Jessica Chastain & Tilda Swinton are a Study in Contrast in Black & White At Marrakech Film Festival
Jessica Chastain and Tilda Swinton provided the ultimate study in contrast while attending the second day of the 2023 Marrakech International Film Festival on Saturday (November 25) in Marrakech, Morocco.
The 46-year-old Memory actress opted for a long-sleeved black dress with a train and a plunging neckline, which provided the sole pop of color.
Tilda, 63, went the exact opposite direction. She wowed in an icy, oversized coat. While the women’s outfits were very different, she also accessorized with a pop of pastel pink on her shoes.
Keep reading to find out more…
The actress was joined on the red carpet by her son Xavier, who wore a green and gold kilt!
Other stars in attendance included, Isabelle Huppert, Alexander Skarsgard, Joel Edgerton, Willem Dafoe and wife Giada Colagrande, Mads Mikkelsen, House of Gucci actress Camille Cottin and Mudbound director Dee Rees. We’ve got photos of everyone in the gallery!
If you missed it,...
The 46-year-old Memory actress opted for a long-sleeved black dress with a train and a plunging neckline, which provided the sole pop of color.
Tilda, 63, went the exact opposite direction. She wowed in an icy, oversized coat. While the women’s outfits were very different, she also accessorized with a pop of pastel pink on her shoes.
Keep reading to find out more…
The actress was joined on the red carpet by her son Xavier, who wore a green and gold kilt!
Other stars in attendance included, Isabelle Huppert, Alexander Skarsgard, Joel Edgerton, Willem Dafoe and wife Giada Colagrande, Mads Mikkelsen, House of Gucci actress Camille Cottin and Mudbound director Dee Rees. We’ve got photos of everyone in the gallery!
If you missed it,...
- 11/26/2023
- by Just Jared
- Just Jared
Actress Tilda Swinton has revealed she had a candid conversation with legendary musician David Bowie three years before he died in which he confessed he did not believe in an afterlife.
The actress worked with the legendary musician on the music video for his 2013 single ‘The Stars (Are Out Tonight)’ and she’s opened up about a candid conversation they had in which Bowie gave his thoughts on life after death – and insisted he simply didn’t believe in it, reports femalefirst.co.uk.
Speaking to the Guardian newspaper, Tilda explained: “He was very ill at the time [of making the music video], which I knew about – although I didn’t know quite how ill. And he started to talk about an afterlife and he said, categorically, that he didn’t think there was one.”
Tilda revealed she formed a solid friendship with the ‘Heroes’ star and they often shared jokes together. She recalled: “I...
The actress worked with the legendary musician on the music video for his 2013 single ‘The Stars (Are Out Tonight)’ and she’s opened up about a candid conversation they had in which Bowie gave his thoughts on life after death – and insisted he simply didn’t believe in it, reports femalefirst.co.uk.
Speaking to the Guardian newspaper, Tilda explained: “He was very ill at the time [of making the music video], which I knew about – although I didn’t know quite how ill. And he started to talk about an afterlife and he said, categorically, that he didn’t think there was one.”
Tilda revealed she formed a solid friendship with the ‘Heroes’ star and they often shared jokes together. She recalled: “I...
- 11/13/2023
- by Agency News Desk
Actress Tilda Swinton has revealed she had a candid conversation with legendary musician David Bowie three years before he died in which he confessed he did not believe in an afterlife.
The actress worked with the legendary musician on the music video for his 2013 single ‘The Stars (Are Out Tonight)’ and she’s opened up about a candid conversation they had in which Bowie gave his thoughts on life after death – and insisted he simply didn’t believe in it, reports femalefirst.co.uk.
Speaking to the Guardian newspaper, Tilda explained: “He was very ill at the time [of making the music video], which I knew about – although I didn’t know quite how ill. And he started to talk about an afterlife and he said, categorically, that he didn’t think there was one.”
Tilda revealed she formed a solid friendship with the ‘Heroes’ star and they often shared jokes together. She recalled: “I...
The actress worked with the legendary musician on the music video for his 2013 single ‘The Stars (Are Out Tonight)’ and she’s opened up about a candid conversation they had in which Bowie gave his thoughts on life after death – and insisted he simply didn’t believe in it, reports femalefirst.co.uk.
Speaking to the Guardian newspaper, Tilda explained: “He was very ill at the time [of making the music video], which I knew about – although I didn’t know quite how ill. And he started to talk about an afterlife and he said, categorically, that he didn’t think there was one.”
Tilda revealed she formed a solid friendship with the ‘Heroes’ star and they often shared jokes together. She recalled: “I...
- 11/13/2023
- by Agency News Desk
- GlamSham
Following his black-and-white passion project Mank, David Fincher returns to the world of vibrant, slick thrillers with The Killer. An adaptation of Alexis Nolent’s graphic novel series, the Netflix neo-noir marks a reteam for Fincher with his Se7en screenwriter Andrew Kevin Walker, with Michael Fassbender leading the film as a cold-blooded assassin, joined by Tilda Swinton. Set for a Venice premiere, the first trailer and poster have now arrived ahead of an October 27 theatrical release and November 10 Netflix premiere.
David Fincher said in his Venice director’s statement: “The Killer is my attempt to reconcile notions I’ve had for years about cinematic stories and their telling. I have always held: “What were you doing in Chinatown?… As little as possible”—to be the single greatest evocation of backstory I’ve ever heard. I was also playfully curious about the revenge genre as a tension delivery-system. So when Mr.
David Fincher said in his Venice director’s statement: “The Killer is my attempt to reconcile notions I’ve had for years about cinematic stories and their telling. I have always held: “What were you doing in Chinatown?… As little as possible”—to be the single greatest evocation of backstory I’ve ever heard. I was also playfully curious about the revenge genre as a tension delivery-system. So when Mr.
- 8/29/2023
- by Jordan Raup
- The Film Stage
Execution is everything for David Fincher.
The Oscar-nominated filmmaker’s latest project is “The Killer,” a new thriller starring Michael Fassbender as the title contract assassin. Days before the film makes its debut at the Venice Film Festival, Netflix released the project’s first teaser trailer showcasing Fincher’s brutal visuals and Fassbender’s commanding lead performance.
Here’s the official synopsis for the film, which is based on the French graphic novel series:
After a fateful near-miss an assassin battles his employers, and himself, on an international manhunt he insists isn’t personal.
In addition to Fassbender’s first onscreen appearance since “Dark Phoenix” in 2019, the new film stars Charles Parnell, Arliss Howard, Sophie Charlotte, and Tilda Swinton.
“The Killer” is Fincher’s first film since 2020’s “Mank.” It also reunites the acclaimed director with “Seven” screenwriter Andrew Kevin Walker, who adapted the Alexis Nolent (a.k.a Matz) graphic novel series.
The Oscar-nominated filmmaker’s latest project is “The Killer,” a new thriller starring Michael Fassbender as the title contract assassin. Days before the film makes its debut at the Venice Film Festival, Netflix released the project’s first teaser trailer showcasing Fincher’s brutal visuals and Fassbender’s commanding lead performance.
Here’s the official synopsis for the film, which is based on the French graphic novel series:
After a fateful near-miss an assassin battles his employers, and himself, on an international manhunt he insists isn’t personal.
In addition to Fassbender’s first onscreen appearance since “Dark Phoenix” in 2019, the new film stars Charles Parnell, Arliss Howard, Sophie Charlotte, and Tilda Swinton.
“The Killer” is Fincher’s first film since 2020’s “Mank.” It also reunites the acclaimed director with “Seven” screenwriter Andrew Kevin Walker, who adapted the Alexis Nolent (a.k.a Matz) graphic novel series.
- 8/29/2023
- by Christopher Rosen
- Gold Derby
In the film Problemista, Tilda Swinton played the eccentric art critic who drags the immigrant toy designer Alejandro, played by writer and director Julio Torres, around to archive and catalog her late husband’s artwork, played by RZA. Greta Titelman played the character Celeste.
In an exclusive interview with uInterview at the South by Southwest Film Festival in Austin, Texas, Titelman revealed the most ‘Julio Torres’ moment of the movie.
“I guess in a sincere way like how collaborative he is always a very Julio moment,” she said. “He wants to collaborate with all of us. And when he was like, ‘yeah, we’re going to talk through the scene with Tilda,’ and I just went into his office it’s just me and Tilda like sitting there and I was like, ok very casual, cool, calm, that kind of vibe.”
>Watch Julio Torres’ uINTERVIEW Now!
Titelman also recalled her favorite moment working with Swinton.
In an exclusive interview with uInterview at the South by Southwest Film Festival in Austin, Texas, Titelman revealed the most ‘Julio Torres’ moment of the movie.
“I guess in a sincere way like how collaborative he is always a very Julio moment,” she said. “He wants to collaborate with all of us. And when he was like, ‘yeah, we’re going to talk through the scene with Tilda,’ and I just went into his office it’s just me and Tilda like sitting there and I was like, ok very casual, cool, calm, that kind of vibe.”
>Watch Julio Torres’ uINTERVIEW Now!
Titelman also recalled her favorite moment working with Swinton.
- 3/24/2023
- by Hailey Schipper
- Uinterview
Cannes 2022: ‘Three Thousand Years of Longing’ by George MillerStarring Tilda Swinton and Idres Elba, a tale in the style of Arabian Nights or Aladdin where interracial love is finally allowed in the guise of mythology.
Life is a story we tell ourselves and Tilda Swinton, playing an uptight academic specializing in mythology lets her imagined self go as Edris Elba swoops her into a cosmic flux.
Going into this movie with a very critical eye, I wondered how George Miller, a white Australian male would view Tilda Swinton vis a vis her geni, Idris Elba. I wondered if there was a racial or racist slant and if so what would it be? I wondered if there would be an “Oriental”-ism in the depiction westerners of the 19th century used in painting the lushness of harems and cruelty of what was called “the Orient” under the rule of the Ottomon Empire. After all, Turkey is the place of mythology. But surprisingly, we see very little local color except then Alithea goes into the bazaar and buys the charming blown glass bottle which contains the geni, or “Djinn” in its native language.
Tilda Swinton plays Alithea, an uptight, charmingly eccentric scholar, on a trip to Istanbul who discovers a Djinn who offers her three wishes in exchange for his freedom.
Can Tilda Swinton hold her own opposite Idris Elba?
Can she really be a mythological figure visa vis another mythological being from another realm of reality. Is “realm” related to “reality”? Do we all live in realms of mythology in our lives as opposed to realms of realism?
Three thousand years of longing by whom? Ostensibly by the djinn and wished for by our protagonist as the geni tells her his story which excavates her (three centuries old?) layers of repression to reveal her own longing for sexual and loving fulfillment.
These were the questions I hoped this movie would answer as I let myself be drawn into its broad, brightly colored lines of development, visually well designed with a tune that suddenly seems to reflect a recurring theme of one’s own life: one’s own heartfelt wishes, long buried, revealing 3,000 years of longing. The music, composed by Junkie X, billed here as Tom Holkenborg is stunning. From the Song of Solomon (with a really unintendedly funny animated accompanist), to the theme song itself, the score complements the story without ever getting into its way.
The djinn’s story coincides with the fall of the Ottomon Empire where such stories (as I said) of Aladin or 1,001 Nights originated. If considered within the context of Western Civilization in which the Ottomon Empire was destroyed by the rise of Christianity, the story takes on a racial and racist slant. But we who are watching the movie do not have to deal with that. This is a tale told by a teller of tales.
And in the end, the Djinn (who is never given a proper name) cannot live in a white, christian, cleanly lit society. He must return to the darker realms where storytelling is an art, not a means of coping with life.
Tilda, the white savior of the geni, in her pure goodness, makes her third wish, one of seemingly self-sacrifice in the name of love; she wishes that he return to where he belongs and will thrive. He, in turn, rewards her with occasional returns so their love can continue but without interrupting her happy existence as an affluent, productive single white female.
Watch the trailer here.
I too could tell such a story, but in the realm of our “real” society, it is not so clean and clear but is strewn with rough, irreconcilable elements. This is clearly a love story between two opposites whose attraction/ separation has lasted three thousand years. It is a fairytale which fulfills a longing many of us have in our minds but which remains, as in this sweetly told movie, only a fairytale.
Don’t get me wrong. I loved the movie. I would put it into a category with Emma Thompson and Daryl McCormack’s Good Luck to You, Leo Grande, in which a retired school teacher, yearning for some adventure, and some sex hires a young sex worker named Leo Grande. It is a true “date movie” which, I am happy to report filled the Odeon Theater in Berlin on the Saturday night I saw it.
It is a brave move to make such a film in today’s environment. I do not think any American white male or female director would dare to tackle such a subject. Directed by George Miller on what must be a huge budget judging by the credits after the film, it is also co-written by Miller who wrote to lyrics to a song according to the credits but whose words I do not recall, though the theme melody is hauntingly beautiful. It is cowritten by Augusta Gore whose single credit on IMDb is this movie. I wonder if she pitched it to Miller. It is based upon the short story “The Djinn in the Nightingale’s Eye” by A.S. Byatt.
Further kudos should go to the director of photography John Seale, known for Mad Max: Fury Road (2015), The English Patient (1996) and Witness (1985); the production designer Roger Ford, known for Babe (1995), Rabbit-Proof Fence(2002) and The Dressmaker (2015); the art directors Sophie Nash, known for The Nightingale (2018) and The Light Between Oceans (2016) and Nicholas Dare(Hacksaw Ridge); and the film editor Margaret Sixel, known for Mad Max: Fury Road (2015), Happy Feet (2006) and Babe: Pig in the City (1998). She has also been married to George Miller since 1995. They have two children.
Other notable below-the-line crew members include set decorator Lisa Thompson, costume designer Kym Barrett, and an extensive expensive makeup department: Lara Jade Birch…crowd hair supervisor / crowd makeup supervisor Terri Farmer…key hair stylist / key makeup artist Brydie Stone…key prosthetics artist Lesley Vanderwalt…hair designer / makeup designer Sheldon Wade…prosthetic artist
International sales agent FilmNation coproduced with U.S. studio-North American distributor United Artists Releasing / Metro-Goldwyn-Mayer (MGM)and licensed rights to
Ascot Elite Entertainment Group (2020) (Switzerland) (theatrical)BfParis (2022) (Argentina) (theatrical)Blue Lantern Entertainment International (2020) (Vietnam) (theatrical)Chantier (2020) (Turkey) (theatrical)Eagle Pictures (2020) (Italy) (theatrical)Golden Scene (2020) (Hong Kong) (theatrical)Hkc Entertainment (2022) (Pakistan) (theatrical)Idc (2020) (Aruba) (theatrical)Idc (2020) (Bolivia) (theatrical)Idc (2020) (Brazil) (theatrical)Idc (2020) (Colombia) (theatrical)Idc (2020) (Costa Rica) (theatrical)Idc (2020) (Dominican Republic) (theatrical)Idc (2020) (Ecuador) (theatrical)Idc (2020) (El Salvador) (theatrical)Idc (2020) (Guatemala) (theatrical)Idc (2020) (Honduras) (theatrical)Idc (2020) (Jamaica) (theatrical)Idc (2020) (Mexico) (theatrical)Idc (2020) (Nicaragua) (theatrical)Idc (2020) (Panama) (theatrical)Idc (2020) (Peru) (theatrical)Idc (2020) (Suriname) (theatrical)Idc (2020) (Trinidad & Tobago) (theatrical)Idc (2020) (Uruguay) (theatrical)Idc (2020) (Venezuela) (theatrical)Kino Films (2020) (Japan) (theatrical)Leonine (2020) (Germany and German speaking territories) (theatrical)Metropolitan Filmexport (2022) (France) (theatrical)Monolith Films (2020) (Poland) (theatrical)Monolith (2020) (Malta) (theatrical(Nk Contents (2022) (Korea) (theatrical)Nos Audiovisuais (2020) (Portugal) (theatrical)Nordisk Film (2020) (Denmark) (theatrical)Nordisk Film (2020) (Finland) (theatrical)Nordisk Film (2020) (Norway) (theatrical)Nordisk Film (2020) (Sweden) (theatrical)PVR Pictures (2020) (India) (theatrical)Roadshow (2020) (Australia/ N.Z.) (theatrical)Sam Film (2020) (Iceland) (theatrical)Shaw Organisation (2022) (Singapore) (theatrical)Tanweer Alliances (2022) (Greece) (theatrical)TriPictures (2020) (Spain) (theatrical)Vlg Filmai (2020) (Lithuania) (theatrical)Volga (2020) (Russia) (theatrical)DeAPlaneta (2020) (Spain) (all media)Leonine Distribution (2022) (Germany) (all media)Sunac (2022) (China) (all media)The Searchers (2022) (Benelux) (all media)Universal for rest of worldProduced by
Rachael Gill…associate producer Dean Hood…executive producer Craig McMahon…executive producer George Miller…producer (produced by) Doug Mitchell…producer (produced by) Kevin Sun…executive producer...
Life is a story we tell ourselves and Tilda Swinton, playing an uptight academic specializing in mythology lets her imagined self go as Edris Elba swoops her into a cosmic flux.
Going into this movie with a very critical eye, I wondered how George Miller, a white Australian male would view Tilda Swinton vis a vis her geni, Idris Elba. I wondered if there was a racial or racist slant and if so what would it be? I wondered if there would be an “Oriental”-ism in the depiction westerners of the 19th century used in painting the lushness of harems and cruelty of what was called “the Orient” under the rule of the Ottomon Empire. After all, Turkey is the place of mythology. But surprisingly, we see very little local color except then Alithea goes into the bazaar and buys the charming blown glass bottle which contains the geni, or “Djinn” in its native language.
Tilda Swinton plays Alithea, an uptight, charmingly eccentric scholar, on a trip to Istanbul who discovers a Djinn who offers her three wishes in exchange for his freedom.
Can Tilda Swinton hold her own opposite Idris Elba?
Can she really be a mythological figure visa vis another mythological being from another realm of reality. Is “realm” related to “reality”? Do we all live in realms of mythology in our lives as opposed to realms of realism?
Three thousand years of longing by whom? Ostensibly by the djinn and wished for by our protagonist as the geni tells her his story which excavates her (three centuries old?) layers of repression to reveal her own longing for sexual and loving fulfillment.
These were the questions I hoped this movie would answer as I let myself be drawn into its broad, brightly colored lines of development, visually well designed with a tune that suddenly seems to reflect a recurring theme of one’s own life: one’s own heartfelt wishes, long buried, revealing 3,000 years of longing. The music, composed by Junkie X, billed here as Tom Holkenborg is stunning. From the Song of Solomon (with a really unintendedly funny animated accompanist), to the theme song itself, the score complements the story without ever getting into its way.
The djinn’s story coincides with the fall of the Ottomon Empire where such stories (as I said) of Aladin or 1,001 Nights originated. If considered within the context of Western Civilization in which the Ottomon Empire was destroyed by the rise of Christianity, the story takes on a racial and racist slant. But we who are watching the movie do not have to deal with that. This is a tale told by a teller of tales.
And in the end, the Djinn (who is never given a proper name) cannot live in a white, christian, cleanly lit society. He must return to the darker realms where storytelling is an art, not a means of coping with life.
Tilda, the white savior of the geni, in her pure goodness, makes her third wish, one of seemingly self-sacrifice in the name of love; she wishes that he return to where he belongs and will thrive. He, in turn, rewards her with occasional returns so their love can continue but without interrupting her happy existence as an affluent, productive single white female.
Watch the trailer here.
I too could tell such a story, but in the realm of our “real” society, it is not so clean and clear but is strewn with rough, irreconcilable elements. This is clearly a love story between two opposites whose attraction/ separation has lasted three thousand years. It is a fairytale which fulfills a longing many of us have in our minds but which remains, as in this sweetly told movie, only a fairytale.
Don’t get me wrong. I loved the movie. I would put it into a category with Emma Thompson and Daryl McCormack’s Good Luck to You, Leo Grande, in which a retired school teacher, yearning for some adventure, and some sex hires a young sex worker named Leo Grande. It is a true “date movie” which, I am happy to report filled the Odeon Theater in Berlin on the Saturday night I saw it.
It is a brave move to make such a film in today’s environment. I do not think any American white male or female director would dare to tackle such a subject. Directed by George Miller on what must be a huge budget judging by the credits after the film, it is also co-written by Miller who wrote to lyrics to a song according to the credits but whose words I do not recall, though the theme melody is hauntingly beautiful. It is cowritten by Augusta Gore whose single credit on IMDb is this movie. I wonder if she pitched it to Miller. It is based upon the short story “The Djinn in the Nightingale’s Eye” by A.S. Byatt.
Further kudos should go to the director of photography John Seale, known for Mad Max: Fury Road (2015), The English Patient (1996) and Witness (1985); the production designer Roger Ford, known for Babe (1995), Rabbit-Proof Fence(2002) and The Dressmaker (2015); the art directors Sophie Nash, known for The Nightingale (2018) and The Light Between Oceans (2016) and Nicholas Dare(Hacksaw Ridge); and the film editor Margaret Sixel, known for Mad Max: Fury Road (2015), Happy Feet (2006) and Babe: Pig in the City (1998). She has also been married to George Miller since 1995. They have two children.
Other notable below-the-line crew members include set decorator Lisa Thompson, costume designer Kym Barrett, and an extensive expensive makeup department: Lara Jade Birch…crowd hair supervisor / crowd makeup supervisor Terri Farmer…key hair stylist / key makeup artist Brydie Stone…key prosthetics artist Lesley Vanderwalt…hair designer / makeup designer Sheldon Wade…prosthetic artist
International sales agent FilmNation coproduced with U.S. studio-North American distributor United Artists Releasing / Metro-Goldwyn-Mayer (MGM)and licensed rights to
Ascot Elite Entertainment Group (2020) (Switzerland) (theatrical)BfParis (2022) (Argentina) (theatrical)Blue Lantern Entertainment International (2020) (Vietnam) (theatrical)Chantier (2020) (Turkey) (theatrical)Eagle Pictures (2020) (Italy) (theatrical)Golden Scene (2020) (Hong Kong) (theatrical)Hkc Entertainment (2022) (Pakistan) (theatrical)Idc (2020) (Aruba) (theatrical)Idc (2020) (Bolivia) (theatrical)Idc (2020) (Brazil) (theatrical)Idc (2020) (Colombia) (theatrical)Idc (2020) (Costa Rica) (theatrical)Idc (2020) (Dominican Republic) (theatrical)Idc (2020) (Ecuador) (theatrical)Idc (2020) (El Salvador) (theatrical)Idc (2020) (Guatemala) (theatrical)Idc (2020) (Honduras) (theatrical)Idc (2020) (Jamaica) (theatrical)Idc (2020) (Mexico) (theatrical)Idc (2020) (Nicaragua) (theatrical)Idc (2020) (Panama) (theatrical)Idc (2020) (Peru) (theatrical)Idc (2020) (Suriname) (theatrical)Idc (2020) (Trinidad & Tobago) (theatrical)Idc (2020) (Uruguay) (theatrical)Idc (2020) (Venezuela) (theatrical)Kino Films (2020) (Japan) (theatrical)Leonine (2020) (Germany and German speaking territories) (theatrical)Metropolitan Filmexport (2022) (France) (theatrical)Monolith Films (2020) (Poland) (theatrical)Monolith (2020) (Malta) (theatrical(Nk Contents (2022) (Korea) (theatrical)Nos Audiovisuais (2020) (Portugal) (theatrical)Nordisk Film (2020) (Denmark) (theatrical)Nordisk Film (2020) (Finland) (theatrical)Nordisk Film (2020) (Norway) (theatrical)Nordisk Film (2020) (Sweden) (theatrical)PVR Pictures (2020) (India) (theatrical)Roadshow (2020) (Australia/ N.Z.) (theatrical)Sam Film (2020) (Iceland) (theatrical)Shaw Organisation (2022) (Singapore) (theatrical)Tanweer Alliances (2022) (Greece) (theatrical)TriPictures (2020) (Spain) (theatrical)Vlg Filmai (2020) (Lithuania) (theatrical)Volga (2020) (Russia) (theatrical)DeAPlaneta (2020) (Spain) (all media)Leonine Distribution (2022) (Germany) (all media)Sunac (2022) (China) (all media)The Searchers (2022) (Benelux) (all media)Universal for rest of worldProduced by
Rachael Gill…associate producer Dean Hood…executive producer Craig McMahon…executive producer George Miller…producer (produced by) Doug Mitchell…producer (produced by) Kevin Sun…executive producer...
- 12/18/2022
- by Sydney
- Sydney's Buzz
How did this emotional sketch become a movie? Tilda Swinton and Joanna Hogg, born on March 20, 1960 in London, England, UK and known for writing and directing The Souvenir (2019), The Souvenir: Part II (2021) and Unrelated (2007), all produced by Emma Norton of Jwh Films, are favored by the charmed circle of rich white seemingly heterosexual men like Martin Scorsese (Sikelia Productions), David Fenkel and Daniel Katz (A24), and British vet producer Ed Guiney (Element Pictures). This is all conjuncture on my part, as it was when I wrote about the deal behind Triangle of Sadness, but the sketchiness of this and the formulaic quality of Triangle, coupled with the stellar names of those involved in the production lead me to believe there was more to the making of the movie deal than there is to the movie itself. In The Eternal Daughter, these men have chosen to celebrate womanhood as expressed by a particular female filmmaker as she attempts to create a story about herself and her mother plus one kindly black bereaved man played by Joseph Mydell (there is a hint of something about slavery here) and a cold modern young woman played by Carly-Sophia Davies whose heart also melts at the pathos of the celebate and lonely filmmaker, who actually is not pathetic but apparently just creatively alive. Watch the trailer here and then watch the movie and judge for yourself: https://www.imdb.com/title/tt13874422/?ref_=fn_al_tt_1 Together these men must have brought the film to Kristin Irving of the BBC where it got made, somewhat along the same lines as highly touted The Souvenir which landed BBC Films with funds from BFI Film Fund and was also produced by Jwh Films, again in association with Scorsese’s incubator Sikelia. This time Protagonist Pictures was the international sales agent and A24 only distributed in North America. Its sequel, The Souvenir Part II stars real-life mother and daughter Tilda Swinton and Honor Swinton Byrne, a conceit which perhaps gave life to the idea of another mother-and-daughter movie in which both roles are played by Tilda Swinton and which was made by the same team plus Ed Guiney of Element Pictures. A24 has now taken on both international sales and US rights. All of these films must have made 2 cents at the box office. What’s up? What is Tilda Swinton herself up to these days? Her previous film Three Thousand Years of Yearning by stalwart filmmaker George Miler sold to more interternational distributors in 2021 and 2022 than the Jwh films did, but it still must not have fared much better at the box office. (Read my blon on that here.) The short by Almodovar, The Human Voice, was a little gem, showing off Swinton’s accomplished acting skills as she enacted the remake of Cocteau’s The Human Voice under strict Covid protocols. But none of these reaches the new heights always expected of her…We’ll see what her next four films The End (pre-production) by Joshua Oppenheimer, Asteroid City (post-production) by Wes Anderson, The Killer (post-production) by David Fincher, and an Untitled Julio Torres Project (post-production) bring to the audiences who eagerly await whatever she does (count me among them). The Eternal Daughter has been described as a mystery drama and as a ghost story about “a middle-aged daughter and her elderly mother who confront long-buried secrets when they return to their former family home, a once-grand manor that has become a nearly vacant hotel brimming with mystery.” But there are no ghosts nor is there much of a mystery beyond why a mother and daughter have an eternal and universal tension between them, as most mothers and daughters do. Nor is the nearly vacant hotel ever revealed to be the ancestral home, nor is there much of a mystery about a banging shutter which keeps Tilda the daughter up at night. And whence cometh the acclaim of Joanna Hogg? Perhaps it was Covid. Dare I argue with the top film festivals and critics whom Rotten Tomatoes scored at 95%? Who are these critics? How many males among them? All Swinton has to do is attach her name to a project and it will be made — with male money. The film does truly touch emotions felt by every daughter trying to hard to please a mother who cannot express her own desires or her own heartfelt love for her daughter. But this situation makes the daughter seem pathetic except in her own creative mind as she grapples with the dilemna of The Eternal Duaghter. But what is the story here? That a writer’s imagination trumps reality? Are we so starved for emotional experiences that such a sketch brings us to tears? Am I horribly out of touch with the universe? Another film which touches this same raw nerve is Charlotte Wells’ Aftersun. Where have I gone wrong? Compare this to Eo, a film with no ersatz emotion and created to produce an emotion the director Jerzy Skolomowski had not felt since he saw Au Hasard Balthazar in 1966. Read my blog and his quotations. I am longing for the days of Angelopoulos, of Terence Davies or even Peter Greenaway. Give me hard art, not oblique emotional sketches, playing like the little musical phrase that Proust’s Swann held so dear as a reminder of his lost love. Postscript: An interesting article by Carlos Aguilar appeared in the LA Times shortly after I published this. It explains the long friendship between Tilda Swinton and Joanna Hogg. At first I thought it negated my negative take on the deal, but on second reading, I decided that it only added another tier to the dealmaking process which is that Tilda swings her own weight and can bring in her friend to the circle of dealmaking whereas before, Hogg remained in the background of the art film world.
- 12/18/2022
- by Sydney
- Sydney's Buzz
Joanna Hogg received critical acclaim for her last two movies, the deeply personal "The Souvenir" and "The Souvenir Part II," which presented a fictionalized version of her experience during film school in the '80s. In those films, Honor Swinton Byrne played Julie, a fictionalized version of Hogg, while Byrne's real-life mother, Tilda Swinton, played Julie's mother, Rosalind.
"The Eternal Daughter" revisits Julie and Rosalind in our present day, with Swinton now playing both an older Julie and a more elderly Rosalind. The tone of "The Eternal Daughter," however, is markedly different than that of the two "Souvenir" films. Hogg's latest work is a gothic ghost story, set in an eerie old manor that has been converted into a hotel.
"All my films have been about places and the ghosts within them and the memories within them," Hogg told me in an interview about the making of her latest film.
"The Eternal Daughter" revisits Julie and Rosalind in our present day, with Swinton now playing both an older Julie and a more elderly Rosalind. The tone of "The Eternal Daughter," however, is markedly different than that of the two "Souvenir" films. Hogg's latest work is a gothic ghost story, set in an eerie old manor that has been converted into a hotel.
"All my films have been about places and the ghosts within them and the memories within them," Hogg told me in an interview about the making of her latest film.
- 12/2/2022
- by Vanessa Armstrong
- Slash Film
Each week we highlight the noteworthy titles that have recently hit streaming platforms in the United States. Check out this week’s selections below and past round-ups here.
This week’s New to Streaming column is sponsored by Alex Pritz’s The Territory, now streaming on Disney+, courtesy of National Geographic Documentary Films.
The Territory (Alex Pritz)
There are about 180 Uru-eu-wau-wau people left in the Brazilian Amazon. This community lives off the land, protecting the Amazon from deforestation, constant threats of violence, and an expanding base of anti-Indigenous sentiment, streaming from the far-right emboldened by President Jair Bolsonaro. Over three years, filmmaker Alex Pritz spent time with these native Brazilians for The Territory, a collaborative, vérité documentary that’s both engaging and terrifying. Pritz even hands over the camera to the Uru-eu-wau-wau at one point, as the group closes their borders and prepares for an ongoing fight to preserve their land.
This week’s New to Streaming column is sponsored by Alex Pritz’s The Territory, now streaming on Disney+, courtesy of National Geographic Documentary Films.
The Territory (Alex Pritz)
There are about 180 Uru-eu-wau-wau people left in the Brazilian Amazon. This community lives off the land, protecting the Amazon from deforestation, constant threats of violence, and an expanding base of anti-Indigenous sentiment, streaming from the far-right emboldened by President Jair Bolsonaro. Over three years, filmmaker Alex Pritz spent time with these native Brazilians for The Territory, a collaborative, vérité documentary that’s both engaging and terrifying. Pritz even hands over the camera to the Uru-eu-wau-wau at one point, as the group closes their borders and prepares for an ongoing fight to preserve their land.
- 12/2/2022
- by Jordan Raup
- The Film Stage
Tilda Swinton’s favorite co-star to date? Her dog, Louis.
Swinton starred opposite her Springer Spaniel for Joanna Hogg’s “The Eternal Daughter,” and even considered hiring a dog psychologist to understand Louis’ innate performance.
“He’s the best actor. Let’s be honest about this,” Swinton told RogerEbert.com. “He’s quite extraordinary. He will do anything I asked him to do. And so that’s my hot tip, if you’re going to work with a dog, make sure that there’s a real bond between the animals in front of the camera.”
Swinton continued while in conversation with writer-director Hogg, “There’s a transition, let’s say, which is not a real transition. It’s an image in my mind. But if you remember that moment, he responded, and all I was doing was thinking that that was happening. It’s very interesting. I would like to...
Swinton starred opposite her Springer Spaniel for Joanna Hogg’s “The Eternal Daughter,” and even considered hiring a dog psychologist to understand Louis’ innate performance.
“He’s the best actor. Let’s be honest about this,” Swinton told RogerEbert.com. “He’s quite extraordinary. He will do anything I asked him to do. And so that’s my hot tip, if you’re going to work with a dog, make sure that there’s a real bond between the animals in front of the camera.”
Swinton continued while in conversation with writer-director Hogg, “There’s a transition, let’s say, which is not a real transition. It’s an image in my mind. But if you remember that moment, he responded, and all I was doing was thinking that that was happening. It’s very interesting. I would like to...
- 12/1/2022
- by Samantha Bergeson
- Indiewire
Mothers, Daughters and German Autumns in Luca Guadagnino’s ‘Suspiria’ Remake [Horror Queers Podcast]
Eat my c**t.
After looking at two very different types of queer-coded bromances in Robert Eggers’ The Lighthouse and Ron Underwood’s Tremors, we took a trip to Poland to analyze the trans allegory in the mermaid horror musical The Lure before heading back into the twisted mind of Clive Barker to discuss his infamous directorial debut, Hellraiser. This week, we’re doing a deep dive into Luca Guadagnino‘s 2018 remake of Dario Argento‘s 1977 classic Suspiria.
In the film, Susie Bannion (Dakota Johnson) is an American woman and former Mennonite who enrolls at the prestigious Markos Dance Academy in 1977 Berlin that just so happens to be run by a coven of witches, including the mysterious Madame Blanc (Tilda Swinton).
Be sure to subscribe to the podcast to get a new episode every Wednesday. You can subscribe on iTunes/Apple Podcasts, Stitcher, Spotify, iHeartRadio, SoundCloud, TuneIn, Amazon Music, Acast,...
After looking at two very different types of queer-coded bromances in Robert Eggers’ The Lighthouse and Ron Underwood’s Tremors, we took a trip to Poland to analyze the trans allegory in the mermaid horror musical The Lure before heading back into the twisted mind of Clive Barker to discuss his infamous directorial debut, Hellraiser. This week, we’re doing a deep dive into Luca Guadagnino‘s 2018 remake of Dario Argento‘s 1977 classic Suspiria.
In the film, Susie Bannion (Dakota Johnson) is an American woman and former Mennonite who enrolls at the prestigious Markos Dance Academy in 1977 Berlin that just so happens to be run by a coven of witches, including the mysterious Madame Blanc (Tilda Swinton).
Be sure to subscribe to the podcast to get a new episode every Wednesday. You can subscribe on iTunes/Apple Podcasts, Stitcher, Spotify, iHeartRadio, SoundCloud, TuneIn, Amazon Music, Acast,...
- 9/26/2022
- by Trace Thurman
- bloody-disgusting.com
Joanna Hogg’s The Eternal Daughter begins like so many Gothic stories before it: a car driving along a foggy backwoods road en route to a nearly deserted mansion. The house in question is actually a hotel – one where Julie (Tilda Swinton) and her mother (also Swinton) will be staying for a few days to celebrate the latter’s birthday. The vibe, however, is moody: Julie is told by their cab driver that an old woman’s ghostly face has been seen in the window and when they arrive, the place looks dark and shuttered.
At various points throughout the film, it’s clear that something is amiss. Julie can’t sleep because of a recurring banging sound, there appear to be no other guests, and there’s no wifi signal. Even Julie’s calls to her (never seen) husband drop regularly, suggesting she and mother are almost completely cut off from the outside world.
At various points throughout the film, it’s clear that something is amiss. Julie can’t sleep because of a recurring banging sound, there appear to be no other guests, and there’s no wifi signal. Even Julie’s calls to her (never seen) husband drop regularly, suggesting she and mother are almost completely cut off from the outside world.
- 9/12/2022
- by Joe Lipsett
- bloody-disgusting.com
What happens when a banshee, chupacabra, and a succubus walk into a bar? You’re about to find out when you watch Netflix’s The Imperfects trailer. Supernatural shenanigans are a constant on Netflix, but the streaming platform’s latest dabble with cryptozoology and folklore promises to go to surreal and unpredictable places. If you were disappointed by the cancelation of Netflix’s First Kill, this could be your new ticket for a wild ride.
After undergoing an experiment that gives them monstrous side effects, Abbi, Tilda, and Juan join forces to find the scientist responsible. While investigating their unfortunate circumstances, the trio discovers they’ve transformed into things unspeakable and unnatural. However, their new identities arguably come with perks that give them an advantage over their maker, and revenge is just a few outrageous mishaps away.
The Imperfects stars Iñaki Godoy as Juan Ruiz, Morgan Taylor Campbell as Tilda Webber,...
After undergoing an experiment that gives them monstrous side effects, Abbi, Tilda, and Juan join forces to find the scientist responsible. While investigating their unfortunate circumstances, the trio discovers they’ve transformed into things unspeakable and unnatural. However, their new identities arguably come with perks that give them an advantage over their maker, and revenge is just a few outrageous mishaps away.
The Imperfects stars Iñaki Godoy as Juan Ruiz, Morgan Taylor Campbell as Tilda Webber,...
- 9/1/2022
- by Steve Seigh
- JoBlo.com
Julia Roberts, photo by Tom Munro
The Academy Museum of Motion Pictures today announced that Academy AwardⓇ-winning actor Julia Roberts, whose career spans three decades, will be honored with the Academy Museum Gala Icon Award. She will join previously announced honorees Miky Lee, Steve McQueen, and Tilda Swinton, each set to be recognized for their invaluable contributions to cinema, at the second annual Academy Museum Gala being held on October 15, 2022.
The evening is presented by Rolex and co-chaired by Academy Award-winning actor and Academy Museum supporter Halle Berry, Academy Museum Trustee and producer Jason Blum, Academy Museum Trustee and screenwriter-director-producer Ryan Murphy, and Academy Award-winning actor Lupita Nyong’o.
The awards presented at the Gala will include:
The Icon Award, presented to Julia Roberts, celebrating an artist whose career has had a significant global cultural impact.The Vantage Award, presented to Steve McQueen, honoring an artist or scholar who has...
The Academy Museum of Motion Pictures today announced that Academy AwardⓇ-winning actor Julia Roberts, whose career spans three decades, will be honored with the Academy Museum Gala Icon Award. She will join previously announced honorees Miky Lee, Steve McQueen, and Tilda Swinton, each set to be recognized for their invaluable contributions to cinema, at the second annual Academy Museum Gala being held on October 15, 2022.
The evening is presented by Rolex and co-chaired by Academy Award-winning actor and Academy Museum supporter Halle Berry, Academy Museum Trustee and producer Jason Blum, Academy Museum Trustee and screenwriter-director-producer Ryan Murphy, and Academy Award-winning actor Lupita Nyong’o.
The awards presented at the Gala will include:
The Icon Award, presented to Julia Roberts, celebrating an artist whose career has had a significant global cultural impact.The Vantage Award, presented to Steve McQueen, honoring an artist or scholar who has...
- 7/15/2022
- by Michelle Hannett
- WeAreMovieGeeks.com
A housekeeper waltzing into Christian Dior and choosing a couture gown may sound like the height of fantasy, but the biggest stretch in Anthony Fabian’s “Mrs. Harris Goes to Paris” may be all the nice French people she meets along the way. Starring the inimitable Lesley Manville, in a role that effectively transitions the frequent Mike Leigh collaborator into the Helen Mirren phase of her career, “Mrs. Harris Goes to Paris” is a charming confection of a middle-aged, middle-class fantasy.
Imbuing the lavish period delights of “Mrs. Maisel” with a lively post-menopausal heroine “Hacks” made trendy, “Mrs. Harris”
The movie begins in 1957 London, where Mrs. Ada Harris (Manville) has finally received word, after years of holding out hope, that her dear Eddie was killed in action some dozen years prior. As she goes about her usual routine, cleaning the flats of the entitled rich who regard her as nothing more than reliably good-natured help,...
Imbuing the lavish period delights of “Mrs. Maisel” with a lively post-menopausal heroine “Hacks” made trendy, “Mrs. Harris”
The movie begins in 1957 London, where Mrs. Ada Harris (Manville) has finally received word, after years of holding out hope, that her dear Eddie was killed in action some dozen years prior. As she goes about her usual routine, cleaning the flats of the entitled rich who regard her as nothing more than reliably good-natured help,...
- 7/14/2022
- by Jude Dry
- Indiewire
• Criterion Renate Reinsve (Worst Person in the World) demonstrates marvelous taste while inside the Criterion Closet
• Boy Culture their delicious annual recap of Broadway Bares (lots of photos and video)
• Mnpp Pedro Almodóvar is making another short (after that Tilda-starring The Human Voice). This one a gay western starring Ethan Hawke and Pedro Pascal. Can't wait!
More after the jump including Dakota Johnson, The Lovely Laura Linney, Kate Bush, a new film from Andrew Haigh, and a reinvention of James Bond...
• Boy Culture their delicious annual recap of Broadway Bares (lots of photos and video)
• Mnpp Pedro Almodóvar is making another short (after that Tilda-starring The Human Voice). This one a gay western starring Ethan Hawke and Pedro Pascal. Can't wait!
More after the jump including Dakota Johnson, The Lovely Laura Linney, Kate Bush, a new film from Andrew Haigh, and a reinvention of James Bond...
- 7/1/2022
- by NATHANIEL R
- FilmExperience
Despite an entire year of strength and ballet training, Dakota Johnson, during her Variety Actors on Actors conversation with Armie Hammer, describes the crippling self-doubt she faced before the start of filming for “Suspiria.”
She says she “had this f—ing meltdown four days before filming and was like, ‘I can’t do this.'”
“I was in tears in [director Luca Guadagnino’s] office, and I was like, I’m a fraud,” Johnson recalls, explaining how Guadagnino and Tilda Swinton had to convince her that she was worthy of the part.
This was not the first time Johnson, Swinton, and Guadagnino had worked together, nor was it Johnson’s first experience with self-doubt.
“For my whole life I’ve been railing against myself thinking that someone’s gonna find out that I’m a fraud,” she tells Hammer. “This is a thing that artists do really struggle against, is this...
She says she “had this f—ing meltdown four days before filming and was like, ‘I can’t do this.'”
“I was in tears in [director Luca Guadagnino’s] office, and I was like, I’m a fraud,” Johnson recalls, explaining how Guadagnino and Tilda Swinton had to convince her that she was worthy of the part.
This was not the first time Johnson, Swinton, and Guadagnino had worked together, nor was it Johnson’s first experience with self-doubt.
“For my whole life I’ve been railing against myself thinking that someone’s gonna find out that I’m a fraud,” she tells Hammer. “This is a thing that artists do really struggle against, is this...
- 12/5/2018
- by Margeaux Sippell
- Variety Film + TV
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