Angel Films præsenterer

GLORIA BELL

Premiere: 11. april Længde: 102 minutter Censur: tba Instruktør: Sebastien Lelio

Premierebiografer: Grand Teatret, Dagmar Teatret, Valby Kino, Lyngby, Øst for Paradis, Trøjborg, Biffen Aalborg, Café Biografen Odense, BC Odense. BC Aalborg, Bio Nicolaj Kolding, Esbjerg, Sønderborg, Gilleleje m.fl.

Synopsis Gloria Bell følger den midaldrende Gloria (). Gloria er i 50’erne, nyligt fraskilt og med to voksne børn. Efter sin skilsmisse er der vendt op og ned på hendes liv, og Gloria er havnet pladask i en midtlivskrise. Hendes børn har travlt med deres eget liv, og hun er i tvivl om, hvorvidt hun har spildt sit liv på sit tidligere ægteskab. Er der oplevelser og øjeblikke hun ikke har udlevet, og er det nu er for sent at ændre på sit liv og livsførelse? Det sætter hun sig lettere desperat for at udfordre. Hun bruger dagtimerne på sit 8-16 job, men dispenserer for dette, når hun i de blå timer slår sig løs i nattelivet i L.A. En aften opstår der en uventet romance mellem Gloria og den tidligere soldat Arnold (John Turturro), og det bliver starten på en affære, der giver håb om at ægte kærlighed stadig er opnåeligt, også selvom man er midt i livet.

Gloria Bell er skrevet og instrueret af den chilenske instruktør (En fantastisk kvinde), og er en genindspilning af hans eget prisvindende drama ‘Gloria’ fra 2013.

Trailer og pressemateriale kan hentes på: https://www.angelfilms.dk/gloria-bell

Kontakt: Peter Sølvsten Thomsen, [email protected]

Julianne Moore in GLORIA BELL.

What attracted you to this role? I saw the original movie and I was so compelled by Sebastián's vision and his humanity, and the way that this very regular woman was at the center of this narrative. I think I was so drawn to Gloria because there is something so uniquely alive about her. She is someone who is very, very engaged in her life, who loves her friends and family. She is interested in going out to dance because she loves dancing. She is incredibly vibrant, and she’s also very much like all of us. I think there is something to identify with in her for everybody. What’s wonderful is that you very rarely get to see a movie so intimately focused on a single woman’s life, an ordinary woman, a regular life, and in that, you get to see all the inherent drama. And all the drama that we all have in our lives. It sort of makes you look at your own life in a different way and think, “Wow, I guess that is compelling.” There was a lot in her that I identified with, and that I was very moved by, and I think other people will be too. And I think one of the things that's so exciting about this for me is that the only people who see Gloria in her entirety are Gloria herself and the audience. So, nobody else in the film sees her that way. Her mother doesn't see her in her entirety, her kids, her boyfriend, her girlfriends... they all see these little pieces of her, but Gloria and the audience share that experience, which is really unusual.

What was it about Sebastián's 2013 Gloria that made you want to work with him? It was the intimacy with which he filmed his character. He was so, so careful. There would be times where there was just a shot of Paulina Garcia... there's one where she's scrubbing clothes and she is singing, and I remember thinking, I don't think I've ever seen that before. It was so lifelike, and so vibrant, and so exciting to me, that I wanted to meet the person who made this movie, who chose that shot. It really, really touched me and I feel so fortunate that not only did we meet, we actually managed to get this off the ground, which is sometimes an impossible thing too.

Can you talk a little bit about your co-stars? Sebastián would call me and tell me who was playing each part and I was blown away. , who is fantastic, plays my son. Caren Pistorius plays my daughter and they're both really, really amazing actors. John Turturro… Brad Garrett plays my ex-husband… Jeanne Tripplehorn plays his wife. It was so amazing to come to work every day and have these people to play opposite. Really extraordinary actors who would just come in sometimes for a day or two to play these parts. But I think they were also compelled by the story and Sebastián's work and we all had an amazing time.

Holland Taylor plays my mom. She is the most wonderful actress and the most extraordinary person and we had so much fun together. She really made me laugh so hard and we only had a couple of scenes to really establish the relationship. She managed to kind of give you an entire history in a scene. What I loved is, Gloria doesn’t always have the easiest time with her mother, but then when she is in trouble, that’s who she called. I found that so, so moving, really, really touching. How do you encapsulate a relationship that lasts a lifetime? Holland was able to do that and Sebastián too in the way he depicted it. And I think Sebastián’s world view is very essential to humanity. I think it is something that you see in all of his films. The time and the patience that he takes with his characters and of course particularly with his female characters, is absolutely gorgeous. It is so, so moving to see him examine these female lives thoroughly and intimately. I loved his directions and how precise he was all the time. His directions were so minute and things that he celebrated. For example, there’s a moment when John Turturro’s character needed to pause in order for a camera move to happen. John came up with this wonderful thing Sebastián loved where he reaches into his pocket to put on his Chapstick and it was so wonderful because it’s incredibly vulnerable and it’s human. It’s something that his character doesn’t believe is being observed by others as he is doing it. That’s what Sebastián would encourage us to do. Those kinds of moments that would ordinarily be unseen I think in life and on film. That’s what Sebastián captures. That’s very, very unusual.

How did you create Gloria’s look? One of the things that interests me as an actor is that there are always things about the way people dress or do their hair or makeup that are signifiers. Sometimes these things tell you where someone is from and, because we decided to transpose this story to , I said to Sebastián that, because this is where she lived and where she grew up, this character would be a blonde. I wanted her to have this very particular California blonde look, which is why we did it.

When moving the story to the United States, what made you decide on Los Angeles? It was my first instinct. I live in New York City, so I like to shoot everything there (laughs). So, I couldn't believe it when [Sebastián] asked me and the first words out of my mouth were LA. And I thought, oh, now I've committed myself to doing a movie in LA! (laughs) But that was the only place I could see us transposing that story. I could see her being in her car, with that sense of isolation and yet everything very close to you. All those elements seemed to exist there, and it fit perfectly, it was crazy.

Can you tell me about Gloria's relationship to the music in the film? I love that the songs in the film are specific in the sense that everyone knows them and would have heard them on the radio. We chose certain kinds of love songs that would have an emotional component that Gloria would relate to and they had to be... songs we could afford (laughs). That was the other thing too, so we were restricted in terms of what we [could have].

Which are your favorite songs from the soundtrack, if you had to choose a few? I like the Olivia Newton-John song… A Little More Love. I mean, Total Eclipse of the Heart is pretty great. I have to say, that might be my favorite. I don't actually sing that in the movie, we just listen to it (laughs).

What were some of your favorite scenes to shoot? I don't think there was a day that I didn't enjoy, except for maybe some of our nights in Vegas, which were challenging, just because it was all night long. I really loved it. The dancing scenes were really fun to do with John, I really enjoyed being with him and working with him. I loved all the big family scenes. I think there's some stuff that's so funny and there were times when we couldn't look at each other, just because behaviors were so funny. Paintball was great, flying in that trapeze was great… I just loved doing the job.

Can you talk more about the dancing scenes in the film? I understand that John Turturro is quite the dancer. John Turturro is a real dancer. John Turturro dances and he takes salsa lessons and I am not a dancer and I am not someone who had ever salsa'd in their life. I love to learn new things, so I was really excited to tackle it and to try to move. And I like to dance, but Gloria loves to dance. So that idea of expressing your love for life and your joy about being alive physically was really interesting and obviously challenging. But then to have a partner like John, who is familiar with it and wants to engage with it, made it even better.

What do you want men and women to take away from the film? Sebastián said a really wonderful thing – that when he leaves a movie he wants to feel inspired by life. And that's exactly how I felt when I saw the original iteration of this film... I was so full of feeling. I thought, “I have to work with this guy.” The way he sees the world, and the way I felt afterwards... I need that in my life. And I think that's what I want people to have when they watch this movie too. I want them to walk away thinking that they love being alive and want to continue doing what they're doing and connecting with human beings. I want them to feel inspired.

In what way is Gloria relatable to you and to others? Gloria wants what everybody wants. She wants a full life and to feel good about her interactions. She is incredibly loving and very kind. One of the things that I liked so much about Gloria is how she relates to other people and how much she cares about the people in her life. Also, what she tries to do for others all the time. So, I think she wants relationships, with her family and her friendships and with the men that she’s involved with. I think she wants engagement and sensation. There’s a Joseph Campbell quote that says that people are not looking so much for the meaning of life, as they are for the feeling of being alive – so, I think that that’s true for Gloria and all of us. I think she’s looking for the feeling of being alive.

DIRECTOR’S STATEMENT

I am often asked “Why a re-imagining of your own film?” I could talk for hours as to why, but there’s one very simple answer: Because of my admiration for Julianne Moore. I met Julianne on a summer day in Paris in 2015. I had been told that she loved GLORIA, but I hadn’t thought she would want to remake it. I was close to starting two new movies, and the film was somewhat farther from my thoughts. But the conversation with Julianne was magical. I was touched by her strong passion for Gloria’s character and story. At the end of our meeting, she said, “I would only do this if you direct it,” and I immediately replied, “And I would only direct it if you are in it.” Having the chance to revisit my own materials, to find a new vehicle to examine what is universal about the original story and to see it reborn with a supreme artist like Julianne Moore was too tempting, too exciting. Having the chance to work with Julianne, John Turturro and the other amazing actors was revitalizing and inspiring. GLORIA BELL is like the cover of a melody that we created, played again in a new moment, in a new context, and by a new band. We tried to honor the discoveries and DNA of the original film; at the same time, we were searching for new tones, new vibrations, new sparkles. We did it for the joy of making a film, for the excitement of the risk, and for the artistic challenge. It was an act of freedom. GLORIA BELL is a very intense and incisive portrait of a woman. We see her in every frame of the film. Every single scene is about how she exists in the world, moment by moment. Gloria is kind of a secondary character in the life of those around her. The game of the film is to turn that secondary character into an absolute protagonist. It’s about leading the spectator to observe this woman from every possible angle, going through the entire emotional spectrum. This insistence invites (or forces) the spectator to go underneath Gloria’s skin and to feel her experiences from within her. Because the spectator never stops looking at her, there is the opportunity to deeply connect with her feelings. For me, GLORIA BELL is a film about feelings – Gloria’s and our own. I made two films after the original GLORIA — and DISOBEDIENCE — so I was somewhere else as a person and as a filmmaker when we started shooting GLORIA BELL. I suppose that new place from where I was operating made its way into the fabric of the film; in terms of the style, colors, camera language, the way of using score. There is a new energy that lives in the film. The world has also drastically changed since 2013. It seems to have moved backward in terms of politics with the re-emergence of the extreme right. Suddenly everything is once again operating from that old place of fear. Frontiers are closing rather than expanding to embrace the complexity and diversity of life, so the story of a woman who refuses to give up has a new urgency, a new relevance. She claims her right to be seen and heard, her access to pleasure, her will to keep dancing. Like everyone, Gloria gets hit by the world, but she continues to stand up. She resurrects herself and keeps on looking to experience the beauty of life. That is my inspiration and reason for sharing her story — for the Glorias of the world to been seen and heard.

- Sebastián Lelio

CAST

Julianne Moore Julianne Moore is an Academy Award- and Emmy-winning actor, and the first American woman to be awarded top acting prizes at the Cannes, Berlin, and Venice film festivals. Julianne also is a New York Times- bestselling author, for her children’s book series Freckleface Strawberry. She is on the Advisory Council of The Children's Health Fund, a supporter of the Tuberous Sclerosis Alliance, and in 2015, became founding chair of the Every Town for Gun Safety Creative Council, a creative community established to help amplify the movement to end gun violence in America.

John Turturro John Turturro studied at SUNY New Paltz and the Yale School of Drama. For his theatrical debut he created the title role of John Patrick Shanley's DANNY AND THE DEEP BLUE SEA, for which he won an OBIE Award and a Theater World Award. On Television, Turturro was nominated for a SAG Award for his portrayal of Howard Cosell in MONDAY NIGHT MAYHEM, and again nominated for THE BRONX IS BURNING, as notorious Yankee skipper Billy Martin. He won an Emmy Award for his guest appearance on MONK and most recently on HBO’s THE NIGHT OF which he was nominated for Golden Globe, a SAG Award and an Emmy award. Turturro has performed in many films, including Spike Lee's DO THE RIGHT THING, and JUNGLE FEVER. Martin Scorsese’s THE COLOR OF MONEY, Robert Redford’s QUIZ SHOW, Francesco Rosi’s LA TREGUA, Robert De Niro’s THE GOOD SHEPHERD, Tom DiCillo’s BOX OF MOONLIGHT, Nanni Moretti's MIA MADRE, and Joel and Ethan Coen’s MILLER’S CROSSING, THE BIG LEBOWSKI and OH BROTHER WHERE ART THOU. For his lead role in the Coen Brothers’ BARTON FINK, Turturro won the Best Actor Award at the Cannes Film Festival, and the David Donatello Award. He received Cannes' Camera D'Or Award for his directorial debut, MAC. Other films as director/ writer include ILLUMINATA, ROMANCE & CIGARRETTES, PASSIONE: A MUSICAL ADVENTURE, FADING GIGLO and the upcoming GOING PLACES.

CREW

Sebastián Lelio Writer/Director/Producer Sebastián Lelio is a Chilean filmmaker. Lelio’s fifth feature film, A FANTASTIC WOMAN won the 2018 Academy Award for Best Foreign Film and Independent Spirit Award for Best International Film and was nominated for the Golden Globe for Best Foreign Language Film. It premiered in main competition at Berlinale 2017 where it won the Silver Bear for Best Screenplay and the Teddy Award for Best Film with LGBT subject matter. Lelio’s previous film GLORIA premiered at Berlinale 2013 and went on to become a critical and popular success. It won the Prize of the Ecumenical Jury and the Gilde Award and earned a Silver Bear for Best Actress Paulina García. The film was nominated for an Independent Spirit Award and a London Critic’s Circle Award for Best Foreign Language Film; it was also Chile’s entry for the 2014 Academy Awards. DISOBEDIENCE, Lelio’s first English language film, which he co-wrote and directed, is based on Naomi Alderman’s best-selling novel of the same name. Produced by Ed Guiney, Frida Torresblanco and Rachel Weisz and starring Weisz, Rachel McAdams and Alessandro Nivola, the film premiered at the Toronto International Film Festival 2017. Co-financed by Film4 and FilmNation, Bleeker Street released the film in the U.S. in April 2018, and Artificial Eye will release in the UK November 2018. He is also attached to direct Emma Donoghue's adaptation of her own novel THE WONDER, for Tessa Ross and Ed Guiney. Lelio was invited to become a member of The Academy in 2017 and will have a retrospective of his work at BFI in November 2018.

Juan de Dios Larraín Producer Educated as a lawyer with an MBA, Juan de Dios Larraín founded in 2004, along with his brother, filmmaker and producer, Pablo Larraín, the Chilean production company Fabula, responsible for twenty-four films. Including one Oscar win for Best Foreign Language Film category (2018), for A FANTASTIC WOMAN, directed by Sebastián Lelio. Currently Juan de Dios is producing Pablo Larraín’s leatest feature film, entitled EMA, starring Gael García Bernal and Mariana DiGirolamo. He is also premiering Sebastián Lelio’s remake film GLORIA BELL, starring Julianne Moore and John Turturo in Toronto Film Festival. He also produced the original version of GLORIA, also directed by Sebastián Lelio. It premiered in 2013 at the Berlinale, where Paulina García won the Silver Bear for Best Actress. In 2017 he produced A FANTASTIC WOMAN, that won the Silver Bear for Best Script at Berlinale. And he also premiered at Toronto Film Festival Marialy Rivas’ second feature film, PRINCESITA. In 2016 Juan de Dios premiered NERUDA, a film directed by Pablo Larraín, starring Gael García Bernal, Luis Gnecco and Mercedes Morán, at Cannes Film Festival. After Neruda, he premiered JACKIE at Venice Film Festival, also directed by Pablo Larraín and starring Natalie Portman. In 2015, he produced THE CLUB, directed by Pablo Larraín, which also premiered at Berlinale, where the film won the Silver Bear for Special Jury Prize. That same year, NASTY BABY and LAS NIÑAS QUISPE, Fabula productions as well, where premiered at Berlin Film Festival. In 2012, he produced the Oscar Nominated NO, directed by Pablo Larraín, starring Gael García Bernal.

Pablo Larraín Producer Pablo Larraín is a film producer and director, founding partner of Fabula, a company devoted to films. As a producer, he has been responsible for one Oscar win in the Best Foreign Language category (2018), for A FANTASTIC WOMAN, directed by Sebastián Lelio. Currently he is filming his upcoming film entitled EMA, starring Gael García Bernal. He is also premiering Sebastián Lelio’s remake film GLORIA BELL, starring Julianne Moore and John Turturo in Toronto Film Festival. He also produced the original version of GLORIA, also directed by Sebastián Lelio. It premiered in 2013 at Berlinale, where Paulina García won the Silver Bear for Best Actress. In 2006 he directed his first feature film, FUGA. Also, in 2006 he produced LIFE KILLS ME, which represents Sebastián Silva’s debut as a director. In 2008 he directed TONY MANERO, which premiered in the Directors' Fortnight at Cannes 2008. In 2009, he produced GRADO 3, a remake of the Canadian film YOUNG PEOPLE FUCKING. GRADO 3 was the most viewed Chilean film in 2009. POST MORTEM is his third feature film, premiered at the Official Competition of the Venice International Film Festival in September 2010. In 2010 he directed "Prófugos," the first series of HBO produced in Chile. In 2011, he produced three features: ULYSSES, directed by Oscar Godoy, premiered at the San Francisco Film Festival in the International Competition; YOUNG & WILD, directed by Marialy Rivas; and THE YEAR OF THE TIGER, directed by Sebastián Lelio, premiered in the Locarno Film Fest, competing for the Golden Pardo. NO, is his fourth film, winning Best Film in the Directors' Fortnight of the 2012 Cannes Film Festival and nominated for an Academy Award for Best Foreign Language Film. In 2013, he premiered the second season of "Prófugos." In 2014 he directed his first opera for the Teatro Municipal de Santiago, "Katya Kabanova" by Leos Janacek, and debuted in the dramatic and theatrical direction with the play “Acceso”, at the Teatro La Memoria. In 2015 NASTY BABY and LAS NIÑAS QUISPE, Fabula productions as well, were premiered at Berlin Film Festival. THE CLUB is his fifth feature film, premiered in the Official Competition of Berlinale 2015, won the Silver Bear for the Special Jury Prize. NERUDA, starring Gael García Bernal had its premiere at the Cannes Film Festival in 2016, and his latest film JACKIE starring Natalie Portman at the Venice Film Festival. In 2017, A FANTASTIC WOMAN won the Silver Bear for Best Script at Berlinale. And he also premiered at Toronto Film Festival Marialy Rivas’ second feature film, PRINCESITA.