“Desert power.” That’s how Denis Villeneuve teases what’s to come at the end of 2021’s “Dune,” as Timothée Chalamet’s Paul Atriedes looks out across the desert in awe as he sees a Fremen person riding a sandworm.
And Villeneuve does not disappoint. The director goes full white-knuckle thrill ride in its sequel, orchestrating a glorious sandworm riding sequence that took 44 days to shoot. It was the most complex thing Villeneuve had ever attempted to do. It needed to feel edgy, dangerous, exciting and real.
It took Villeneuve’s most-trusted collaborators to help him pull off the scene, in which Paul uses the thumper for the first time to draw a sandworm out from beneath the surface and mount the creature as Chani (Zendaya), Stilgar (Javier Bardem) and the Fremen look on.
Production designer Patrice Vermette tells Variety, “We call them ‘Methodology Meetings.’ It’s when Denis has...
And Villeneuve does not disappoint. The director goes full white-knuckle thrill ride in its sequel, orchestrating a glorious sandworm riding sequence that took 44 days to shoot. It was the most complex thing Villeneuve had ever attempted to do. It needed to feel edgy, dangerous, exciting and real.
It took Villeneuve’s most-trusted collaborators to help him pull off the scene, in which Paul uses the thumper for the first time to draw a sandworm out from beneath the surface and mount the creature as Chani (Zendaya), Stilgar (Javier Bardem) and the Fremen look on.
Production designer Patrice Vermette tells Variety, “We call them ‘Methodology Meetings.’ It’s when Denis has...
- 3/4/2024
- by Jazz Tangcay
- Variety Film + TV
The eerily contemplative opening frames of “Falcon Lake” depict an idyllic lake on a summer night, a scene so calmly off-putting that you just know something has to be amiss. The shot remains unchanged for so long that when a body finally rises out of the water, it feels more like an inevitable moment of catharsis than a jump scare. That ominous serenity continues throughout “Falcon Lake,” yet the first truly startling moment in Charlotte Le Bon’s directorial debut is the sight of a Nintendo Switch.
Thanks to Le Bon’s dreamlike pacing and Kristof Brandl’s grainy cinematography, the film’s opening scenes of a nuclear family heading out for a lake house vacation come across as a long-buried memory unfolding before our eyes. The establishing shots would seamlessly fit into an ABC-era “Twin Peaks” episode, and the fashion could be ripped straight from a mid-90s Vineyard Vines catalog.
Thanks to Le Bon’s dreamlike pacing and Kristof Brandl’s grainy cinematography, the film’s opening scenes of a nuclear family heading out for a lake house vacation come across as a long-buried memory unfolding before our eyes. The establishing shots would seamlessly fit into an ABC-era “Twin Peaks” episode, and the fashion could be ripped straight from a mid-90s Vineyard Vines catalog.
- 6/2/2023
- by Christian Zilko
- Indiewire
Every cinematic cabin in the woods suggests a place out of time. If you believe the movies, they’re either a) a dread-inducing home to all manner of spirits and masked killers which directly tie the cabin back to its haunted past; or b) an idyllic getaway for a teenager during a formative coming-of-age experience. The directorial debut of Canadian actress Charlotte Le Bon is an unusual, immediately arresting combination, grounding its deeply sincere account of first love within the realm of gothic horror––here the urban myth of a girl who drowned in the nearby lake many summers prior.
This is a tale with which Chloé (Sara Montpetit) is obsessed. Throughout the course of Falcon Lake we see Chloe elaborately stage her own death, floating face-down in the lake only to turn upright and keep swimming like nothing happened. She may be, at 16, the oldest of the kids on the family holiday,...
This is a tale with which Chloé (Sara Montpetit) is obsessed. Throughout the course of Falcon Lake we see Chloe elaborately stage her own death, floating face-down in the lake only to turn upright and keep swimming like nothing happened. She may be, at 16, the oldest of the kids on the family holiday,...
- 5/31/2023
- by Alistair Ryder
- The Film Stage
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Director Marie Alice Wolfszahn’s Mother Superior has taken best feature in the main competition at the Brooklyn Horror Film Festival with the abortion-focused anthology Give Me An A garnering the Gold Audience Award during the seventh edition of the festival.
Other main competition jury prize winners at Bhff, which ran from Oct. 13-20 with events held in Williamsburg and Prospect Park, included Wolfszahn for best director, Megalomaniac’s Eline Schumacher for best performance and a special jury mention for the Paolo Strippoli-directed Flowing.
The main competition jury, which was comprised of filmmaker Zach Clark, HuffPost Senior Culture Editor Candice Frederick and author Kate Robertson, lauded Mother Superior — a directorial debut from the Austrian Wolfszahn — as “a thoughtfully crafted folk story exploring the völkisch occult with a captivating aesthetic indebted to the gothic tradition and tight editing, each frame carefully considered.”
The...
Director Marie Alice Wolfszahn’s Mother Superior has taken best feature in the main competition at the Brooklyn Horror Film Festival with the abortion-focused anthology Give Me An A garnering the Gold Audience Award during the seventh edition of the festival.
Other main competition jury prize winners at Bhff, which ran from Oct. 13-20 with events held in Williamsburg and Prospect Park, included Wolfszahn for best director, Megalomaniac’s Eline Schumacher for best performance and a special jury mention for the Paolo Strippoli-directed Flowing.
The main competition jury, which was comprised of filmmaker Zach Clark, HuffPost Senior Culture Editor Candice Frederick and author Kate Robertson, lauded Mother Superior — a directorial debut from the Austrian Wolfszahn — as “a thoughtfully crafted folk story exploring the völkisch occult with a captivating aesthetic indebted to the gothic tradition and tight editing, each frame carefully considered.”
The...
- 10/25/2022
- by Abbey White
- The Hollywood Reporter - Movie News
There’s a reason so many horror films — specifically the classic slashers of the ’70s and ’80s — make teenagers their imperiled protagonists. It makes for fun, squirmy viewing to see the relatable vulnerabilities of that age, with its fumbling sexual encounters and peer-pressure anxieties, sliced open by whichever knife-wielding maniac or mask-wearing ghoul happens to be lumbering about. But Charlotte Le Bon’s striking, stylish, sweetly scary debut reverses the polarity, putting the wittily observed tale of a teenage crush front and center of a ghoul-free horror film, where all that goes bump in the night is an embarrassed kid trying to clean his sheets after a wet dream. Coming-of-age movies are usually, like growing up itself, some combination of funny, sad, rueful, awkward or frightening, but rarely are they so successfully all those things at once as in “Falcon Lake.”
This ambitious yet nimbly assured tonal mash-up is introduced in the opening shot,...
This ambitious yet nimbly assured tonal mash-up is introduced in the opening shot,...
- 6/4/2022
- by Jessica Kiang
- Variety Film + TV
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