Experimental films – Monte Carlo Film Festival http://montecarlofilmfestival.com/ Tue, 28 Jun 2022 02:00:47 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 https://montecarlofilmfestival.com/wp-content/uploads/2021/06/cropped-icon-32x32.png Experimental films – Monte Carlo Film Festival http://montecarlofilmfestival.com/ 32 32 Irma Vep Episode 4: “The Poisoner” https://montecarlofilmfestival.com/irma-vep-episode-4-the-poisoner/ Tue, 28 Jun 2022 02:00:47 +0000 https://montecarlofilmfestival.com/irma-vep-episode-4-the-poisoner/

The following contains spoilers for Irma Vep Episode 4, “The Poisoner” (written and directed by Olivier Assayas)

What happened to Edmond?

At the end of last week’s episode 3 of Olivier Assayas’ eight-part HBO series adapting his 1996 film Irma Vep, the actor (played by Vincent Lacoste) passed out, apparently from an injury sustained during a stunt on set. His director, René Vidal (Vincent Macaigne), in search of an authentic portrayal of violence, had the actor tumbling down several flights of concrete stairs into a wicker trunk.

Or so it seemed, as Edmond emerged dazed and confused from the fall and the crew called for an ambulance.

Yet in episode 4, “The Poisoner”, there is no mention of the incident and Edmond seems his normal self – agitated by his lack of character prestige and motivation, as usual, but not at all injured or feeling unsafe.

I don’t know if this is a gap in the continuity of Assayas or if there is some trickery going on. But it sure seemed, given Vidal’s growing obsession with realistic, even “cruel” on-screen violence and his willingness to endanger his cast, that Edmond’s injury would impact production, would cause concern. its insurers, or at least would be dealt with in the next episode.

But it’s not, and we’ll have to wait and see if it ever will. “The Poisoner” begins with a huge set, a recreation of a lavish ballroom scene from Feuillade The vampires in which the vampires, led by Irma Vep, inject noxious gas through the vents, poison the guests, and then steal their jewelry. It’s a complex production with dozens of extras, a special cameo appearance and a stand-in for Mira during rehearsals.

MIra (Alicia Vikander) is waiting for her landline call. Photograph by Carole Bethuel/HBO

And there’s an important visitor on set, Gautier de la Parcheminerie (Pascal Gregory), to persuade Mira (Alicia Vikander) to sign a contract to promote the Dreamscape perfume, a deal that will pay handsomely but force Mira into a long series of promotional functions. “A real bargain,” he says. “No cinema.” It is clear that his company financed the production of Vidal, and Gautier expects satisfaction, both from Mira, with whom he has an established business relationship, and from Vidal, whom he clearly distrusts. Gautier suggests viewers may not find Vidal news Irma Vep “ingeworthy”, and relies on Vidal to pressure Mira into signing the contract.

Gautier’s task accomplished, he does not stay to watch the scene. Vidal, as always dismissive of on-set security concerns, asks his crew to “graze the heads” of the actors with the camera. The scene unfolds with the poisonous gas sending the partygoers into a panic before all succumb and the vampires, led by Mira as Irma Vep, enter the ballroom to begin the looting. So far, the title of this episode, borrowed like others from Feuillade, seems clear: Irma Vep in Vidal’s film is “The Poisoner”.

Perhaps the title is meant to be taken at face value. Or is someone or something else a “poisoner”?

Image of Irma Vep: Irma Vep and a fellow vampire stand in the doorway of a ballroom and watch poisoned revelers.
Irma Vep (Mira Harberg, right) and a fellow vampire survey the room filled with gassed partygoers. Photograph by Carole Bethuel/HBO

Later, in her dressing room, Mira continues her discussions with her Los Angeles-based agent, Zelda (Carrie Brownstein). Zelda wants to sweat Gautier and Mira sign on for the big budget Silver Surfer movie she is negotiating. Mira says “no”, clearly and emphatically, to the project, but Zelda rejects Mira. Let’s say Mira signs for $20 million…a low, but not unheard of, take for an actress in a big-budget blockbuster-Zelda itself is expected to earn some two million from the deal. Mira’s fame is a commodity that benefits not only herself but also her agent, the Irma Vep production, the Gautier company, and others.

When Mira later discusses the deal with her assistant Regina (Devon Ross), Regina tells her that Mira is a star who can “do whatever she wants”. Mira replies that she is a star precisely because agreements like Gautier’s and films like the Silver Surfer project. This is not a boast: it is a lamentation. Mira feels, as she said in the previous episode, “unfocused” and wants to get away from her stardom. She later tells Zelda, in a DM exchange, that she’s taking a step back from the project but doesn’t have the “peace of mind”. I have a feeling that Mira will find that walking away from stardom brings its own complications, for herself and for others.

Image of Irma Vep: René Vidal (Vincent Macaigne) directs an outdoor scene.
René Vidal (Vincent Macaigne) continues to encounter problems on the set of Irma Vep. Photograph by Carole Bethuel/HBO

Return to the set of Irma Vep, locations have been moved to an exterior shoot for a scene in which Gottfried (Lars Eidinger), playing the character of villainous Vampire-rival Moreno, follows the Vampires’ escapade. Gottfried refuses to wear a safety harness until he is threatened with a lawsuit by producer Gregory (Alex Descas). He obediently relents, and the scene places him on the roof of the vampires’ getaway car, rummaging through their loot and poaching jewelry for himself. He jumps out of the car safely with his loot. No one is hurt this time.

Like the shooting of Vidal Irma Vep continues, I find myself, as I had been with the film of Assayas in 1996, impatient to see the result of the production. So far, Vidal seems like an odd mix of silent film tropes, Victorian melodrama, serial cliffhangers, and modern cinematography. It’s hard, though thrilling, to imagine what the end product could be – if that production ever comes to fruition. Maybe HBO can release this series as well. I would be a game to watch! (By the way, in the 1996 film, Vidal, played by New Wave icon Jean-Pierre Léaud, ultimately gave up much of his filming for an experimental, non-narrative, and decidedly non-commercial work inspired by surrealist Brakhage. vanguard.)

To play the role of Lily Flower, a new actress arrives in Paris: Cynthia Keng (Fala Chen), whose unassuming attitude echoes that of Maggie Cheung in the opening scenes of Assayas’ 1996 film. an ostensibly sexy maid costume with long stilettos, Vivian’s role in Irma Vep is to be hypnotized by Moreno. Mira, on the other hand, puts on the jumpsuit and immediately inhabits the feline grace of her character Irma Vep again, when suddenly the experimental film that Vidal d’Assayas had made in 1996 appears on the screen, with a Stylized montage of Maggie Cheung frolicking in her jumpsuit on the rooftops of Paris. Assayas freewheeling associations between The vampireshis 1996 movie, this 2022 series, and movies within movies of both may not make logical sense, but they never run out of plots.

Image of Irma Vep: Jade Lee (Vivian Wu) sits and faces the camera in an apartment.
Jade Lee (Vivian Wu) visits the dreams of René Vidal. Photograph by Carole Bethuel/HBO

And they continue to become more complex: it turns out that Vidal is dreaming. He wakes up feverishly, then awakely hallucinates a visit from his ex-wife Jade Lee (Vivian Wu), who ostensibly starred in his earlier Irma Vep film. (His fever dreams seem to be driven by Vivian’s arrival and Mira’s combination.) Distressed, he calls Mira to visit: though she’s suspicious – like a young female star might be that of a director at scantily clad and obviously distressed – the two discuss their issues. amicably. “Who am I to attack the work of Louis Feuillade? he asks. “Why touch him if nothing I do can get near him?” His ex-wife’s visit left him doubting himself and he tells Mira, “Only you can save him.”

Mira is clearly made uncomfortable by her addiction, but that rings true: her Irma Vep seems to depend on his Participation and performance. She is, after all, the star.

The episode features another sequence on the set of Irma Vep. Edmond, completely unscathed from the staircase incident, complains that he doesn’t have a personal assistant. Mira, meanwhile, looks fabulous in drag while once again adopting a disguise for The Vampires (Feuillade’s series was full of characters constantly donning guises and adopting tricks). So much so that when Zoe is ready to fire, Mira seems to obey. She returns the affection and agrees to some sort of date, but lets Zoe down hard at the end of the night. “Not tonight,” Mira said. “The next time.”

Will there be one? Or is Mira simply getting revenge on Zoe for the brutal dismissal her former lover and personal assistant Laurie returned to her in Episode 1? Mira has every right to say no to anyone at any time, but her actions here seem calculated. Her next personal encounter, meanwhile, doesn’t involve the word ‘no’: she wakes up in the middle of the night to a phone call from Eamonn, the former lover who is also on hand to shoot another movie in Paris. Inconsolable, he asks to visit her and soon arrives, wearing sunglasses and a raincoat. His partner, the famous singer Lianna, had a miscarriage. Neither could take time out of their careers to grieve with each other, and so here he is, in his ex-lover’s hotel suite.

Mira says the same thing happened to her, much earlier. The two kiss and Mira touches, then kisses, then steps over Eamonn at the end of the episode. It’s hard to imagine a scenario in which mourning a miscarriage by immediately having sex with a former lover (and not the mother-to-be and current partner) works well for anyone involved.

Will the next episode address the fallout of Mira and Eamonn reconnecting? Mira’s flirtation with Zoe, or Regina’s crush on Mira, will they continue? Was there any fallout from the Edmond episode 3 incident, or was that scene somehow a ruse? And how will Vidal’s series progress, with the threat of funding being withdrawn and dissatisfaction with its cast mounting? Olivier Assayas may have more than a few questions to answer because Irma Vep begins its second half of its eight-episode run, but with its first four episodes, this series has continued to seduce and baffle, much like its famous eponymous character.

Episode 5 of Irma Vep“Hypnotic Eyes,” airs Monday, July 4 on HBO and HBO Max.

Calling it ‘elevated’ horror does a disservice to a genre that doesn’t need to be elevated https://montecarlofilmfestival.com/calling-it-elevated-horror-does-a-disservice-to-a-genre-that-doesnt-need-to-be-elevated/ Fri, 24 Jun 2022 11:44:15 +0000 https://montecarlofilmfestival.com/calling-it-elevated-horror-does-a-disservice-to-a-genre-that-doesnt-need-to-be-elevated/

Daniel Kaluuya in “Get Out”.

Americans can’t stand to give up our childhood pleasures. So we’re elevating the way we talk about it.

We call chocolate chip popcorn cookies “gourmet”, “small batch” and “artisanal”. Used concert t-shirts are now “vintage”. Blue jeans are “designer”. Unconsciously guilty, our tastes haven’t changed in decades, we consciously redefine our appreciations in adult terms.

Like “high” horror.

The term started being thrown around a few years ago, when critics and audiences raved about clever shocks like “Get Out,” “The Witch,” “Hereditary,” “It Follows” and “Midsommar” — and perhaps felt a bit embarrassed by the fact. Aren’t we too old to love monster movies? Similarly, timid directors helped popularize the new term, with some insisting that they hadn’t made horror films at all, but “psychodramas”.

And since then, the high horror trend has only accelerated.

Three prestigious New York cultural institutions — the modern Art Museum, Filming at Lincoln Center and the Moving Image Museum – all have scholarly programming this summer dedicated to horror cinema. New artistic films – the frightening “Watcher”, the delirious “Crimes of the Future” by David Cronenberg – are streaming or in theaters. Hot new filmmakers like Jordan Peele also have films coming out.

But the truth is that there is no “high” horror. There never was, and to pretend so only does the entire genre and its fans a disservice. There is only good and bad horror, well-made films and badly made films.

I think the overcompensation comes from the fact that horror has always been an under-respected genre, with its classics being seen as overachievers that kind of overstepped their bounds. No one ever talks about the “high noir” of “Chinatown” or how “Raging Bull” somehow “transcended” the sports movie. They aren’t even considered great genre films. They are seen as great films, period. Yet horror movies still carry this stigma at their core – and we have to get over it.

Maika Monroe in “The Watcher”.

In fact, horror films have always attracted some of the finest talent in the industry. Horror movies are rooted in dreams, not logic; they are not bound by the same rules as other stories, and that includes art stories. Expressionist filmmakers fleeing Hitler’s Germany found a home in American monster movies of the 1930s, where they could explore wildly angled shots and menacing shadows. Avant-garde composers often accept soundtrack concerts; in the 90s, even Philip Glass made two scores of “Candyman”.

That’s why some of cinema’s craziest and most visionary authors have always worked in horror. Think Guillermo del Toro’s unique imagery in “Pan’s Labyrinth” and “The Shape of Water”, or the extravagant and disruptive drama behind Pedro Almodóvar’s “The Skin I Live In”. Experience one of Cronenberg’s body image nightmares or David Lynch’s dizzying metaphorical labyrinths. Only horror is big enough for these artists to roam.

It’s also why so many great performers are working in the genre now. Horror movies were the first stop for starving young actresses — or the last, for desperate veterans. But established performers have found that the horror of wild emotional swings gives them a chance to really show off their range. Think of Toni Collette’s fabulous work in “Hereditary” as a damaged and damaging mother. Think of Ethan Hawke’s continued success in movies like “Sinister,” “The Purge,” and the new “The Black Phone.”

They don’t make these movies because they have to. It’s because they want to.

But even more than the freedom that horror movies give directors, cinematographers, composers and performers, they offer extraordinary license to writers, especially those willing to wrestle with complicated or controversial subject matter. Because – as Rod Serling proved years ago – once you entice audiences with the promise of a straightforward genre story, you can show them things they wouldn’t otherwise accept.

Peele’s “Get Out” and “Us” are about mind control and murder, but also about race, class, solidarity and exploitation. “The Babadook” is about a terrified child and a ferocious little monster – but also about motherhood, grief and loneliness. Chloe Okuno’s new “Watcher” is about a stalker – but also about communication, alienation, marriage and the dangers of not listening to women. The upcoming “They/Them,” starring Kevin Bacon, is a slasher flick — but also a pointed attack on homophobia and “conversion therapy.”

There are scarier things in these movies than just imaginary monsters.

And honestly, it’s always been that way, ever since there were horror movies. If you’ve seen “Cat People” and haven’t seen a movie about female sexuality and alien stereotypes, if you’ve been through “Invasion of the Body Snatchers” without contemplating our conformist society, if you’ve watched “Night of the Living Dead” without thinking about America’s fractured families and racial violence…so you weren’t really watching at all.

What needs to be elevated is not the horror movie. It’s us.

We need your help!


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Del Toro’s Pinocchio vs. Disney’s Live-Action Remake: Which Will Win? https://montecarlofilmfestival.com/del-toros-pinocchio-vs-disneys-live-action-remake-which-will-win/ Tue, 21 Jun 2022 00:34:26 +0000 https://montecarlofilmfestival.com/del-toros-pinocchio-vs-disneys-live-action-remake-which-will-win/

In January 2022, Netflix’s official YouTube account released a trailer for stop-motion animation Pinocchio film, co-directed by Guillermo del Toro and animator Mark Gustafson. In May, Disney released a trailer for another Pinocchio full-fledged movie – a live-action Disney+ exclusive inspired by the 1940 animated classic. This version will be directed by Robert Zemeckis and stars Tom Hanks as the carpenter Geppetto.

The Netflix film is a subversive take on the classic story of Carlo Collodi’s novel, with Ewan McGregor’s ‘Sebastian J. Cricket’ promising ‘a story you might think you know, but you don’t’ . In contrast, the trailer for Disney’s version plays heavily on nostalgia and tradition, with a rendition of “When You Wish Upon a Star” from the original film, which has since become Disney’s signature musical. With both films due out in 2022, how will they stand out from each other?

RELATED: What Guillermo Del Toro’s Pacific Rim 2 Was About – And Why Didn’t He Direct It?

The Netflix movie will be fully animated, and the animation is the perfect medium for the story of a wooden puppet that magically comes to life. Stop-motion is a particularly inspired choice, as this style of animation is created by repositioning and taking thousands of photographs of physical character models. The care that del Toro, Gustafson and their team must bring to this project feels like a tribute to the dedication and craftsmanship of Geppetto himself. In this version, Pinocchio will really be an animated puppet.

In contrast, Disney’s live-action remakes have been criticized because the medium limits the imagination of the original animated films. by Disney Pinocchio The trailer shows a glimpse of the static puppet, represented by a prop that looks identical to his appearance in the 1940 film. However, if Disney’s previous live-action remakes are any indication, Pinocchio will likely become a CGI character after having came to life. Interestingly, the fact that Pinocchio is an animated character among a live cast might create a starker contrast between them, making the puppet’s wish to be a “real boy” even more symbolically meaningful.

Both movies have strong casts. The Disney+ trailer focuses on Tom Hanks as the lowly carpenter Geppetto, showing him making his fateful wish and sailing the sea. Cynthia Erivo appears in the trailer as Blue Fairy , and that’s not her only starring role in an upcoming musical: Erivo is set to play Elphaba in John M. Chu’s 2024 Nasty adaptation. Joseph Gordon-Levitt will voice Jiminy Cricket, which the trailer frames from near and far to play with the sense of scale created by the little character.

RELATED: Pinocchio Isn’t In The Live-Action Trailer – And It’s Terrifying

Netflix’s Geppetto will be voiced by Broadchurch BAFTA winner David Bradley, who pop culture fans might recognize as Walder Frey in game of thrones and Filch in the Harry Potter series. The film’s IMDb page also promises Oscar winners Cate Blanchett, Tilda Swinton and Christoph Waltz voice roles as well. Longtime Del Toro collaborator Ron Perlman is also listed to play antagonist theater operator Mangiafuoco.

Del Toro has never directed a stop-motion film, which is surprising as his often twisted fairy-tale style evokes the dark themes seen in other stop-motion films such as Corpse bride and Coralina. However, he has worked in animation before, such as in his CGI Netflix original series. troll hunters. Gustafson has plenty of stop-motion experience to back up the project and introduce del Toro to the medium, having worked on numerous claypot television episodes and one-off specials.

Some of Robert Zemeckis’ animated films, while technically groundbreaking, have been criticized for their extremely realistic style. More recently, Disney’s own Tic and Tac: Rescue Rangers poked fun at the “Strange Valley” characters in Beowulf with Bob, Seth Rogen’s Viking character. However, PinocchioThe mix of live-action actors and more overly stylized animated characters could play to some of the director’s most notable strengths, as he set the benchmark for hybrid animated and live-action films with the 1988s. Who Framed Roger Rabbit?.

RELATED: Pinocchio Is the Perfect Opportunity for Robert Zemeckis’ Return

Netflix’s official summary describes Geppetto as “mourning” and the Disney+ trailer briefly shows a framed photograph of a human boy who resembles the eponymous puppet. This could imply that both films recast Geppetto as creating Pinocchio because he misses his deceased son. Del Toro compared his Pinocchio to the timeless horror story of Frankenstein, which implies that the film will have a dark tone. However, it looks like both films will explore the considerably dark theme of bereavement for a child.

Both films promise imaginative animation and a spellbinding fairytale story. However, it’s understandable that fans fear Zemeckis’ film due to the divisiveness of Disney’s previous live-action remakes, and more excited about del Toro and Gustafson’s experimental reimagining of the story. Whichever adaptation audiences choose to stream, those still moved by the story of the wooden boy and his various moral dilemmas will hopefully find that both films have enough unique elements to merit recognition. to be watched.

Pinocchio hits Disney+ on September 8 and Guillermo del Toro’s Pinocchio hits Netflix in December 2022.

Road Safety Film Festival Begins | Bhubaneswar News https://montecarlofilmfestival.com/road-safety-film-festival-begins-bhubaneswar-news/ Sun, 19 Jun 2022 02:54:00 +0000 https://montecarlofilmfestival.com/road-safety-film-festival-begins-bhubaneswar-news/

BHUBANESWAR: This year’s National Road Safety Short Film Festival kicked off in Rourkela on Saturday. Hosted by the state’s Department of Transportation, the event aims to raise awareness of road safety measures.
“We received 230 entries of different formats like documentary, experimental, narrative, fiction, non-fiction and animation in Odia, English, Hindi, telugu and Malayalam languages ​​of professional filmmakers, amateurs and students Odisha and outside. Some of the films were screened today in Rourkela where the screening will also continue tomorrow. The screening will take place in Puri on June 24-25, the last two days of the event,” an official from the National Transport Authority (STA) said.
The best film in the Odia and non-Odia categories will receive a cash prize of Rs 1 lakh each. While the first runner-up will receive Rs 80,000, the second runner-up Rs 60,000. Best Director, Best Screenplay, Cinematography and Best Actor/Actress will receive Rs 25,000 each.
Odisha’s road accident fatality rate increased by 7.24% in 2021, compared to 2020. A total of 5,081 people died in road accidents last year compared to 4,738 in 2020 .
The State Department of Commerce and Transport recently wrote to all District Collectors, SPs, Police Commissioners and Regional Transport Officers to take action to reduce accidental deaths in Odisha.


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Jérôme Wandewattyne shoots a “UFO”, The Belgian Wave https://montecarlofilmfestival.com/jerome-wandewattyne-shoots-a-ufo-the-belgian-wave/ Fri, 17 Jun 2022 07:32:30 +0000 https://montecarlofilmfestival.com/jerome-wandewattyne-shoots-a-ufo-the-belgian-wave/

– The young Belgian director who turned heads with his resolutely quirky self-produced film Spit’n’Split currently filming his latest work

Director Jérôme Wandewattyne

Jerome Wandewattyneseasoned director of commercials, web-series and other television programs, has just launched the shooting of his new feature film The Belgian wave. After making an impression in 2017 thanks to Spit’n’Split [+see also:
film profile
totally crazy documentary and self-proclaimed mythomaniac rock on the Liège group The Experimental Three Blues Band, the filmmaker is back with a light production entitled The Belgian wavewhich examines a period of modern Belgian history that is as mocked as it is revered: the wave of UFO sightings recorded in the late 1980s.

(The article continues below – Commercial information)

In the early 1990s, journalist Marc Varenberg disappeared with his cameraman under mysterious circumstances while investigating this Belgian wave. Nearly thirty years later, two web-reporters reopen the investigation to find out what really happened. The filmmaker has imagined a fictional tale tinged with truth, an entertaining and once again seriously quirky tragicomic film that plays on these events that have since become an essential component of pop culture.

What is striking in this story is that the Belgian government has been the only authority since the end of the 1980s not to deny the existence of UFOs, which has made them the laughingstock of their international counterparts, and in particular Americans.

In this sense, the strong dose of belgitude infused into the film is not entirely surprising and is served by a diverse cast, led by the stage actor Dominique Ronvauxactor and director Karim Barras (seen in the last OSS 117: From Africa with love [+see also:
film profile
the movie and the series The Crimson Riversas good as The breakand recently the director of the short films The swimming pool and The couch in cahoots with Baptiste Sornin) and Belgian humorist and actress Karen De Paduwa.

Strongly influenced by alternative Belgian musical culture, the filmmaker intends to make full use of the freedom of tone offered by national subsidies for light productions, in order to shed a different light on marginal and colorful circles and characters.

As a reminder, this provision launched in 2017 by the Film Center of the Wallonia Federation Brussels offers production aid for projects to be carried out with modest technical means (in teams as well as in equipment) in order to fit into a limited budget defined from the outset (generally between €250,000 and €400,000). This initiative has given rise to films whose crazy in life [+see also:
film review
interview: Raphaël Balboni & Ann Sirot
film profile
by Anne Sirot and Raphael Balboni (winning 7 prizes, including Best Film, at the Magritte Film Awards), Aia [+see also:
film review
interview: Simon Coulibaly Gillard
film profile
by Simon Coulibaly Gillard (selected at ACID in 2021) and Mother Schmucker [+see also:
film review
interview: Harpo and Lenny Guit
film profile
by Lenny and Harpo Guit (selected for Sundance).

The Belgian wave is produced by Alon Knoll and Gregory Zalcman behalf fifth takewith the support of the Fédération Wallonie Bruxelles, RTL and Be TV in co-production, alongside Screen.brussels and the tax shelter.

(The article continues below – Commercial information)

(Translated from French)

“Filmmakers must adapt to changing times” https://montecarlofilmfestival.com/filmmakers-must-adapt-to-changing-times/ Wed, 15 Jun 2022 08:05:00 +0000 https://montecarlofilmfestival.com/filmmakers-must-adapt-to-changing-times/

Director Harikumar got busy. Following the critically acclaimed Clint in 2017, the veteran behind titles such as Sukrutham, Ezhunnallathu and Swayamvara Panthal has directed two Jwalamukhi films, starring Surabhi Lakshmi; and Autorickshawkarante Bharya, headlined by Suraj Venjaramoodu and Ann Augustine. The latter, which will hit theaters soon, sees Ann Augustine return to the big screen after a brief hiatus. In a chat with Cinema Express, Harikumar talked about the adaptation of M Mukundan’s short story on which the film’s script is based, and the selection of Suraj and Ann to play the story’s married couple.

Interestingly, the initial name considered for the titular role was Nimisha Sajayan. But since Suraj and Nimisha had been through similar territory before, Ann was cast instead. When Harikumar first thought of Suraj for the husband character, he wasn’t a “big star”. Harikumar wanted an actor who didn’t have a celebrity attached to him. He then witnessed the smash hit of The Great Indian Kitchen and some of Suraj’s subsequent releases, elevating the actor’s status overnight. “While filming, I told Suraj that if I had to do the movie now, maybe I would have thought of someone else,” the director explains, adding that Suraj’s subtle acting touches worked in favor of the character.

Mr Mukundan’s news caught Harikumar’s attention when he came across it in a weekly newspaper. He felt it was ripe for a film adaptation. But he also felt that the original story was only short enough for a short film or TV series. He asked Mukundan to expand the material to make it more suitable for a feature film, which meant incorporating additional characters and subplots (Swasika Vijay features in one of them). “Mukundan initially suggested that I write it myself, but since I was keen to shoot the film in Mahé (the main location of the film) and have the characters converse in the local dialect, I thought it prudent to let the original author develop it instead,” Harikumar says. The dialect proved to be a challenge for Ann, however, and Kerala State Award-winning dubbing artist Sneha – who lent her voice for Nimisha Sajayan to Eeda – was brought in to dub for her.

Harikumar was drawn to the short story because, aside from its heavily female-centric narrative, he was amused by the characters and situations it contained. “It’s a very light story about a lazy, irresponsible rickshaw driver who deals with life in a nonchalant way. He happens to be his mother’s only son, and his nature has been the main reason for his delayed marital happiness. Then one day he is married to the character of Ann. The character of Suraj is interesting because he is the kind of man who does not assert himself. In one case, he does not can’t even muster enough courage to demand the money owed to him. In another, he stops his ride to listen to a singer, worry about his rushing passenger. Suraj didn’t make a character like this in his phase post-hero.

The female empowerment aspect, says Harikumar, comes from Ann’s character taking the reins after a turning point in the story. “She must take her husband’s autorickshaw and do what he did. She came into his life with many expectations but eventually realizes that things are going on a different tangent. She takes on her husband’s responsibilities and faces life head-on.

Harikumar filmed Autorickshawkkarante Bharya after Surabhi LakshmiQ star Jwalamukhi which won her the Kerala State Film Award for Best Actress last year. Harikumar calls it a “very personal film” with an experimental approach, something he hadn’t done before. “In terms of tone, it’s poles apart from Autorickshawkkarante Bharya,” the director reveals. “It’s about a woman’s helplessness, while the latter is about a woman’s perseverance. I shot Jwalamukhi during the pandemic and sent it to festivals here and abroad. It’s based on a story that my daughter, Geethanjali Harikumar, told me: that of a gravedigger. She initially thought of making a documentary about Selina, a gravedigger from Ernakulam, but felt it had the potential for a cinematic treatment. There are only a few female gravediggers in India, and I thought this topic was unique.

On Harikumar’s daughter, Geethanjali, who has completed her film studies and is also a subtitler, plans to follow in her father’s footsteps. “She has already assisted a few directors, including me,” he says. “A lot of people discouraged her from getting into acting, but I wouldn’t because I had been through it myself. Also, there are a lot of female filmmakers now, so I say, why not?

It’s been four decades since Harikumar made his debut with Aambal Poovu, along with Sukumari and Jagathy Sreekumar. How does he view the changes the industry and moviegoers have undergone over the years? “Well, the most important thing is that filmmakers have to adapt to changing times,” he replies. “They have to update constantly. When I made Aambal Poovu, some considered it a “new generation” film, but it didn’t work. The theater’s response has been dismal, but the feedback from certain corners has been very encouraging. So I had to make my next films based on that strength. You know, I often think about this: of all the people who entered the industry at the same time as me, only a few managed to hold on.

Being a big fan of Sukrutham, the star of Harikumar’s Mammootty (scripted by MT Vasudevan Nair), I couldn’t help but ask him about the film that haunted me when I first saw it at the ‘school. Would audiences go to theaters to watch such a dark movie today, especially after the rise of OTT platforms where such movies are generally preferred? “No, I don’t think they would. People have become wary of watching dark movies in the cinema. Take Jwalamukhi, for example. I know perfectly well that they wouldn’t watch it on the big screen because, other than death as the main theme, there are no major stars. But Autorickshawkkarante Bharya doesn’t have that problem,” he laughs. “People can enjoy it anywhere, whether it’s theaters or OTT.”

Shot by cinematographer Alakappan and edited by Ayub Khan, Autorickshawkkarante Bharya is produced by KV Abdul Nazar under the Benzy Productions banner.

‘I can’t tell if he was mean or not’: artist Lene Berg on his murderous father | Art and design https://montecarlofilmfestival.com/i-cant-tell-if-he-was-mean-or-not-artist-lene-berg-on-his-murderous-father-art-and-design/ Mon, 13 Jun 2022 07:00:00 +0000 https://montecarlofilmfestival.com/i-cant-tell-if-he-was-mean-or-not-artist-lene-berg-on-his-murderous-father-art-and-design/

In a dark room in Bergen’s Kunsthall museum, visitors can recline on a beanbag under a loudspeaker and listen to a nine-year-old girl talking to her mother at bedtime. “Is dad mean, mom? the girl’s disembodied voice asks. The sheets rustle with impatience as the mother fails to answer his question conclusively. “Is dad possessed by the devil? A police siren is heard passing on the street outside. “Am I also possessed by the devil since I am his daughter?

The recording’s daughter, reconstructed from memory, is artist Lene Berg, and dad is director Arnljot Berg, an influential figure in 1970s Norway. being possessed by Satan is evident in the series of Norwegian and French newspaper headlines that have been embroidered on curtains hung around the space. In 1975, Arnljot was arrested in Paris for the murder of his second wife, Evelyne Zammit. He committed suicide a few years after his release from prison, when Lene was a teenager.

Brand style… a miniature set of the French parking lot where her father was arrested. Photography: Lene Berg

In this sound installation, Lene’s mother tries to assure the restless child that Evelyne’s death was an accident. Now 57, Lene is unequivocal when asked if her father killed his wife. “Yeah, I think he did,” she tells me, via video call from the gallery. “There is no doubt that he killed her. But I think he accepted his guilt and said it was an accident. Until I started this project, I had the feeling that he hadn’t accepted his guilt well. He had strong armor, and one way to protect himself was to be very pathetic. I never asked him if he killed her or how she died. It’s probably because I was afraid he would say something like, “I’m a really bad person, Lene.”

Arnljot was sentenced to five years, including four on probation, a surprisingly lenient sentence that meant he was effectively free after trial, having spent the previous 15 months in jail. Classified court documents, which Lene got hold of shortly before the Kunsthall facility opened but chose not to properly review before, show Evelyne’s father testified on Arnljot’s behalf.

“I suspect Evelyne’s death was some kind of suicide, suicide by proxy,” Lene says. “It’s my reading now. But whether it would be wrong is still unclear to me. As a child, I wondered if my father was a bad man, and that’s always something I find impossible. to answer. I think you would need to feel an incredible amount of anger and rage to kill someone. And at times like that, this incredibly smart and warm man that my father was is still like a stranger to me. .

Lene is known as an artist who investigates the lives of others rather than her own. Encounter: Gentlemen & Arseholes, from 2006, was his first notable project, an annotated reprint of the first edition of Encounter, a literary magazine founded by poet Stephen Spender that was later found to have been secretly funded by the CIA .

A fascination with Cold War culture inspired Lene’s first two art films: 2006’s The Man in the Background, about CIA agent Michael Josselson; and Picasso’s Stalin in 2008 or Portrait of a Woman with a Mustache, on a lost work – sketched when the Soviet leader died – which was immediately denounced by the French Communist Party for departing from social realism. His films share a do-it-yourself aesthetic reminiscent of Michel Gondry or early Wes Anderson, but with a dryly sarcastic undercurrent rather than twee romanticism. “Realism?” she asks Picasso in her film. “Is it Stalin with an erection or without?”

Fra Far Prison Letters.
‘I have now used the same method on my own life that I used to use on others’…fra far prison letters. Photography: Lene Berg

The Bergen exhibit – called Fra Far, meaning From Father – is designed in his trademark style. For a short film shown in the first room of the show, Lene built a miniature set of the French parking lot where her father was arrested, complete with Matchbox cars, miniature railway figures and vape smoke blowing across the stage. to evoke the morning fog. .

Its shift towards personal memories, instead of archives or court documents, is new. “In a sense, I have now used the same method on my own life that I used to use on others. Maybe I had to do this. I have researched many themes and people, but this material belongs to me.

Cerebral and theme-driven, Lene’s works break free from the art world’s usual constraints on storytelling: many of her films are so fun to watch that you instantly want to show them to your friends. His 2013 documentary Kopfkinoin which BDSM sex workers share drinks and talk shop around a Last Supper-style table, could have been a hit on Netflix.

Lene Berg.
‘I never asked him if he killed her, probably because I was afraid he would say, ‘I’m a very bad person”… Lene Berg. Photo: Thor Brødreskift

Early in her career, she says, film people told her she only won awards because the art world didn’t understand film, while art critics complained that she didn’t really do art. “Art critics felt that there was too much history in my films, that it was too close to entertainment. Whereas cinephiles thought my films were totally experimental. I think these positions have changed .

Lene’s father has made five feature films, two of which screened at the Berlin Film Festival. However, she says, “He never really found his style or his form.” Arnljot remains best known in Norway for a television program that introduced the country to modern European cinema.

When she became a director, Lene spent years trying to distance herself from her father. Friends from school told her that their parents had advised them not to hang out with her. “It became very important to me not to be Arnljot Berg’s daughter,” says Lene, who left Oslo to study cinema in Stockholm, and now lives mostly in Berlin. “But then, a few years ago, I gave a presentation at a film convention and realized that even the people in the film industry didn’t really know who my dad was anymore. Even those who made him didn’t had no idea I was related to him. I wasn’t defined as his daughter anymore. It was more the other way around.”

She pauses and says of the show about her father, “I’m not interested in restoring his greatness. But I also didn’t want it to be an attack or a settling of scores. I really wanted to remember him in as many facets as possible. »

Fra Far is at Bergen Kunsthall, Norwayuntil August 21.

]]> Tribeca’s latest VR festival might be its best yet https://montecarlofilmfestival.com/tribecas-latest-vr-festival-might-be-its-best-yet/ Fri, 10 Jun 2022 22:23:43 +0000 https://montecarlofilmfestival.com/tribecas-latest-vr-festival-might-be-its-best-yet/

The world-renowned film festival is stepping up its virtual offerings of experimental films and interactive experiences.

It has been more than two years since COVID-19 entered our lives, radically altering the way we socialize, work and live on a daily basis. Almost every industry, from entertainment to education, has felt the impact of government lockdown protocols and quarantines, but few more than the live events industry.

This includes the Tribeca Film Festival, which for several years has offered a virtual counterpart to its in-person Tribeca Immersive showcase in Tribeca, New York, as a way for visitors to experience a hand-picked selection of groundbreaking immersive films and experiences. interactive. from the safety and comfort of their homes. That said, this year’s virtual showcase might be the most impressive yet.

From now until Sunday, June 19, anyone with a PC VR or Meta Quest headset (via Air Link or Virtual Desktop) can access a wide range of immersive content ranging from thought-provoking documentaries and short fiction films to gender-defying interactive experiences. While it may seem odd, what excites me most about this year’s virtual storefront is its accessibility. Built by VR Creative Director Dani Bittman using a combination of VR art tools such as Tilting brush and Gravity Sketchthe virtual event space is custom-designed for VR headsets and extremely easy to navigate.

To access the Tribeca Immersive in VR showcase, you must first download The Museum of Other Realities, an immersive multiplayer art showcase. The app itself is free, as is the “Immersive Arcade: The Showcase” DLC that you need to download to access the event. Once in VR, you are greeted by a vast museum hallway. Here you can customize your personal avatar and learn more about how to communicate with other visitors, take photos in VR and interact with the world itself.

There are even a handful of virtual cocktails you can access by reaching over your shoulder and pressing the trigger on your motion controller. Each of these digital drinks exhibits its own unique effects when drunk. The green drink, for example, will turn you into a virtual giant, while the pink drink will shrink you to miniature. Of course, you can always discard the blue cocktail to return to its normal size. It might seem like a small addition, but it’s those kinds of details that help bring the place to life.

Once you’re nice and tipsy, you can then head to the main event space. It is on this colorful square that you will find all the immersive projects available for viewing. Each experience has its own unique entry that serves as an extension of the project itself. Not only does this add a bit of character, but it actually helps you immerse yourself in the experience before it even begins, much like the physical exhibits you’ll find at the in-person event in New York. After paying the $4.99 entrance fee, you can then access each project by contacting the light platforms located in front of each exhibition. There is also a miniature exhibit located in the center of the plaza that you can shrink down and explore at your leisure.

We’re still going through the full catalog of projects available as part of this year’s showcase, but what we’ve seen so far makes us want to try the rest. Here are some amazing projects we’ve discovered so far:

  • Insight (Benjamin Cleary, Michael O’Connor) In this interactive virtual reality animated short, we follow Herbie (Taron Egerton) and his girlfriend Rice (Lucy Boynton) as they overcome the obstacles of a modern relationship. Along with phenomenal voice acting and eye-catching visuals, this surreal VR movie features several interactive moments designed to engage you further in the story. The result is an emotionally draining VR experience that will leave you contemplating your relationships with others; it’s when you’re not crying into your helmet.
  • Planet City VR (Liam Young) Imagine if the entirety of humanity lived in a single city made up of various races, religions and cultures. This is the premise behind Planet City VR, a thought-provoking 3D animated film centered on Planet City, a fictional metropolis inhabited by over 10 billion people. Narrated by a young climate activist, the film raises awareness of the devastating effects of global warming, serving as a warning of what could happen if nothing is done.
  • Emerging Radiance: A Tribute to the Nikkei Farmers of Bellevue (Tani Ikeda, Michelle Kumata)Best described as an animated hand-painted mural, Emerging Shard tells the story of three Japanese-American farmers who found themselves suddenly uprooted after the Japanese attack on Pearl Harbor during World War II. Each subject recounts their life before, during and after their time in World War II incarceration camps. The project offers an unfiltered look at an often overlooked part of American history in a visually captivating way. The experience is also available as an Instagram Spark AR filter.

As stated earlier, these are just a few of the amazing projects we’ve tried so far. Tribeca Immersive’s virtual exhibit features a dozen projects to explore, with even more available onsite at the physical exhibit in Tribeca, NY. We’ll be covering more of these game-changing projects over the coming week, so be sure to check back regularly.

Tribeca Immersive is open to the public until Sunday, June 19. Those looking to access the virtual storefront will need a VR PC or Meta Quest (via Air Link or virtual office) helmet. Whereas The Museum of Other Realities the application is free, you will have to pay the $4.99 admission fees in order to enjoy the full selection of content.

For a full breakdown of this year’s projects, visit here.

Image credit: Tribeca

8 new thriller and horror movies and shows to watch in June 2022 https://montecarlofilmfestival.com/8-new-thriller-and-horror-movies-and-shows-to-watch-in-june-2022/ Wed, 08 Jun 2022 23:00:00 +0000 https://montecarlofilmfestival.com/8-new-thriller-and-horror-movies-and-shows-to-watch-in-june-2022/

This month of June features a variety of thrillers and horror movies and TV shows coming to the big screen throughout the month, including the highly anticipated horror movie The black phone. Some movies qualify for multiple genres, including thriller, horror, and comedy. The June releases are sure to provide the perfect amount of unsettling, chilling, and overall entertaining media. Most of these films will be released in theaters, but Chris Hemsworth’s spider head and the BBC One series Chloe both will be released on streaming services.

The Prey: Legend of Karnoctus hits theaters June 3

With beloved Danny Trejo, The Prey: The Legend of Karnoctus hits theaters on June 3, 2022. The film centers on a platoon of American soldiers in Afghanistan who become trapped in a cave. They are eventually stalked by a deadly creature that would scare almost any onlooker. Creature features have their solid place in horror and thriller films, but adding machine guns and trained soldiers into the mix could make for an interesting and entertaining film.

RELATED: How Raised By Wolves Keeps Alien Body Horror Tradition Alive

Witness Crimes of the Future in theaters June 3

With Viggo Mortensen and Kristen Stewart, Future Crimes is the latest body horror film to hit theaters. The story centers on the concept that the human species will adapt enough to its environment to cause transformations and mutations. This film features a terrifyingly disturbing makeover while maintaining a classic horror tone. Future Crimes is considered by critics to be an artsy film with a fair amount of gross body horror that straddles the line nicely.

Watcher Stalks Theaters June 3

From IFC Films and Shudder, Observer shows the fear a woman feels when she realizes someone is watching her from the building across the street. The young American settles in Romania and feels isolated in a new country whose language she does not know. The psychological thriller has a generally positive response from critics, who commented on the chilling tone throughout the film. Maika Monroe stars as the lead, and she won critical acclaim for her past performance as the scream queen in the iconic 2014 film It follows.

Wild Men loads in theaters June 17

norwegian cinema wild men covers a variety of genres, including comedy, thriller, and horror. The plot follows a man named Martin, who tries to recover from his midlife crisis by traveling through the forest. During his adventure, he meets Musa, who leads him on a spontaneous journey where they deal with the police and drug dealers. The two men slowly develop a friendship, and Martin learns many lessons about his concept of masculinity. wild men has a stellar reception from critics, saying the film is an interesting – but sometimes unsettling – adventure.

RELATED: Spiderhead Trailer Has Chris Hemsworth Going ‘Mad Scientist’ on Miles Teller and Jurnee Smollett

Netflix and Chill With Spiderhead on June 17

Chris Hemsworth, Miles Teller and Jurnee Smollett star in sci-fi thriller titled spider head, which will premiere on June 17, 2022. The premise of the film features two convicts who have agreed to volunteer to experiment in order to reduce their prison sentence. Emotion-altering drugs work too well, making one convict fall in love with another. The prisoner then tries desperately to escape from the prison to save his fellow prisoner. Hemsworth plays the film’s villain, showing a different side that many viewers have never seen of him before.

Find out what happened to Chloe on June 24 on Prime Video

BBC One and Prime Video series Chloe follows Becky, who compares herself to people on Instagram, compulsively following one perfect life in particular – Chloe. One day, Chloe dies and Becky is obsessed with finding out the truth about sudden death. The psychological thriller series has received positive ratings from critics, who say the series adds additional layers to the classic “murder mystery” trope in the media. Becky is unhappy with her life and finds herself thrilled by the investigation to find out what happened to Chloe.

RELATED: The Black Phone Trailer Hides Pennywise’s Grim Nods – And It Makes Sense

See Flux Gourmet’s Comedy and Horror in theaters June 24

The Black Comedy Horror Movie Gourmet Feed features a group of experimental performance artists. They are known for their disturbing music created by the sounds of food. A stranger is tasked with recording the performers while they live in a remote arts institution. The stranger slowly discovers that he is part of their collective over time, joining the strange and exotic ideals. Critics have reacted well to the film, but there’s a caveat to avoid if your gag reflex kicks in easily.

Answer the Black Phone in theaters June 24

Finally, Ethan Hawke’s long-awaited supernatural horror movie The black phone will hit theaters in late June 2022. The movie has 100% on Rotten Tomatoes, adding to the anticipation for the movie so far. The black phone follows a young baseball pitcher who is the sixth child to go missing in a suburban Colorado town. The young boy wakes up in a soundproof room, realizing he is trapped and the only device within reach is a disconnected phone. The phone can transmit the voices of the Grabber’s previous victims, and the boy’s sister has psychic dreams about her brother that send her looking for him. Ethan Hawke made a significant comeback this year in TV shows and movies, so The black phone is sure to leave the audience with another great performance.

]]> ‘Mrs. Marvel Actor Iman Vellani Gives Brutal Reviews of Marvel Movies https://montecarlofilmfestival.com/mrs-marvel-actor-iman-vellani-gives-brutal-reviews-of-marvel-movies/ Wed, 01 Jun 2022 23:20:02 +0000 https://montecarlofilmfestival.com/mrs-marvel-actor-iman-vellani-gives-brutal-reviews-of-marvel-movies/

marvel studios

With Ms. Marvel being only a week away from the release on Disney Plus, some background information about star Iman Vellani has surfaced which mostly totally reaffirms that the young actor is the perfect person for the role; she’s a big fan of the comic book character Kamala Khan she’s supposed to portray, studied impressively with the same acting teacher as Obi Wan Kenobi star Hayden Christensen, and demonstrates a love for film.

In fact, Vellani’s status as a well-known film buff is so old that she was a member of the Toronto International Film Festival’s Next Wave committee in high school and even wrote a number of movie reviews on Letterboxd, the app social media for movie buffs.

“That and my Vimeo are the only things I’ve ever deleted,” Vellani, who is also a prolific experimental filmmaker, said in a recent interview with Now Toronto.

“I was going through a phase in high school where I thought I was really artistic and only watched art house movies. […] I’m still in this whole cinephile world. It’s so amazing that we’ve been able to experience this and shine a light on so many fresh, young voices – marginalized voices and Canadian voices – everyone making films about this coming-of-age experience.

Jump to Vellani Apparent Letterbox Accountit’s clear that she has a penchant for arthouse films, just as the interviewer mentioned, as Ingmar Bergman Character, Taxi driver, The PierLee Chang Dong The master, Burningand Portrait of a lady on fire.

However, she’s also rated a number of Marvel movies – and not always favorably. Hilariously, yet accurately, Vellani assessed the 2019s Captain Marvel with only two stars, despite the fact that her character, Ms. Marvel, is directly linked to the universe of this film. Vellani’s Ms. Marvel started out as a superfan of Brie Larson’s Carol Danvers.

In the film’s review, Vellani noted, “These stars aren’t for Brie Larson, I’ll sacrifice my own life…for Brie Larson.”

She also noted 2007 Fantastic Four: Rise of the Silver Sufer with only two stars, writing fashionably for a comic book fan, “Don’t be shy, Show galactus.”

However, don’t tell him that Sam Raimi Spiderman 3 it’s trash, because she’s apparently going to Stan filming this all night. She said of the over-malicious film, “It’s so great,” giving it three and a half stars.

However, she has given many other Marvel projects high marks, including giving Spider-Man: Into the Spider-Verse five stars, Avengers: Endgame five stars, guardians of the galaxy and Flight. 2 four stars, Spider-Man: Homecoming and Far from home four stars, Thor: Ragnarok four stars, avengers five stars, dead Pool four stars, Iron Man five stars, and Captain America: The Winter Soldier four and a half stars, among many others.

Nothing to say with a little constructive criticism. Kevin Feige, take note.

You can catch Vellani’s star in Ms. Marvel on Disney Plus starting June 8.