A Ghost Story

Total Page:16

File Type:pdf, Size:1020Kb

A Ghost Story A GHOST STORY DIR. DAVID LOWERY SINOPSIS El fantasma vestido con una sábana blanca (el oscarizado Casey Affleck) de un hombre fallecido recientemente regresa a su casa para consolar a su esposa (Rooney Mara, nominada por la Academia), pero descubre que en su nuevo estado espectral ya no pertenece a un tiempo concreto y solo le queda observar con total pasividad cómo se le escapan lentamente la vida que conocía y la mujer que ama. Cada vez más perdido, el fantasma se embarca en un viaje cósmico a través de los recuerdos y la historia, enfrentándose a las eternas preguntas de la vida y a la inmensidad de la existencia. FICHA artística C ........................................................................................................................................................... CASEY AFFLECK M .............................................................................................................................................................ROONEY MARA Pronosticador .......................................................................................................................................... WILL OLDHAM Doctora ................................................................................................................................... KENNEISHA THOMPSON Chica espiritual .......................................................................................................................................................KESHA Niño..............................................................................................................................................MCCOLM CEPHAS JR. FICHA TÉCNICA Dirección ..............................................DAVID LOWERY ....................................................... MATTHEW TAYLOR Guión....................................................DAVID LOWERY Dirección de arte ........................................ DAVID PINK, Producción .................................... ADAM DONAGHEY, ................................................................ TALIA MILLER ............................................. LIZ CARDENAS FRANKE, Vestuario ........................................ANNELL BRODEUR .......................................................TOBY HALBROOKS, Distribuidora ............................................Focus Features ...................................................JAMES M. JOHNSTON, Género ................................................... Drama / Fantasía ............................................................ DAVID MADDOX Aspect ratio ............................................................1,33 :1 Fotografía ..........................ANDREW DROZ PALERMO Idiomas ..........................Inglés con subtítulos en español Montaje ............................................... DAVID LOWERY, Duración ...............................................................92 min. Música ......................................................DANIEL HART Nacionalidad .............................................Estados Unidos Casting ....................................................TISHA BLOOD, Año de producción ....................................................2017 Notas DE PRODUCCIÓN Meses antes de fascinar al público de todo el mundo con el M llega al depósito de cadáveres para identificar el cuerpo, aclamado remake de Peter y el dragón, en el verano de 2016 que reposa, inquietante, en una losa bajo una sábana el guionista y realizador David Lowery ya estaba sumido en blanca impoluta. M, destrozada, se va del depósito y, su nuevo proyecto, una película independiente de fantasmas unos momentos después, C hace lo mismo, envuelto en la que transcurre en su Texas natal protagonizada por las dos sábana, emulando la idea del fantasma clásico que tenemos estrellas de la película que le catapultó a la fama, En un de niños, con dos agujeros negros por ojos y un curioso lugar sin ley. Al igual que Peter y el dragón, su cuarto paso ondulante. largometraje explora el mito y la fantasía, alcanzando Pasan días, semanas, meses e incluso años, durante los una gran profundidad emocional a través de la necesidad que C recorre la casa en la que vivió, amó y compuso universal de amor y de comunicación, incluso después de música con su compañera y musa. En un momento dado, la muerte. M desaparece para vivir su futuro, aumentando la agonía de A ghost story empieza en una vieja casa de una planta a C, obsesionado con el vínculo que les unía y que se rompió las afueras de la ciudad, donde una joven pareja, a cuyos para siempre. Otras personas se mudan a la casa, como miembros únicamente conocemos por sus iniciales, C y M, una joven familia hispana o un grupo de universitarios con lleva una vida en apariencia tranquila. C (Casey Affleck) ganas de marcha. QUEVEDO - 28015 MADRID www.cines-verdi.com Y TEL. 91 447 39 30 - METRO CANAL MURILLO, 28). VERDI MADRID 5 SALAS (C/. BRAVO CINES solo desea componer y quedarse en casa, mientas que M Poco a poco, C se da cuenta de que está atado para siempre (Rooney Mara) sueña con viajar a otros lugares, lo que crea al espacio que ocupa la casa, por muchos años que pasen. una sutil tensión entre los dos, a pesar de que no lo hablen Ya no tiene raíces en un tiempo concreto y, al no aceptar su CINEMES VERDI 5 SALES (C/. VERDI, 32) - VERDI PARK 4 SALES (C/. TORRIJOS, 49). TEL. 93 238 79 90 - METRO FONTANA - 08012 BARCELONA - www.cines-verdi.com - 08012 BARCELONA TEL. 93 238 79 90 - METRO FONTANA 49). TORRIJOS, 4 SALES (C/. VERDI PARK VERDI, 32) - VERDI 5 SALES (C/. CINEMES abiertamente. De pronto, C muere en un accidente de coche. situación, está atrapado en el vacío, lo que le obliga a ser (Sigue al dorso) PROYECCIÓN EN ALTA DEFINICIÓN: 2.000.000 DE PÍXELS, CROMA 2000:1 espectador de un mundo que cambia a un niño. La idea de crear alguna cosa su alrededor. que permanezca después de que nos hayamos ido es un poderoso impulso, El significado de la pérdida una forma de engañar a la muerte y de catar la eternidad. ”Todos nos A ghost story sitúa a David Lowery esforzamos para que sea duradero lo entre los pocos cineastas que se que hacemos en la vida”, sigue diciendo sienten igual de cómodos en grandes David Lowery. ”La imagen de Rooney producciones o en proyectos escondiendo algo que solo ella conoce, independientes más intimistas. La en realidad un trocito de sí misma, le película, además de ser una poética sirve para conquistar el tiempo, para reflexión en torno al tiempo y los asentar su existencia terrenal. Es un lazos de unión, plantea la pregunta de objetivo universal, todos intentamos si nuestros actos en la vida tienen un sentido más amplio. influir en el mundo que nos rodea, luchamos contra nuestra En A ghost story, el peso de la existencia aterra tanto a los falta de permanencia”. El deseo de dejar un legado es lo que nos vivos como a los muertos, penetrando en todas partes, desde convierte en seres humanos. los movimientos fantasmales de Casey Affleck bajo su sábana Pero ¿qué hay después de eso? blanca, hasta el monólogo de Will Oldham, un colaborador habitual del cineasta, pasando por los largos planos secuencia Juntos de nuevo inspirados en realizadores europeos y asiáticos. El tiempo no se detiene para nadie, y cuanto antes lo aceptemos, antes se romperá Después de localizar el decorado principal, el director se dedicó el círculo. ”Llega un momento en que debemos dejarlo”, explica al reparto de A ghost story. Se puso primero en contacto en David Lowery. ”No tenemos elección. Lo más difícil es aceptar Casey Affleck y Rooney Mara, que encarnan a los desdichados que no tenemos opciones, y gran parte de esta película trata de amantes en la película En un lugar sin ley, rodada en Texas en eso”. 2013. Ambos ya eran autenticas estrellas, sobre todo Casey De hecho, el cineasta se sintió atraído inicialmente por el cine Affleck después de la muy aclamada Manchester frente al mar, porque le permitía jugar con el tiempo; podía conservarlo, por la que ganó el Oscar al Mejor Actor. Rooney Mara no se extenderlo, volver atrás, incluso entrar en el futuro, algo que había quedado atrás protagonizando éxitos como Carol y Lion. hace en A ghost story. ”A menudo me aterra pensar en lo rápido A los dos les entusiasmó la idea de rodar algo casi a escondidas, que pasan los años”, dice. ”Esta película intenta enfrentarse al con rapidez y volver a vivir el genial ambiente que se generó paso del tiempo, pero el tiempo seguirá adelante me guste o no, en el rodaje de la segunda película de David Lowery. ”Sé cómo y llegará el momento en que todo por lo que me esforcé o lo funcionan y no tenía la menor intención de inmiscuirme”, dice que conseguí no significará nada”. David Lowery sugiere que el realizador. ”La química entre los dos es innegable. Todos nos todos acabamos siendo fantasmas; mediante ciertas acciones y dimos cuenta el primer día de rodaje de En un lugar sin ley, y reflexiones aprendemos a superar la oscura noche del alma. ya que Casey no aparece mucho en su forma humana en esta A ghost story también es una fuerte reflexión sobre el amor y los película, quería que las pocas escenas que comparten fueran vínculos. El protagonista de la película añora a su compañera extremadamente sensibles y humanas”. por muchos años que transcurran y busca algún significado De acuerdo con el diseño visual y temporal de la película, en su eterna soledad. ”En el fondo soy un romántico”, añade ambos actores debieron quedarse inmóviles e impasibles el director. ”No empiezo contando una historia de amor, pero durante largos periodos de
Recommended publications
  • Executive Producer)
    PRODUCTION BIOGRAPHIES STEVEN SODERBERGH (Executive Producer) Steven Soderbergh has produced or executive-produced a wide range of projects, most recently Gregory Jacobs' Magic Mike XXL, as well as his own series "The Knick" on Cinemax, and the current Amazon Studios series "Red Oaks." Previously, he produced or executive-produced Jacobs' films Wind Chill and Criminal; Laura Poitras' Citizenfour; Marina Zenovich's Roman Polanski: Odd Man Out, Roman Polanski: Wanted and Desired, and Who Is Bernard Tapie?; Lynne Ramsay's We Need to Talk About Kevin; the HBO documentary His Way, directed by Douglas McGrath; Lodge Kerrigan's Rebecca H. (Return to the Dogs) and Keane; Brian Koppelman and David Levien's Solitary Man; Todd Haynes' I'm Not There and Far From Heaven; Tony Gilroy's Michael Clayton; George Clooney's Good Night and Good Luck and Confessions of a Dangerous Mind; Scott Z. Burns' Pu-239; Richard Linklater's A Scanner Darkly; Rob Reiner's Rumor Has It...; Stephen Gaghan'sSyriana; John Maybury's The Jacket; Christopher Nolan's Insomnia; Godfrey Reggio's Naqoyqatsi; Anthony and Joseph Russo's Welcome to Collinwood; Gary Ross' Pleasantville; and Greg Mottola's The Daytrippers. LODGE KERRIGAN (Co-Creator, Executive Producer, Writer, Director) Co-Creators and Executive Producers Lodge Kerrigan and Amy Seimetz wrote and directed all 13 episodes of “The Girlfriend Experience.” Prior to “The Girlfriend Experience,” Kerrigan wrote and directed the features Rebecca H. (Return to the Dogs), Keane, Claire Dolan and Clean, Shaven. His directorial credits also include episodes of “The Killing” (AMC / Netflix), “The Americans” (FX), “Bates Motel” (A&E) and “Homeland” (Showtime).
    [Show full text]
  • Sundance Film Festival: London Programme Announced – Picturehouse Central Hosts Feature Films, Short Films and Special Events from 1-4 June 2017
    SUNDANCE FILM FESTIVAL: LONDON PROGRAMME ANNOUNCED – PICTUREHOUSE CENTRAL HOSTS FEATURE FILMS, SHORT FILMS AND SPECIAL EVENTS FROM 1-4 JUNE 2017 UK PREMIERE OF DAVID LOWERY’S A GHOST STORY WILL CLOSE THE FESTIVAL ON 4 JUNE Festival passes now on sale; Individual tickets on sale Tuesday 2 May. Find out more at picturehouses.com/sundance Picturehouse Central, 25 April 2017 — Sundance Institute and Picturehouse announced today the programme of feature films, short films and panel discussions for the 2017 Sundance Film Festival: London, taking place 1-4 June at Picturehouse Central. Festival passes are on sale now, find out more at picturehouses.com/sundance. Priority booking for Picturehouse Members and Passholders opens today. Individual tickets on sale from 9.30am Tuesday 2 May. The festival will present 14 feature films direct from this year's Sundance Film Festival in Park City, Utah, U.S.A., selected for London by the Sundance Institute programming team in collaboration with Picturehouse. As previously announced, the festival will open with the International premiere of Miguel Arteta’s Beatriz at Dinner, and it will close four days later with the UK premiere of David Lowery’s critically acclaimed A Ghost Story, starring Casey Affleck and Rooney Mara. Continuing the focus of the four previous London editions on presenting new work by emerging and established independent filmmakers, the 2017 festival will also include a short film programme with 15 shorts, including a strand dedicated to new UK shorts. The films collectively received 7 awards when they premiered at the Sundance Film Festival in Park City, Utah, including the Audience Award: U.S.
    [Show full text]
  • Drum Innovator Liebezeit of Krautrock Band Can Dies
    TUESDAY, JANUARY 24, 2017 l i f e s t y l e MUSIC & MOVIES Picture taken on December 1, 1971 shows members of the band “Can” (from left) Irmin Schmidt, Jaki Liebezeit, Picture shows German musicians Jaki Liebezeit (left, drums) and Marcus Schmickler performing during a festival in Michael Karoli, Ulli Gerlach, Holger Szukay and Damo Suzuki (foreground) posing in Hamburg, northern Germany. Moers, western Germany. — AFP photos Drum innovator Liebezeit of Krautrock band Can dies aki Liebezeit, the percussionist for German band Can who and early electronics. Liebezeit had his start in free jazz, moving the power of striking all drums with his arms rather than kicking want to say imperialistic, but it makes it so that you cannot think became an icon in avant-garde circles for a machine-like after his early studies to Barcelona where he notably played with with his feet and only sparingly used cymbals, while embracing in another way," he told the British cultural magazine The Jstyle that rejected standard drumsets, died Sunday. He was visiting trumpeting great Chet Baker. But Liebezeit grew disen- electronics and percussion instruments that are less common in Quietus in 2015. Can was nonetheless influenced by US avant- 78. His bandmates in Can, which he co-founded in Cologne in chanted with the jazz circuit. He sought to learn percussion from rock such as gongs. Liebezeit would explain that the standardi- garde music including rockers The Velvet Underground and min- 1968, said Liebezeit died suddenly from pneumonia. He died around the world and, with Can, developed a tight, metronome- zation of drumsets, contrary to popular imagination, was a imalist composer Steve Reich.
    [Show full text]
  • Ghost Story Free
    FREE GHOST STORY PDF Jim Butcher | 598 pages | 07 Aug 2012 | Penguin Putnam Inc | 9780451464071 | English | New York, United States A Ghost Story director David Lowery on how technology fixed his lonely ghost - The Verge It is a simple story of a house and its haunting: a young couple, played by Rooney Mara and Casey Affleck, live in a small house in semi-rural Texas. He leaves the morgue, returns to the house that he shared with the woman, and takes up residence there. This narrative hardly seems stocked with sufficient Ghost Story to fill even a short film. When C and M sit together, Ghost Story apart, in the sparely furnished living room, each using a laptop computer, Lowery uses the simplest of devices—focus, keeping C sharply in the foreground and M in the background—to suggest the distance of intimacy, Ghost Story vague self-absorption that will, of course, eventually become clearer. The camera tracks horizontally as M drags a chest laboriously from the front door of a small one-story house, toward the camera, as it passes at a tightly measured lateral glide from one side of the bare path Ghost Story the other; she deposits it curbside with a pile of other garbage, and the camera then reverses course. It makes the moment feel as if it has its own distinctive identity and, moreover, makes each of the elements of an apparently unified frame burst Ghost Story in its own disparate identity. The interruption comes with another image, in daytime, of the front of the house; Lowery pans very slowly from it toward the street, where two cars sit silently, having catastrophically crashed; one of them contains Ghost Story, who is dead.
    [Show full text]
  • A Ghost Story
    Presents A GHOST STORY A film by David Lowery (93 min., USA, 2017) Language: English Distribution Publicity Bonne Smith Star PR 1352 Dundas St. West Tel: 416-488-4436 Toronto, Ontario, Canada, M6J 1Y2 Fax: 416-488-8438 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com @MongrelMedia MongrelMedia SYNOPSIS With A GHOST STORY acclaimed director David Lowery (AIN'T THEM BODIES SAINTS, PETE'S DRAGON) returns with a singular exploration of legacy, loss, and the essential human longing for meaning and connection. Recently deceased, a white-sheeted ghost (Academy Award-winner Casey Affleck) returns to his suburban home to console his bereft wife (Academy Award-nominee Rooney Mara), only to find that in his spectral state he has become unstuck in time, forced to watch passively as the life he knew and the woman he loves slowly slip away. Increasingly unmoored, the ghost embarks on a cosmic journey through memory and history, confronting life’s ineffable questions and the enormity of existence. An unforgettable meditation on love and grief, A GHOST STORY emerges ecstatic and surreal — a wholly unique experience that lingers long after the credits roll. ABOUT THE PRODUCTION Months before delighting global audiences with the critically acclaimed PETE’S DRAGON remake for the Walt Disney Company in the summer of 2016, writer-director David Lowery was already immersed in his next project — an independently produced, under-the-radar ghost story set in his native Texas that reunites the stars of his breakout feature, AIN'T THEM BODIES SAINTS.
    [Show full text]
  • Editing the Feature Film, in Paradise Dakota Maverick Moore, MA
    ABSTRACT Editing as Directing: Editing the Feature Film, In Paradise Dakota Maverick Moore, M.A. Advisor: Christopher J. Hansen, M.F.A. The editing process of a narrative film shares many artistic similarities to directing. Through a critical examination of the editing process for the film In Paradise, this thesis will highlight the directorial aspects of editing and how the post-production stage directly shapes the final form of the film. This thesis will also describe the methodological process of editing the film. Storytelling and professional goals are provided, as are films, literature, and insights that are influential to the editing process of the film. 1 Editing as Directing: Editing the Feature Film, In Paradise by Dakota Maverick Moore, B.S. A Thesis Approved by the Department of Communication _____________________________________ David W. Schlueter, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Arts Approved by the Thesis Committee _________________________________ Christopher J. Hansen, M.F.A., Chairperson _________________________________ James M. Kendrick, Ph.D. ______________________________ DeAnna M. Toten Beard, Ph.D. Accepted by the Graduate School May 2014 _________________________ J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School 2 Copyright © 2014 by Dakota Maverick Moore All rights reserved 3 TABLE OF CONTENTS Chapter One: Introduction ...................................................................................................1
    [Show full text]
  • Variations Autour Du Souvenir / a Ghost Story De David Lowery]
    Document generated on 09/29/2021 6:27 a.m. Ciné-Bulles Variations autour du souvenir A Ghost Story de David Lowery Jean-Marie Lanlo Volume 35, Number 4, Fall 2017 URI: https://id.erudit.org/iderudit/86547ac See table of contents Publisher(s) Association des cinémas parallèles du Québec ISSN 0820-8921 (print) 1923-3221 (digital) Explore this journal Cite this review Lanlo, J.-M. (2017). Review of [Variations autour du souvenir / A Ghost Story de David Lowery]. Ciné-Bulles, 35(4), 44–44. Tous droits réservés © Association des cinémas parallèles du Québec, 2017 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ CRITIQUES teinte ici de désespoir, tout en étant une énième clé de lecture : la fin arrive avec quelques réponses ou avec la certitude d’absence de réponse. Or, pour notre fantôme, cette réponse est indispensable, et se trouve dans la redé- couverte de ses souvenirs. Revient alors l’idée du papier glissé dans le mur. Au moment de déménager, la femme en avait glissé un, que le fantôme n’aura pas le temps de récupérer avant la destruction de la maison. Le besoin de retrouver ce sou- venir à tout prix
    [Show full text]
  • Sight & Sound Annual Index 2017
    THE INTERNATIONAL FILM MAGAZINE Index to Volume 27 January to December 2017 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND SUBJECT INDEX SUBJECT INDEX After the Storm (2016) 6:52(r) Amour (2012) 5:17; 6:17 Armano Iannucci Shows, The 11:42 Ask the Dust 2:5 Bakewell, Sarah 9:32 Film review titles are also interview with Koreeda Amours de minuit, Les 9:14 Armisen, Fred 8:38 Asmara, Abigail 11:22 Balaban, Bob 5:54 included and are indicated by Hirokazu 7:8-9 Ampolsk, Alan G. 6:40 Armstrong, Jesse 11:41 Asquith, Anthony 2:9; 5:41, Balasz, Béla 8:40 (r) after the reference; age and cinema Amy 11:38 Army 2:24 46; 10:10, 18, 44 Balch, Antony 2:10 (b) after reference indicates Hotel Salvation 9:8-9, 66(r) An Seohyun 7:32 Army of Shadows, The Assange, Julian Balcon, Michael 2:10; 5:42 a book review Age of Innocence, The (1993) 2:18 Anchors Aweigh 1:25 key sequence showing Risk 8:50-1, 56(r) Balfour, Betty use of abstraction 2:34 Anderson, Adisa 6:42 Melville’s iconicism 9:32, 38 Assassin, The (1961) 3:58 survey of her career A Age of Shadows, The 4:72(r) Anderson, Gillian 3:15 Arnold, Andrea 1:42; 6:8; Assassin, The (2015) 1:44 and films 11:21 Abacus Small Enough to Jail 8:60(r) Agony of Love (1966) 11:19 Anderson, Joseph 11:46 7:51; 9:9; 11:11 Assassination (1964) 2:18 Balin, Mireille 4:52 Abandon Normal Devices Agosto (2014) 5:59 Anderson, Judith 3:35 Arnold, David 1:8 Assassination of the Duke Ball, Wes 3:19 Festival 2017, Castleton 9:7 Ahlberg, Marc 11:19 Anderson, Paul Thomas Aronofsky, Darren 4:57 of Guise, The 7:95 Ballad of Narayama, The Abdi, Barkhad 12:24 Ahmed, Riz 1:53 1:11; 2:30; 4:15 mother! 11:5, 14, 76(r) Assassination of Trotsky, The 1:39 (1958) 11:47 Abel, Tom 12:9 Ahwesh, Peggy 12:19 Anderson, Paul W.S.
    [Show full text]
  • A GHOST STORY David Foster Wallace Na Ricerca
    «Ogni storia d’amore è una storia di fantasmi» Un film sull’assenza dell’altro, sulla sua eter- A GHOST STORY David Foster Wallace na ricerca. Nella sospensione metafisica si REGIA, SCENEGGIATURA E MONTAGGIO: intravede l’invisibile ascesi purificatrice della David Lowery è’ un mondo diverso dall’altra parte vita senza corpo e senza materia di C, di - FOTOGRAFIA: Andrew Droz Palermo C di ogni storia, c’è una visione che ci viene venuto silenziosa entità non più vivente. EFFETTI SPECIALI: Richard Krause negata. David Lowery e il suo cinema si Lo spettro di C, così soffertamente dolente, SCENOGRAFIA: J ade Healy, Tom Walker fanno carico di guardare dietro lo specchio con il lenzuolo e i buchi per gli occhi, come COSTUMI: Annell Brodeur e di mostrarci quanto il cinema, anche nel - una delle tante maschere dell’urlo di Munch, MUSICHE: Daniel Hart ricalca l’iconografia della rappresentazione CAST: Casey Affleck (C), Rooney Mara (M), l’incomprensibile raccordo del tempo, possa Will Oldham (pronosticatore), Sonia Acevedo farsi medium e dispositivo di legami tra il classica del fantasma eternamente radicato (Maria), Rob Zabrecky (pioniere), Kesha mondo sensibile e il mondo invisibile. in un luogo. David Lowery attinge alla tradi- (ragazza fantasma), Brea Grant (Clara), Una giovane coppia vive felice in una casa zione di Wilde ( Il fantasma di Canterville ), McColm Sephas Jr. (ragazzo), Kenneisha ai margini da ogni centro abitato. Lui è C ed al romanzo gotico inglese, ma anche al ci - Thompson (dottore), Liz Cardenas Franke è un musicista, lei è M. La loro sembra una nema e ai tanti corpi eterei che hanno po - (Linda), Grover Coulson (uomo in carrozzina) vita felice, ma in un incidente stradale lui polato gli schermi radicando la loro presenza PRODUZIONE: Sailor Bear, Ideaman Studios, muore proprio davanti alla casa che C, sotto laddove per loro il tempo si era fermato, da Zero Trans Fat Productions, Scared Sheetless le spoglie di un fantasma infelice, continuerà Carpenter a Hopper e ai molti altri autori che DISTRIBUZIONE INTERNAZIONALE: A24 ad abitare e a difendere.
    [Show full text]
  • FOX SEARCHLIGHT PICTURES and INDIAN PAINTBRUSH Present A
    FOX SEARCHLIGHT PICTURES and INDIAN PAINTBRUSH Present A RHODE ISLAND AVE. Production THOMAS MANN OLIVIA COOKE RJ CYLER with NICK OFFERMAN with MOLLY SHANNON with JON BERNTHAL and CONNIE BRITTON MATT BENNETT KATHERINE HUGHES MASAM HOLDEN BOBB’E J. THOMPSON DIRECTED BY ................................................................. ALFONSO GOMEZ-REJON SCREENPLAY BY ........................................................... JESSE ANDREWS BASED ON THE NOVEL BY .......................................... JESSE ANDREWS PRODUCED BY ................................................................ STEVEN RALES ............................................................................................ DAN FOGELMAN ............................................................................................ JEREMY DAWSON EXECUTIVE PRODUCER ............................................... NORA SKINNER CO-PRODUCERS ............................................................. MICHAEL SLEDD ............................................................................................ JEFF SOMMERVILLE DIRECTOR OF PHOTOGRAPHY ................................... CHUNG-HOON CHUNG PRODUCTION DESIGNER ............................................. GERALD SULLIVAN EDITED BY ....................................................................... DAVID TRACHTENBERG COSTUME DESIGNER .................................................... JENNIFER EVE WITH ORIGINAL MUSIC BY ......................................... BRIAN ENO FEATURING MUSIC BY ...............................................
    [Show full text]
  • Most Anticipated Movies of 2021, Paul Thomas Anderson to Park
    From Paul Thomas Anderson To Park Chan-Wook, 46 Movies (And A TV Series) That Could Light Up Film Festivals In 2021 Andreas Wiseman (L-R) Paul Thomas Anderson, Denzel Washington, Tilda Swinton and Park Chan Wook Mega Film lovers roll up. Here’s our annual list of movies that could have festivals drooling in 2021. In the age of Covid-19, could has never felt more operative. With Sundance and Berlin reimagining their events next year, traditional festival paths are already diminishing, but here’s to hoping that the pandemic eases, and we get to see at least some of these anticipated movies in theaters and at marquee film events in the next 12 months. There is a bumper crop to choose from with so many having been held back or delayed from 2020. The Power Of The Dog Could Jane Campion, the first woman to ever win the Palme d’Or, be back in Cannes this year with her new drama starring Benedict Cumberbatch, Jesse Plemons, Kirsten Dunst and Thomasin McKenzie? That will of course depend on whether Netflix and the French fest can bury the hatchet on their disagreement over the streamer’s windowing policy, but either way this is going to be a hot festival title next year. Pic follows a pair of brothers who own a large ranch in Montana and are pitted against each other when one of them gets married. It’s based on the book by Thomas Savage. Producers include See-Saw, which was behind Campion’s Top of the Lake. Related Story The Beatles, The Velvet Underground & Billie Eilish… Music Documentaries To Watch For In 2021 Macbeth Denzel Washington is playing the titular Shakespeare protagonist in a rare Joel Coen solo venture away from brother Ethan.
    [Show full text]
  • In Defense of Sundance: Examining the Film Festival’S Place in American Independent Cinema in the Age of Netflix and Amazon Adam Soll Claremont Mckenna College
    Claremont Colleges Scholarship @ Claremont CMC Senior Theses CMC Student Scholarship 2017 In Defense of Sundance: Examining the Film Festival’s Place in American Independent Cinema in the Age of Netflix and Amazon Adam Soll Claremont McKenna College Recommended Citation Soll, Adam, "In Defense of Sundance: Examining the Film Festival’s Place in American Independent Cinema in the Age of Netflix and Amazon" (2017). CMC Senior Theses. 1630. http://scholarship.claremont.edu/cmc_theses/1630 This Open Access Senior Thesis is brought to you by Scholarship@Claremont. It has been accepted for inclusion in this collection by an authorized administrator. For more information, please contact [email protected]. Claremont McKenna College In Defense of Sundance: Examining the Film Festival’s Place in American Independent Cinema in the Age of Netflix and Amazon submitted to Professor James Morrison by Adam Soll for Senior Thesis Spring Semester April 24th 2017 1 Acknowledgements First and foremost, I would like to thank my reader, Professor James Morrison. Over the past four semesters, your wisdom and guidance have tremendously enriched my love of film and helped me grow as a writer and critical thinker. Thank you to Andrew Ahn, who so generously took the time to discuss his experience working with Sundance as an independent filmmaker. Lastly, thank you to my family, friends, teachers, and mentors for encouraging me to pursue my passion for film and for supporting me in every step of my education. 2 Table of Contents Abstract …………………………………………………………………….3
    [Show full text]