femme fatale, and the detective. Sex, lies and murder is the seductive tone that created the visually stimulating art form of cinema that began in the 1940s with The Maltese Falcon.
The film is considered the first real noir that starred Mary Astor and Humphrey Bogart and set off a chain of mainstream hits of films including Double Indemnity; Mildred Pierce; The Postman Always Rings Twice and The Third Man.
The Faces of Noir: Studio Portraits Featuring the Silver Screen Stars Ava Gardner, Humphrey Bogart & Rita Hayworth
The genre ‘Noir’ was coined by French critic Nino Frank and would define the cat-and-mouse murder mystery era of film with memorable fiendish crooks, stylish bombshells, and deadly characters who set the silver screen alight for two decades.
Films that have stood the test of time with style and substance include Alfred Hitchcock’s...
The film is considered the first real noir that starred Mary Astor and Humphrey Bogart and set off a chain of mainstream hits of films including Double Indemnity; Mildred Pierce; The Postman Always Rings Twice and The Third Man.
The Faces of Noir: Studio Portraits Featuring the Silver Screen Stars Ava Gardner, Humphrey Bogart & Rita Hayworth
The genre ‘Noir’ was coined by French critic Nino Frank and would define the cat-and-mouse murder mystery era of film with memorable fiendish crooks, stylish bombshells, and deadly characters who set the silver screen alight for two decades.
Films that have stood the test of time with style and substance include Alfred Hitchcock’s...
- 11/29/2022
- by Robert Lang
- Deadline Film + TV
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Film noir represents the illusive charm of black and white cinema and of its stars that graced the silver screen in its glory years in the 40s and 50s.
Film Noir meaning “black film” in french coined by the critic Nino Frank in 1946, defined an era of stylish visually moody black-and-white crime mysteries. The plot of the film could be told in one dramatic photo promoting the central figure either portraying the private investigator, grifter and the elusive femme fatale. The images are always bold and the use of lighting and shadows created a noir universe that invites you into an erotic and scandalous world of deceit and conspiracy.
Robert Coburn, Ernest Bachrach, and A.L. “Whitey” Schafer’s portraits captured the A-list superstars Robert Mitchum, Barbara Stanwyck, Rita Hayworth, Orson Welles, Humphrey Bogart to the character actors of the period Gale Sondergaard, Delores del Rio and George Raft who...
Film Noir meaning “black film” in french coined by the critic Nino Frank in 1946, defined an era of stylish visually moody black-and-white crime mysteries. The plot of the film could be told in one dramatic photo promoting the central figure either portraying the private investigator, grifter and the elusive femme fatale. The images are always bold and the use of lighting and shadows created a noir universe that invites you into an erotic and scandalous world of deceit and conspiracy.
Robert Coburn, Ernest Bachrach, and A.L. “Whitey” Schafer’s portraits captured the A-list superstars Robert Mitchum, Barbara Stanwyck, Rita Hayworth, Orson Welles, Humphrey Bogart to the character actors of the period Gale Sondergaard, Delores del Rio and George Raft who...
- 11/23/2022
- by Robert Lang
- Deadline Film + TV
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