JESSICA CHASTAIN by Maura Brewer
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Jessica Chastain
FALL 2019 smagazineofficial.com JESSICA CHASTAIN FALL TAILORING DESIGN WITH PURPOSE SOFT-GLOSS BEAUTY $6.95 DISPLAY UNTIL NOVEMBER 18, 2019 THE LIST 02/ BEAUTY The ideas, personalities, and trends to know now. SPICE OF LIFE Offering a delightful array of fragrances, candles, bath and body products, and more, Maison Christian Dior is a go-to brand for perfume lovers looking to discover their signature scent. The latest addition to the family is Spice Blend: “The fragrant translation of an exotic image stemming from my childhood,” explains Dior Perfumer François Demachy. Featuring concentrated doses of spices from around the world—namely Madagascan black pepper, Indonesian nutmeg, Russian coriander, and Chinese cinnamon—the scent has an enticing base that mingles with ginger, cedar, and musk, revealing a rum absolute that is both warm and fresh. An homage to Christian Dior’s love of Cuba and its vibrant energy, the unisex fragrance embodies both masculine elegance and sophisticated femininity. Maison Christian Dior Spice Blend is available at Saks Fifth Avenue and dior.com. FOOD + DRINK 03/French Twist Situated in the 136-year-old C.H. Gooderham House, Maison Selby, an all-day-dining restaurant and bar, celebrates timeless French cooking with an elevated modern accent. The recognized heritage property, helmed by Oliver & Bonacini’s chefs Anthony Walsh and John Horne, focuses on old- school European techniques and Parisian-inspired nibbles. The thoughtfully curated menu serves a TIFF range of French fare, featuring perfectly executed classics like the tuna Niçoise salad and French onion EVENING THE SCORE soup. Accompanying the dining room, tucked away Based on Jessica Pressler’s article “The Hustlers at Scores”, which ran in New York magazine in 2015, Hustlers in the lower level, is an underground speakeasy tells the true account of a group of Manhattan strippers who entertain and swindle millions from their Wall Street for intimate post-dinner nightcaps. -
Google & Paramount Pictures Team up for a First-Of-Its-Kind Movie
Google & Paramount Pictures Team Up for a First-of-Its-Kind Movie Partnership for Christopher Nolan's Film "INTERSTELLAR" MOUNTAIN VIEW, Calif.--(BUSINESS WIRE)-- Google announced today a groundbreaking collaboration with Paramount Pictures for a first-ever multi-platform pact for Christopher Nolan's highly anticipated film INTERSTELLAR. The partnership will feature initiatives delivered across Google platforms, including Google for Education, Google+, Google Play and YouTube. Together, the companies are helping moviegoers connect to the film through immersive experiences, exclusive content and detailed information on how to see the film, find showtimes and purchase tickets. The partnership launched with the INTERSTELLAR SPACE HUB, a first-ever digital initiative supporting a film on a Google domain at g.co/interstellar. As the official website for the film, the INTERSTELLAR SPACE HUB features a Space Hunt content discovery feature and a movie ticket purchasing function, as well as links to a Solar System Builder app available via Google Play. Nolan is working with Google to deliver information about the various film format experiences provided by movie exhibitors. This initiative will provide moviegoers with in-depth information about the distinctions between 70mm, 35mm, 70mm IMAX® film and digital projection, as well as 4k digital and digital motion picture viewing. After audiences have seen the film, they will be encouraged to offer feedback directly to Paramount via the INTERSTELLAR SPACE HUB. Said INTERSTELLAR producer Emma Thomas, "Having the power of Google behind our efforts to inform the audience and enhance their experience of ‘INTERSTELLAR' is an exciting new development in the relationship between filmmakers and audiences. -
Fighting for Women Existence in Popular Espionage Movies Salt (2010) and Zero Dark Thirty (2012)
Benita Amalina — Fighting For Women Existence in Popular Espionage Movies Salt (2010) and Zero Dark Thirty (2012) FIGHTING FOR WOMEN EXISTENCE IN POPULAR ESPIONAGE MOVIES SALT (2010) AND ZERO DARK THIRTY (2012) Benita Amalina [email protected] Abstract American spy movies have been considered one of the most profitable genre in Hollywood. These spy movies frequently create an assumption that this genre is exclusively masculine, as women have been made oblivious and restricted to either supporting roles or non-spy roles. In 2010 and 2012, portrayal of women in spy movies was finally changed after the release of Salt and Zero Dark Thirty, in which women became the leading spy protagonists. Through the post-nationalist American Studies perspective, this study discusses the importance of both movies in reinventing women’s identity representation in a masculine genre in response to the evolving American society. Keywords: American women, hegemony, representation, Hollywood, movies, popular culture Introduction The financial success and continuous power of this industry implies that there has been The American movie industry, often called good relations between the producers and and widely known as Hollywood, is one of the main target audience. The producers the most powerful cinematic industries in have been able to feed the audience with the world. In the more recent data, from all products that are suitable to their taste. Seen the movies released in 2012 Hollywood from the movies’ financial revenues as achieved $ 10 billion revenue in North previously mentioned, action movies are America alone, while grossing more than $ proven to yield more revenue thus become 34,7 billion worldwide (Kay, 2013). -
ZERO DARK THIRTY an Original Screenplay by Mark Boal October 3
ZERO DARK THIRTY An Original Screenplay by Mark Boal October 3, 2011 all rights reserved FROM BLACK, VOICES EMERGE-- We hear the actual recorded emergency calls made by World Trade Center office workers to police and fire departments after the planes struck on 9/11, just before the buildings collapsed. TITLE OVER: SEPTEMBER 11, 2001 We listen to fragments from a number of these calls...starting with pleas for help, building to a panic, ending with the caller's grim acceptance that help will not arrive, that the situation is hopeless, that they are about to die. CUT TO: TITLE OVER: TWO YEARS LATER INT. BLACK SITE - INTERROGATION ROOM DANIEL I own you, Ammar. You belong to me. Look at me. This is DANIEL STANTON, the CIA's man in Islamabad - a big American, late 30's, with a long, anarchical beard snaking down to his tattooed neck. He looks like a paramilitary hipster, a punk rocker with a Glock. DANIEL (CONT'D) (explaining the rules) If you don't look at me when I talk to you, I hurt you. If you step off this mat, I hurt you. If you lie to me, I'm gonna hurt you. Now, Look at me. His prisoner, AMMAR, stands on a decaying gym mat, surrounded by four GUARDS whose faces are covered in ski masks. Ammar looks down. Instantly: the guards rush Ammar, punching and kicking. DANIEL (CONT'D) Look at me, Ammar. Notably, one of the GUARDS wearing a ski mask does not take part in the beating. 2. EXT. -
Zero Dark Thirty Error
Issue 7 | Movie: A Journal of Film Criticism | 23 troop carrier with no clear sense of destination, speaks again understated performances further serve to create what might as much to a national as a personal loss of purpose, afer the be described as a reality afect. quest is over. Te 9/11 sequence ofers an extreme version of the real- Te flm’s epilogue has received considerable critical atten- ist aesthetic and the rejection of spectacle. From the second tion1; the prologue less so. And where critics do mention it, plane hitting the tower, to the falling man, to the rubble details are ofen misremembered. In an interview with Kyle of ground zero, there are any number of iconic images the Buchanan, screenwriter Mark Boal refects on the difculties flmmakers might have selected to represent the destruction of writing the ‘opening scene’ of Zero Dark Tirty (2013). Te wrought by the attacks. However, what such images have in scene he is referring to in this discussion, however, is the infa- common, what potentially makes them efective as a form of mous torture scene that begins the narrative proper (to which cultural shorthand, also renders them problematic in terms I will return). It is as if he has momentarily forgotten the scene of eliciting a fresh response – and certainly in terms of the Intimacy, ‘truth’ and the gaze: that precedes it in the original shooting script as well as the slow-burn, reality afect. Teir very familiarity can render flm. Given this oversight by the writer himself, it is under- such images hackneyed and over-determined. -
Woman As a Category / New Woman Hybridity
WiN: The EAAS Women’s Network Journal Issue 1 (2018) The American Woman Warrior: A Transnational Feminist Look at War, Imperialism, and Gender Agnieszka Soltysik Monnet ABSTRACT: This article examines the issue of torture and spectatorship in the film Zero Dark Thirty through the question of how it deploys gender ideologically and rhetorically to mediate and frame the violence it represents. It begins with the controversy the film provoked but focuses specifically on the movie’s representational and aesthetic techniques, especially its self-awareness about being a film about watching torture, and how it positions its audience in relation to these scenes. Issues of spectator identification, sympathy, interpellation, affect (for example, shame) and genre are explored. The fact that the main protagonist of the film is a woman is a key dimension of the cultural work of the film. I argue that the use of a female protagonist in this film is part of a larger trend in which the discourse of feminism is appropriated for politically conservative and antifeminist ends, here the tacit justification of the legally murky world of black sites and ‘enhanced interrogation techniques.’ KEYWORDS: gender; women’s studies; torture; war on terror; Abu Ghraib; spectatorship; neoliberalism; Angela McRobbie; Some of you will recognize my title as alluding to Maxine Hong Kingston’s The Woman Warrior (1975), a fictionalized autobiography in which she evokes the fifth-century Chinese legend of a girl who disguises herself as a man in order to go to war in the place of her frail old father. Kingston’s use of this legend is credited with having popularized the story in the United States and paved the way for the 1998 Disney adaptation. -
Female Director Takes Hollywood by Storm: Is She a Beauty Or a Visionary?
Western Oregon University Digital Commons@WOU Honors Senior Theses/Projects Student Scholarship 6-1-2016 Female Director Takes Hollywood by Storm: Is She a Beauty or a Visionary? Courtney Richardson Western Oregon University Follow this and additional works at: https://digitalcommons.wou.edu/honors_theses Part of the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Richardson, Courtney, "Female Director Takes Hollywood by Storm: Is She a Beauty or a Visionary?" (2016). Honors Senior Theses/Projects. 107. https://digitalcommons.wou.edu/honors_theses/107 This Undergraduate Honors Thesis/Project is brought to you for free and open access by the Student Scholarship at Digital Commons@WOU. It has been accepted for inclusion in Honors Senior Theses/Projects by an authorized administrator of Digital Commons@WOU. For more information, please contact [email protected], [email protected], [email protected]. Female Director Takes Hollywood by Storm: Is She a Beauty or a Visionary? By Courtney Richardson An Honors Thesis Submitted in Partial Fulfillment of the Requirements for Graduation from the Western Oregon University Honors Program Dr. Shaun Huston, Thesis Advisor Dr. Gavin Keulks, Honors Program Director Western Oregon University June 2016 2 Acknowledgements First I would like to say a big thank you to my advisor Dr. Shaun Huston. He agreed to step in when my original advisor backed out suddenly and without telling me and really saved the day. Honestly, that was the most stressful part of the entire process and knowing that he was available if I needed his help was a great relief. Second, a thank you to my Honors advisor Dr. -
Reminder List of Productions Eligible for the 90Th Academy Awards Alien
REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 90TH ACADEMY AWARDS ALIEN: COVENANT Actors: Michael Fassbender. Billy Crudup. Danny McBride. Demian Bichir. Jussie Smollett. Nathaniel Dean. Alexander England. Benjamin Rigby. Uli Latukefu. Goran D. Kleut. Actresses: Katherine Waterston. Carmen Ejogo. Callie Hernandez. Amy Seimetz. Tess Haubrich. Lorelei King. ALL I SEE IS YOU Actors: Jason Clarke. Wes Chatham. Danny Huston. Actresses: Blake Lively. Ahna O'Reilly. Yvonne Strahovski. ALL THE MONEY IN THE WORLD Actors: Christopher Plummer. Mark Wahlberg. Romain Duris. Timothy Hutton. Charlie Plummer. Charlie Shotwell. Andrew Buchan. Marco Leonardi. Giuseppe Bonifati. Nicolas Vaporidis. Actresses: Michelle Williams. ALL THESE SLEEPLESS NIGHTS AMERICAN ASSASSIN Actors: Dylan O'Brien. Michael Keaton. David Suchet. Navid Negahban. Scott Adkins. Taylor Kitsch. Actresses: Sanaa Lathan. Shiva Negar. AMERICAN MADE Actors: Tom Cruise. Domhnall Gleeson. Actresses: Sarah Wright. AND THE WINNER ISN'T ANNABELLE: CREATION Actors: Anthony LaPaglia. Brad Greenquist. Mark Bramhall. Joseph Bishara. Adam Bartley. Brian Howe. Ward Horton. Fred Tatasciore. Actresses: Stephanie Sigman. Talitha Bateman. Lulu Wilson. Miranda Otto. Grace Fulton. Philippa Coulthard. Samara Lee. Tayler Buck. Lou Lou Safran. Alicia Vela-Bailey. ARCHITECTS OF DENIAL ATOMIC BLONDE Actors: James McAvoy. John Goodman. Til Schweiger. Eddie Marsan. Toby Jones. Actresses: Charlize Theron. Sofia Boutella. 90th Academy Awards Page 1 of 34 AZIMUTH Actors: Sammy Sheik. Yiftach Klein. Actresses: Naama Preis. Samar Qupty. BPM (BEATS PER MINUTE) Actors: 1DKXHO 3«UH] %LVFD\DUW $UQDXG 9DORLV $QWRLQH 5HLQDUW] )«OL[ 0DULWDXG 0«GKL 7RXU« Actresses: $GªOH +DHQHO THE B-SIDE: ELSA DORFMAN'S PORTRAIT PHOTOGRAPHY BABY DRIVER Actors: Ansel Elgort. Kevin Spacey. Jon Bernthal. Jon Hamm. Jamie Foxx. -
Production Notes
A Film by John Madden Production Notes Synopsis Even the best secret agents carry a debt from a past mission. Rachel Singer must now face up to hers… Filmed on location in Tel Aviv, the U.K., and Budapest, the espionage thriller The Debt is directed by Academy Award nominee John Madden (Shakespeare in Love). The screenplay, by Matthew Vaughn & Jane Goldman and Peter Straughan, is adapted from the 2007 Israeli film Ha-Hov [The Debt]. At the 2011 Beaune International Thriller Film Festival, The Debt was honoured with the Special Police [Jury] Prize. The story begins in 1997, as shocking news reaches retired Mossad secret agents Rachel (played by Academy Award winner Helen Mirren) and Stephan (two-time Academy Award nominee Tom Wilkinson) about their former colleague David (Ciarán Hinds of the upcoming Tinker, Tailor, Soldier, Spy). All three have been venerated for decades by Israel because of the secret mission that they embarked on for their country back in 1965-1966, when the trio (portrayed, respectively, by Jessica Chastain [The Tree of Life, The Help], Marton Csokas [The Lord of the Rings, Dream House], and Sam Worthington [Avatar, Clash of the Titans]) tracked down Nazi war criminal Dieter Vogel (Jesper Christensen of Casino Royale and Quantum of Solace), the feared Surgeon of Birkenau, in East Berlin. While Rachel found herself grappling with romantic feelings during the mission, the net around Vogel was tightened by using her as bait. At great risk, and at considerable personal cost, the team’s mission was accomplished – or was it? The suspense builds in and across two different time periods, with startling action and surprising revelations that compel Rachel to take matters into her own hands. -
When Stars Descend on Red Carpet
ACTRESS Jennifer Lawrence (Silver Linings Playbook) WHEN STARS Emmanuelle Riva (Amour) Naomi Watts DESCEND ON Jessica Chastain (The Impossible) (Zero Dark Thirty) RED CARPET Quvenzhané Wallis (Beasts of the Southern Wild) Nominations for the DJANGO 85th Academy Awards, UNCHAINED to be telecast at 6 am BEST PICTURE Beasts of the Southern Wild IST on Monday Amour Silver Linings Life of Pi ACTOR Playbook Argo Daniel Day-Lewis Django Unchained (Lincoln) Lincoln Les Misérables Denzel Washington (Flight) Zero Dark Thirty Hugh Jackman (Les Misérables) DIRECTION Bradley Cooper (Silver Linings Playbook) Benh Zeitlin (Beasts of Joaquin Phoenix (The Master) QUVENZHANÉ the Southern Wild) WALLIS Michael Haneke (Amour) ORIGINAL SCREENPLAY ADAPTED SCREENPLAY Steven Spielberg (Lincoln) Michael Haneke (Amour) Chris Terrio (Argo) Ang Lee (Life of Pi) MICHAEL HANEKE Quentin Tarantino (Django Lucy Alibar & Benh Zeitlin David O Russell Unchained) (Beasts of the Southern Wild) (Silver Linings Playbook) John Gatins (Flight) David Magee (Life of Pi) ParaNorman Wes Anderson & Roman Tony Kushner (Lincoln) ANIMATED FEATURE FILM The Pirates! Band Coppola (Moonrise Kingdom) David O. Russell of Misfits DANIEL DAY-LEWIS Mark Boal (Zero Dark Thirty) (Silver Linings Playbook) Brave Frankenweenie Wreck-It Ralph BEST ACTOR IN SUPPORTING ROLE BEST ACTRESS IN SUPPORTING ROLE FOREIGN FILM BRAVE Alan Arkin (Argo) Amy Adams (The Master) Amour (Austria) Robert De Niro (Silver Linings Playbook) Sally Field (Lincoln) Kon-Tiki (Norway) Philip Seymour Hoffman (The Master) Anne Hathaway (Les Misérables) No (Chile) Tommy Lee Jones (Lincoln) Helen Hunt (The Sessions) A Royal Affair (Denmark) Christoph Waltz (Django Unchained) Jacki Weaver (Silver Linings Playbook) War Witch (Canada) PHOTOS: REUTERS, OSCAR.GO.COM. -
SETDECOR Magazine – Online 2015 Nominations
SETDECOR Magazine – Online 2015 Nominations NOMINATIONS FOR THE 20th ANNUAL CRITICS’ CHOICE MOVIE AWARDS BEST PICTURE BEST YOUNG ACTOR/ACTRESS Birdman Ellar Coltrane – Boyhood Boyhood Ansel Elgort – The Fault in Our Stars Gone Girl Mackenzie Foy – Interstellar The Grand Budapest Hotel Jaeden Lieberher – St. Vincent The Imitation Game Tony Revolori – The Grand Budapest Hotel Nightcrawler Quvenzhane Wallis – Annie Selma Noah Wiseman – The Babadook The Theory of Everything Unbroken BEST ACTING ENSEMBLE Whiplash Birdman Boyhood BEST ACTOR The Grand Budapest Hotel Benedict Cumberbatch – The Imitation The Imitation Game Game Into the Woods Ralph Fiennes – The Grand Budapest Hotel Selma Jake Gyllenhaal – Nightcrawler Michael Keaton – Birdman BEST DIRECTOR David Oyelowo – Selma Wes Anderson – The Grand Budapest Hotel Eddie Redmayne – The Theory of Ava DuVernay – Selma Everything David Fincher – Gone Girl Alejandro G. Inarritu – Birdman BEST ACTRESS Angelina Jolie – Unbroken Jennifer Aniston – Cake Richard Linklater – Boyhood Marion Cotillard – Two Days, One Night Felicity Jones – The Theory of Everything BEST ORIGINAL SCREENPLAY Julianne Moore – Still Alice Birdman – Alejandro G. Inarritu, Nicolas Rosamund Pike – Gone Girl Giacobone, Alexander Dinelaris, Jr., Reese Witherspoon – Wild Armando Bo Boyhood – Richard Linklater BEST SUPPORTING ACTOR The Grand Budapest Hotel – Wes Josh Brolin – Inherent Vice Anderson, Hugo Guinness Robert Duvall – The Judge Nightcrawler – Dan Gilroy Ethan Hawke – Boyhood Whiplash – Damien Chazelle Edward Norton – Birdman -
Announcing a VIEW from the BRIDGE
FOR IMMEDIATE RELEASE, PLEASE “One of the most powerful productions of a Miller play I have ever seen. By the end you feel both emotionally drained and unexpectedly elated — the classic hallmark of a great production.” - The Daily Telegraph “To say visionary director Ivo van Hove’s production is the best show in the West End is like saying Stonehenge is the current best rock arrangement in Wiltshire; it almost feels silly to compare this pure, primal, colossal thing with anything else on the West End. A guileless granite pillar of muscle and instinct, Mark Strong’s stupendous Eddie is a force of nature.” - Time Out “Intense and adventurous. One of the great theatrical productions of the decade.” -The London Times DIRECT FROM TWO SOLD-OUT ENGAGEMENTS IN LONDON YOUNG VIC’S OLIVIER AWARD-WINNING PRODUCTION OF ARTHUR MILLER’S “A VIEW FROM THE BRIDGE” Directed by IVO VAN HOVE STARRING MARK STRONG, NICOLA WALKER, PHOEBE FOX, EMUN ELLIOTT, MICHAEL GOULD IS COMING TO BROADWAY THIS FALL PREVIEWS BEGIN WEDNESDAY EVENING, OCTOBER 21 OPENING NIGHT IS THURSDAY, NOVEMBER 12 AT THE LYCEUM THEATRE Direct from two completely sold-out engagements in London, producers Scott Rudin and Lincoln Center Theater will bring the Young Vic’s critically-acclaimed production of Arthur Miller’s A VIEW FROM THE BRIDGE to Broadway this fall. The production, which swept the 2015 Olivier Awards — winning for Best Revival, Best Director, and Best Actor (Mark Strong) —will begin previews Wednesday evening, October 21 and open on Thursday, November 12 at the Lyceum Theatre, 149 West 45 Street.