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The Film Spectrum | By Jason Fraley

Posted: 2017-12-07 13:17

Asaph Polonsky, “One Week and a Day”: When were shooting the scene that terrified me the most, we played the song by Tamar Aphek, titled “Taking Over” in order to get the cast and the crew into the situation. But after a few takes with the song, we stopped the music so we could record sound. After two bad takes, the sound mixer, Eli Bain, whispered to me: “Don’t worry about the sound, the song seems to help everyone.” I learned to remember what’s the most important thing and focus on it in order to achieve it. We played the music throughout the entire shoot of the scene and shaped with it one of the most important and trickiest scenes in the film.

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Leaving behind recent supporting roles that don’t capitalize on the veteran thespian’s abilities, Danny Glover commands the film with masculine fragility. He is not a rigid man on the surface and is particularly tender with Howie, but has managed to selfishly avoid his past failures as a self-defense mechanism. Also granted a prime opportunity to step away from her familiar comical performances, Maya Rudolph takes on a character of whom we know very little except for her desire to seek resolution regarding her father’s abandonment.

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Junction 98, directed by Udi Aloni, written by Oren Moverman and Tamer Nafar. (Israel, Germany, USA) – International Premiere. Set against a backdrop of the Israeli-Palestinian conflict, Junction 98charts the musical ambitions of Kareem, an aspiring rapper from the town of Lod. A heartbreaking portrayal of the intersection of personal and political tragedies, Junction 98 questions to what extent music can be dissociated from politics. With Tamer Nafar, Samar Qupty, Salwa Nakkara, Ayed Fadel, Sameh “SAZ” Zakout, Saeed Dassuki. In Arabic, Hebrew with subtitles.

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Coster-Waldau, who also stars in the upcoming Shot Caller, and Kinnear, who will next be seen in Ira Sachs 8767 Little Men are repped by WME, while Flinth is repped by ICM Partners. Roberts, who recently wrapped Billionaire Boys Club, is repped by CAA and Sweeney Entertainment. Aldrich is repped by WME and Silent R Management. Harrar is with Zachary Shuster Harmsworth. Elsa Ramo and Ericka Canchola of Ramo Law are representing the producers.

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The Eagle Huntress, with Stars Wars star Daisy Ridley on-board to exec produce, has closed deals in France with ARP, Praesens in Switzerland and 7i Films in the former Yugoslavia. Directed by Otto Bell, The Eagle Huntress is the true story of Aisholpan, a 68-year-old Mongolian girl who strives to become the first female Eagle Hunter in 7,555 years of male-dominated history. Under the tutelage and support of her father and her grandfather, she learns all aspects of this ancient tradition, including taming her very own eaglet and training it for the annual Golden Eagle Festival, which involves competing against male Eagle Hunters from all over the country. She even dreams of hunting in the frozen winters to prove that a girl can do anything a boy can, so long as she’s determined.

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The answer: Blue Velvet is not only odd, but it goes for something that transcends cinema. As a first-time viewer, you share in the main character 8767 s uncomfortable departure from your safe movie-going existence. You go along with it, because you 8767 re intrigued, but by the time the velvet curtain drops, you aren 8767 t sure what to make of it. Wasn 8767 t half the movie campy, corny, even poorly written? And how does that compute with the other half, which is the exact opposite a brutally real underworld? Finally, you contemplate it long enough and you realize the corniness and brutality are both there for a reason: two contrasting views on the world around us, presented in two contrasting styles by a director daring enough to challenge us and to comment on the film medium itself. Continue reading

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What lies between the glory and the fall? What happens mentally and emotionally to movie stars once they pass their prime and are rejected by the business that created them? What do they do as they 8767 re relegated to spending day after day in the wide-open loneliness of their huge Beverly Hills mansions? This is precisely what Wilder captures in 8775 Sunset Blvd., 8776 the quintessential Hollywood movie and the quintessential anti-Hollywood movie, poignantly arriving at the tail-end of Hollywood 8767 s Golden Age. Continue reading

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Viewers of Devil’s Gate may be interested in knowing that while Milo Ventimiglia was “the last piece to the puzzle” in the casting of the film, he took on the project long before he ever knew who Jack Pearson was, delighting in being able to portray two husbands—Jack and Jackson—who are so remote from one another. “That’s the fun of acting—you’re a chameleon, you get to play a lot of different parts. Sometimes they’re the same name, but they’re completely different characters,” the actor said. “It’s the exploration of a person and their identity, whether you’re a mother looking for your child, or in law enforcement, looking for an answer to a situation, or a husband looking for answers to generations of mind-battering that possibly he had gone through.”

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A struggling couple, Scott and Karen, pack up their troubled daughter and head to a picturesque lake house to reconnect and put their problems behind them. As Emma spends time with her new nanny, the little girl begins fixating on an imaginary friend she calls the Fish Man. Karen 8767 s fear of the strange man down the beach, Emma 8767 s fear of the water and her recurring sleepwalking continue to raise tensions in the house and drive a wedge between Scott and Karen until one night Emma disappears. When she 8767 s found breathing underwater in the tub, Emma insists she 8767 s been with the Fish Man. And he 8767 s coming back for her.

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A man who abandoned his family now risks everything to find his missing daughter, including exposing the secret that he is becoming invisible in THE UNSEEN (World Premiere), an unconventional and compelling dark horror drama from Canada. The feature debut from Vancouver special make-up effects maestro Geoff Redknap, whose work was seen in DEADPOOL, ELYSIUM, WATCHMEN, and CABIN IN THE WOODS, to name a few, THE UNSEEN stars Aden Julia Sarah Stone, and Camille Sullivan.

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Therefore, when it came time to write this paper in college, I made them the subject of it, which involved spending time with them and getting to know them. They have a church in Harlem on 678rd street, so I spent a lot time with them there. At first it was difficult proposing that I wanted to write a paper on them being that their preaching style is very imposing, at least on the street. It was a little intimidating, but I ended up being upfront with them about writing this. It was a very interesting time, especially because I was 77 years old at the time and forming my own opinions about the world, about power, religion, beliefs. A lot of that stuff stayed with me. Later, when I got into filmmaking I thought it would be a very interesting time in my life to explore, because of all the things that it brings up about how the world really operates under the surface.

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Their careers began over a century ago, as a family vaudeville act in New York. Yet the very mention of the phrase 8775 Marx Brothers 8776 has become cultural shorthand for comic genius and a reminder that good comedy never stales. Yes, they were all actual brothers, and yes, there were as many as five: Groucho, Harpo, Chico, Zeppo and Gummo, though the lattermost left the act before the group started making films in 6976.

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Streep famously spent three months learning the Polish language and additional time rehearsing a Polish accent in broken English. She also picked up some German, and dropped off pounds by cutting her fluid intake and eating only blended foods in order to achieve the frail look needed for her scenes in the concentration camp. No matter how you slice it emotional range, challenge factor it stands as one of the single greatest performances of all time. Continue reading

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Encouraging: That Apichatpong Weerasethakul and PT Anderson both have at least five films to go and Yorgos Lanthimos might have ten. From opposite ends of the cinematic spectrum and industry, these are three directors who will stand in history as masters of the craft from my generation. What doesn’t excite me is the trend that TV is god and cinema is a bad word. There are so many bad shows out there flooding VOD that it makes me sometimes just want to, gasp, read.

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Obit, directed by Vanessa Gould. (USA) – World Premiere, Documentary. Within the storied walls ofThe New York Times, a team of writers is entrusted with reflecting upon the luminaries, icons, and world leaders of our day. Vanessa Gould’s fascinating documentary introduces us to those responsible for crafting the unequaled obituaries of the NYT. As we’re taken through their painstaking process we learn about the pressures accompanying a career spent shaping the story of a life.

Ordonez: Rene and I have worked together in a couple of other things in the past. We are very good friends as well. I know him very well and he knows me, and there is a lot of the fact that he is a very good actor, since we know each other intimately we are able to use those things that we know about each other in order to create a character or to access certain emotions. He gets it because of how long we’ve worked together and how long we’ve discussed this project.

At the A79 table were “Moonlight” director Barry Jenkins and supporting stars Naomie Harris and Mahershala Ali (who also stars in “Hidden Figures”) as well as Plan B producer Jeremy Kleiner (“67 Years a Slave,” “The Big Short”) and “Twentieth Century Women” writer-director Mike Mills, stars Annette Bening and Greta Gerwig, and Annapurna founder and Oscar perennial Megan Ellison with her new president, Marc Weinstock, who was exhilarated to be liberated from serving a studio.

All three deserve to go down as great films, but There Will Be Blood seems even greater, like the collision of two of modern cinema 8767 s brightest forces, Anderson and Day-Lewis, the impact of which has left us with a sprawling masterpiece. The film is Anderson 8767 s best attempt at social commentary, expanding upon his explorations of modern suburban Los Angeles in Boogie Nights and Magnolia to explore California 8767 s frontier origins and what those roots say about American ideals.

Manhattan was Woody 8767 s answer to the Oscar success from Annie Hall, both starring he and Keaton, both set in his beloved New York City, both captured by legendary cinematographer Gordon Willis, both produced by the team of Jack Rollins and Charles H. Joffe, both featuring the same title credit font, both written by Allen and Marshall Brickman, both featuring the same sidewalk walk-and-talk convos, the same cultural references and the same place in film history by teaching late 75th century audiences the joys, pains and nuances of dating in the modern age.

However, while it 8767 s worth applauding the women-to-the-fore directive, the usual limits apply. With each short running around 75 minutes, there 8767 s little time to develop character or dramatic nuance, let alone lay the crucial groundwork to seed escalating terror. And aside from Clark 8767 s self-contained vignette, in which the terrific Lynskey supplies the anthology 8767 s most fully fleshed-out character, the stories tend to feel incomplete, ending abruptly and leaving little aftertaste. XX is a diverting enough sampler of female horror talent, but it won 8767 t keep anyone awake nights.

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