Category: Drama and Romance Movies
In the movie Just A Sigh, actress Alix (Emmanuelle Devos) meets a mysterious Irishman (Gabriel Byrne) on the train to Paris, where she is headed for an audition. Immediately drawn to him from this chance encounter, she follows him, and falls in love with him, before facing what could be a new life.
Alix and Doug were not supposed to meet, but they did. Alix was on a train bound for Paris where she was going to audition for a film, having just left Calais where she had performed in an Ibsen play. Doug, a literature professor, had left England for Paris, where he was to attend the funeral of a dear friend.
They were not supposed to meet and yet they did. They did because Alix, whose relationship with her boyfriend was at a crossroads, fancied this handsome serious-looking gentleman on the Paris-bound train. They did because Doug, although not in the mood for love, quickly fell for her. They were not supposed to meet but their brief encounter would prove to be overwhelming.
Film Review: Just a Sigh
A tonally heterogeneous but emotionally coherent dramedy centered around a beautifully modulated turn by Emmanuelle Devos
Cut off from the daily grind by a dead phone battery and overdrawn credit card, a Gallic actress decides to follow her own whims for a day in “Just a Sigh,” a tonally heterogeneous but emotionally coherent dramedy from Jerome Bonnell (“Queen of Clubs”). This is the young helmer’s fifth and most mature work, frequently using long takes to showcase a beautifully modulated turn from Emmanuelle Devos in something approaching real time. Though tough to pigeonhole genre-wise, the Tribeca competition title should interest upscale arthouse buyers, with the presence of co-star Gabriel Byrne an added marketing bonus.
A striking single take opens the film as it follows Paris-based thesp Alix (Devos) from making a personal phone call backstage to waiting in the wings of a provincial theater before leaping onstage for a performance of Ibsen’s “The Lady From the Sea.” As in that play — never properly excerpted, a classy move that suggests Bonnell isn’t unnecessarily transfixed by intertextuality — the female protag has to choose between the man she shares her life with and a traveling stranger who arouses an inexplicable passion in her.
Alix — whose b.f., Antoine (voiced by Denis Menichot), remains offscreen — meets the mystery man the next day on the early morning train back to Paris, where she has an audition before having to travel back to Calais for an evening performance. They catch each other’s eye, and the man, who turns out to be an English speaker (Byrne), finally makes conversation with her as they arrive, asking for directions to the Basilica of St. Clotilde.
Drowsy, too shy, not entirely at ease in English and perhaps somewhat nervous and absent-minded because of her upcoming tryout, Alix leaves the enigmatic man be when another passenger steps in to give him more precise directions. But after her somewhat humiliating yet extraordinary audition — a simple, one-sided telephone conversation, impressively played in two entirely different registers — Alix’s thoughts drift back to the stranger on the train. Perhaps subconsciously encouraged by the fact that she can’t get hold of Antoine because of her cell-phone issues, she finds herself taking the subway to the church the stranger asked about, where she sees him taking part in a funeral procession.
This is only the film’s setup; less than 30 minutes have passed by the time Alix finds the man, whose name turns out to be Douglas. While it’s always clear what Alix is thinking and going through, Bonnell and Devos have little need for explanatory dialogue; indeed, Alix either is on her own or keeps to herself before tentatively making contact with Douglas, at which point she’s asked to tag along to a bar by another memorial-service attendee, Rodolphe (Gilles Privat).
After its quietly observational but always fully comprehensible character-drama setup, the film eases into whispery romance as Alix and Douglas try to see where their initial spark takes them. A revelation about Alix’s unexpected new role in her relationship with Antoine further puts this unexpected encounter into perspective.
But the film also contains unexpected bursts of humor, starting with Rodolphe’s chuckle-inducing maladroitness, and culminating in a terrific scene that combines high drama and lowbrow comedy when Alix hits up her sister (Aurelia Petit) for cash. Though the lack of access to phones or funds often feels contrived in films, Bonnell uses it here to illustrate character — Alix is insouciant about money and not interested in technology — and, at the same time, to suggest that for one day, she’s a fish out of the water in her hometown, leading her to do things she wouldn’t normally do.
The tonal shifts are all handled smoothly; Devos can switch gears mid-scene like nobody’s business, but Bonnell also keeps things coherent with long takes that let humor, drama and introspection coexist side by side, just like in real life. The use of classical works on the soundtrack by composers such as Vivaldi tries, perhaps a tad too self-consciously, to infuse the film with gravitas, though they’re nicely offset by the different varieties of live music Alix and Douglas encounter as they amble through Paris on what turns out to be World Music Day.
Just a Sigh
Directed by: Jérôme Bonnell
Starring: Emmanuelle Devos, Gabriel Byrne, Gilles Privat, Aurélia Petit, Laurent Capelluto, Denis Ménochet, Sébastien Pouderoux
Screenplay by: Jérôme Bonnell
Production Design by: Anne Bachala
Cinematography by: Pascal Lagriffoul
Film Editing by: Julie Dupré
Costume Design by: Carole Gérard
Music by: Raf Keunen
MPAA Rating: None.
Studio: Distrib Films
Release Date: March 21, 2014
Eliza Hittman’s powerful debut feature tells the story of Lila (Gina Piersanti, in a stunning debut), a fourteen year old spending a hot summer in a blue-collar Brooklyn neighborhood far removed from the bustling city. Awkward, lonely, and often playing the third wheel, Lila is determined to emulate the sexual exploits of her more experienced best friend.
She fixates on Sammy, a tough older guy, when she hears that “he’ll sleep with anyone.” Deluded in her romantic pursuit, Lila tries desperately to insert herself into Sammy’s gritty world, but in doing so she puts herself into a dangerously vulnerable situation.
It Felt Like Love is a 2013 independent drama film, the first feature film directed by Eliza Hittman. It Felt Like Love premiered at the 2013 Sundance Film Festival, and subsequently screened at such festivals as International Film Festival Rotterdam, Maryland Film Festival and Giffoni Film Festival. It was acquired by Variance Films in November 2013, with a theatrical release in 2014.
Film Review: It Felt Like Love
An evocatively shot, rawly unsentimental coming-of-ager from debut helmer Eliza Hittman, “It Felt Like Love” follows a vulnerable teen who envies the sexual experience of her confident older friend and determines to have a relationship of her own.
An evocatively shot, rawly unsentimental coming-of-ager from debut helmer Eliza Hittman, “It Felt Like Love” follows a vulnerable teen who envies the sexual experience of her confident older friend and determines to have a relationship of her own. The writer-director’s stress on the small, degrading details that attend yearning as well as her protagonist’s desperation and self-deception make it more mood piece than straightforward narrative, but the ultra-confident production proves that Hittman’s a talent to watch. Nevertheless, critical and fest admiration are likely to trump commercial success here. The microbudget indie will next court Euro buyers from Rotterdam’s Tiger competition.
It’s summer in working-class Brooklyn. Wide-eyed, 14-year-old Lila (Gina Piersanti) tries to learn from her experience as third wheel in the relationship of charismatic Chiara (Giovanna Salimeni) and her boyfriend Patrick (Jesse Cordasco). Not only is she witness to their heavy petting sessions on the beach and in the bedroom, but Chiara confides intimate details that virginal Lila only pretends to understand.
When Lila sets her sights on thuggish college boy Sammy (Ronen Rubinstein), she impetuously claims a level of sexual expertise that sets her up for humiliation and heartbreak. Although Sammy isn’t interested, he doesn’t — at first — reject her outright, and the mere fact he answers her texts encourages her to spin more lies: to Chiara, her neighbor Nate (Case Prime), her distracted father (Kevin Anthony Ryan) and herself.
Hittman’s screenplay was written around the talents of her impressive non-pro cast, with the modern-dance expertise of Piersanti and Salimeni, both highly credible thesps, figuring prominently. However, with the central emphasis on Lila’s unsentimental education, the narrative fails to provide the character with enough likability to balance her obsessive pursuit of Sammy and her ill-judged bravado.
In her interactions with her father, Lila comes off a typical sullen teen. It is only late into the film when audiences learn something that might be an underlying psychological factor for her behavior. The odd, unclimactic final scene brings the dance rehearsals full circle, but still feels able to be improved on.
Tightly framed, expressive lensing by Sean Porter (“Eden”) supports the poetic realism of the visuals, and calls to mind the beach photographs of Rineke Dijkstra, Lynne Ramsay’s “Ratcatcher” and Cate Shortland’s “Somersault.” Spot-on costume and accessory design by Sarah Maiorino telegraphs reams of information about the characters while feeling completely natural.
The music is diegetic, with song selections related to the hip-hop and rapping talents of the young male cast. More important is the rich sound design, in which the heartbeat of nature, particularly the roar of the waves, align the audience with the rush of Lila’s emotions.
It Felt Like Love
Directed by: Eliza Hittman
Starring: Gina Piersanti, Giovanna Salimeni, Ronen Rubinstein, Sophia Jurewicz, Anna David, Maria Salimeni, Viktoria Vinyarska
Screenplay by: Eliza Hittman
Production Design by: James Boxer
Cinematography by: Sean Porter
Film Editing by: Scott Cummings
Costume Design by: Sarah Maiorino
MPAA Rating: None.
Studio: Variance Films
Release Date: March 21, 2014
From the whimsical mind of director Tim Burton, BIG EYES tells the outrageous true story of one of the most epic art frauds in history. In the late 1950s and early 1960s, painter Walter Keane had reached success beyond belief, revolutionizing the commercialization of popular art with his enigmatic paintings of waifs with big eyes.
The bizarre and shocking truth would eventually be discovered though: Walter’s works were actually not created by him at all, but by his wife Margaret. The Keanes, it seemed, had been living a colossal lie that had fooled the entire world. A tale too incredible to be fiction, BIG EYES centers on Margaret’s awakening as an artist, the phenomenal success of her paintings, and her tumultuous relationship with her husband, who was catapulted to international fame while taking credit for her work.
Big Eyes is a 2014 American biographical film directed by Tim Burton, starring Amy Adams and Christoph Waltz. The script was written by Scott Alexander and Larry Karaszewski. The film is about the life of American artist Margaret Keane—famous for drawing portraits and paintings with big eyes. It followed the story of Margaret and her husband, Walter Keane, who took credit for Margaret’s phenomenally successful and popular paintings in the 1950s and 1960s, and the lawsuit (and trial) between Margaret and Walter, after Margaret reveals she is the real artist behind the big eyes paintings.
Big Eyes had its world premiere in New York City on December 15, 2014. It was released in theatre on December 25, 2014 in the U.S. by The Weinstein Company. The film was met with positive reviews, praising the performances of both Adams and Waltz. Adams won the Golden Globe Award for Best Actress – Motion Picture Comedy or Musical and was nominated for a BAFTA Award for Best Actress in a Leading Role. Waltz was also nominated for a Golden Globe Award for his performance and Lana Del Rey received a Golden Globe nomination for the film’s theme song “Big Eyes”.
Taglines: Life can change at the turn of a page.
Michael (Liam Neeson) is a Pulitzer Prize-winning fiction author who has recently left his wife, Elaine (Kim Basinger), and is having a tempestuous affair with Anna (Olivia Wilde), an ambitious young journalist who wants to write and publish fiction.
At the same time, Scott (Adrien Brody), a shady American businessman, is in Italy to steal designs from fashion houses. He meets Monika (Moran Atias), a beautiful Roma woman, who is about to be reunited with her young daughter. When the money she has saved to pay her daughter’s smuggler is stolen, Scott feels compelled to help. They take off together for a dangerous town in Southern Italy, where Scott starts to suspect that he is the patsy in an elaborate con game.
Julia (Mila Kunis), an ex-soap opera actress, is caught in a custody battle for her 6 year-old son with her ex-husband Rick (James Franco), a famous New York artist. With her support cut off and her legal costs ruinous, Julia is reduced to working as a maid in the same upscale boutique hotel where she was once a frequent guest. Julia’s lawyer Theresa (Maria Bello) has secured Julia one final chance to change the court’s mind and be reunited with the child she loves. Rick’s current girlfriend Sam (Loan Chabanol) is a compassionate onlooker.
At its heart, Third Person is much more than a collection of love stories —it is a mystery, a puzzle in which truth is revealed in glimpses, and clues are caught by the corner of the eye — and nothing is truly what it seems.
Third Person is a romantic thriller film directed and written by Paul Haggis and co-starring Liam Neeson, Mila Kunis, Adrien Brody, Olivia Wilde, James Franco, Moran Atias, Kim Basinger, and Maria Bello. The film premiered at the 2013 Toronto Film Festival.
Review for Third Person
aul Haggis’s new movie, “Third Person,” Anna (Olivia Wilde), a go-getting New York journalist, is having an affair with Michael (Liam Neeson), a Pulitzer Prize-winning novelist in a funk. In a darkened room in a posh Paris hotel, he tries, with diminishing confidence, to finish writing a book. He flies Anna over, and they taunt each other, make love, play complicated erotic games. They’ve been carrying on this way for two years—fighting keeps the affair alive. Neeson, now sixty-two, is recognizably stalwart—tough-tender and imposing—and it’s a pleasure to see him acting with a woman after so many fantasy characters and man-alone genre movies. The revelation is Wilde.
A slender beauty with high cheekbones, she makes Anna a full-fledged neurotic, candid and demanding and changeable, shifting abruptly from snuggling happiness to angry defiance. At one point, after Michael locks a naked Anna out of his hotel room, she races down the hallway to her own room and falls into bed laughing. Wilde’s Anna seems to have no center, but that’s the point. She’s harboring guilty secrets, as is Michael, and Haggis’s insight in this movie is that guilt doesn’t make people sodden or reclusive. On the contrary, it makes them frantically alive, seeking to grab something they’ve missed.
There are six main characters in “Third Person,” all of whom are just as surprising as Anna and just as messed up. Haggis tells three stories, set in Paris, Rome, and New York, about different kinds of love, and his unifying theme is that a “third person”—a child, an old lover—lingers in the background of every serious relationship. He intercuts the stories, as he did in “Crash” (2004), but this time the characters don’t impinge on one another—at least, not until the end, when he changes our relation to everything we’ve seen.
As we discover, four of the six have failed as parents, sometimes with disastrous results, but “Third Person” is hardly an accusation. Haggis shapes the stories as complicated adventures undertaken by damaged people whose unhappiness compels them to take risks. Much of the dialogue is prickly and intimate—so intimate that, at times, one has the impression that Haggis is unloading personal obsessions into his narratives, as Bergman and Fellini did.
Adrien Brody, whom I have found languid and uninteresting in the past, provides a second revelation. He uses his hollow bemusement and hangdog recessiveness to create an effective portrait of a man in a rut: Scott, a self-disgusted businessman who steals designs from Italian fashion houses in order to make cheap knockoffs in sweatshops. Scott wanders into an American bar in Rome and, in a lengthy scene, which Haggis builds slowly, becomes enthralled by a beautiful and comically hot-tempered woman from Romania, Monika (Moran Atias), who seems to have escaped from a Rome Opera production of “Carmen.” She is carrying five thousand euros in cash to redeem her daughter from smugglers who are holding the girl in a boat.
The story doesn’t quite make sense, especially as Monika rushes out of the bar, leaving the money behind. But Scott is roused from his self-absorption by the woman’s crazy vivacity, and he tries to help her out. Is he being conned? He doesn’t much care: Monika is funny and street-smart in ways that he could never be. Brody, energized now, enters into Scott’s passion with the mixed fascination and fear of a man who may be throwing his life away but is happy to be doing something decisive at last.
The tale dominated by Mila Kunis, as Julia, a rattled New Yorker, lacks the exuberant spirit of the other two. Julia is one of those infuriating people who can’t pull themselves together, no matter how high the stakes. Broke, disorganized, always late, she has lost custody of her little boy, whom she longs for; a year earlier, she may have hurt the child. Her ex-husband, a famous artist (James Franco, uncharacteristically fierce), has had her cut off financially and her visitation rights blocked. Kunis, scrambling through the city, gives the ultimate in desperate, bottom-dog performances—those saucer eyes never stop pleading. Haggis treats this screwup with great sympathy, recounting her cascading dilemmas in sorrowful detail. Life in the world Haggis creates is marked by bizarre coincidences, missed opportunities, and terrible luck. Living it isn’t easy for anyone.
Directed by: Paul Haggis
Starring: Olivia Wilde, Caroline Goodall, James Franco, Maria Bello, Moran Atias, Mila Kunis, Adam Brody, David Harewood, Liam Neeson, Kim Basinger
Screenplay by: Paul Haggis
Cinematography by: Gianfilippo Corticelli
Film Editing by: Jo Francis
Costume Design by: Sonoo Mishra
Set Decoration by: Raffaella Giovannetti
Art Direction by: Dimitri Capuani, Luca Tranchino
Music by: Dario Marianelli
MPAA Rating: R for language and some sexuality / nudity.
Studio: Sony Pictures Classics
Release Date: June 20, 2014
Based on a true story, Infinitely Polar Bear is a funny and heartbreaking portrait of the many unexpected ways in which parents and children save each other.
While most fathers spend their days at work, Cam Stuart (Mark Ruffalo) is more likely to be found mushroom-hunting, cooking elaborate meals, or working on one of his many half-completed projects. His family’s wealth keeps his family just barely afloat, while Cam struggles to live with manic depression. When Cam has a manic breakdown that lands him in a mental hospital, his wife Maggie (Zoe Saldana) and their two young daughters, Amelia and Faith, are forced to leave their house in the country and move into a cramped apartment in Cambridge, where Maggie tries to find a decent job, with no luck.
Broke, stressed, and overwhelmed, Maggie applies to business school and is accepted to Columbia University’s MBA program. Seeing this as her chance to build a better life for their daughters, Maggie asks Cam to become the primary caregiver for the girls while she completes her degree in New York. After all, routine is what the doctor ordered and the girls miss their dad. Cam agrees, hoping to rebuild his family. But the two spirited girls are not interested in making things easy for him.
With Maggie away in New York, Cam quickly realizes that he’s in over his head. Over the course of the next 18 months, as Maggie rushes to complete her degree, he learns, through trial and a lot of error, how to take care of his precocious daughters as well as himself. After years of struggling to find his place in the world, Cam may finally have found where he fits in.
Infinitely Polar Bear
Directed by: Maya Forbes
Starring: Zoe Saldana, Mark Ruffalo, Keir Dullea, Wallace Wolodarsky, William Xifaras, Mary O’Rourke
Screenplay by: Maya Forbes
Production Design by: Carl Sprague
Cinematography by: Bobby Bukowski
Film Editing by: Michael R. Miller
Set Decoration by: Jennifer Engel
Costume Design by: Kasia Walicka-Maimone
Music by: Theodore Shapiro
MPAA Rating: R for language.
Studio: Sony Pictures Classics
Release Date: January 18, 2014
Taglines: Love Accidentally.
Take Care” is a comedy about a woman (Leslie Bibb), who returns home from the hospital after getting hit by a car, only to realize no one wants to take care of her. After being brushed off by her sister, (Nadia Dajani), best friend, (Marin Ireland) and neighbor, (Michael Stahl-David) she reluctantly asks an ex-boyfriend, (Thomas Sadoski) to help her.
When a car crash leaves Frannie immobilized, she is brushed off by everyone she can count on. With nowhere else to turn, Frannie reluctantly calls her ex, Devon, for help. It isn’t before long that old wounds emerge and are made worse when Devon’s crazy new girlfriend shows up.
Directed by: Liz Tuccillo
Starring: Leslie Bibb, Thomas Sadoski, Betty Gilpin, Michael Stahl David, Nadia Dajani, Marin Ireland, Elizabeth Rodriguez, Tracee Chimo, Michael Godere
Screenplay by: Liz Tuccillo
Production Design by: Jacqueline Jacobson Scarfo
Cinematography by: Anne Etheridge
Film Editing by: John Carhart
Costume Design by: Sarah Mae Burton
Set Decoration by: Anna Pasz
Music by: Elegant Too
Studio: Phase 4 Films
Release Date: December 5, 2014
Taglines: Survival. Resilience. Redemption.
Academy Award winner Angelina Jolie directs and produces Unbroken, an epic drama that follows the incredible life of Olympian and war hero Louis Louie Zamperini (Jack O’Connell) who, along with two other crewmen, survived in a raft for 47 days after a near-fatal plane crash in WWII-only to be caught by the Japanese Navy and sent to a prisoner-of-war camp.
Adapted from Laura Hillenbrand’s (Seabiscuit: An American Legend) enormously popular book, Unbroken brings to the big screen Zamperini’s unbelievable and inspiring true story about the resilient power of the human spirit.
Starring alongside O’Connell are Domhnall Gleeson and Finn Wittrock as Phil and Mac-the airmen with whom Zamperini endured perilous weeks adrift in the open Pacific-Garrett Hedlund and John Magaro as fellow POWs who find an unexpected camaraderie during their internment, Alex Russell as Zamperini’s brother, Pete, and in his English-language feature debut, Japanese actor Miyavi as the brutal camp guard known only to the men as The Bird.
Unbroken is an American historical biographic war-sports drama film, produced and directed by Angelina Jolie, and based on the 2010 non-fiction book by Laura Hillenbrand, Unbroken: A World War II Story of Survival, Resilience, and Redemption. The film revolves around the life of USA Olympian and athlete Louis “Louie” Zamperini, portrayed by Jack O’Connell. Zamperini survived in a raft for 47 days after his bomber was downed in World War II, then was sent to a series of prisoner of war camps.
The film had its world premiere in Sydney on November 17, 2014, and received a wide release in the United States on December 25, 2014. The film grossed $115.6 million in North America, with a worldwide total of over $161 million.
Directed by: Angelina Jolie
Starring: Finn Wittrock, Jai Courtney, Domhnall Gleeson, Jack O’Connell, Morgan Griffin, Maddalena Ischiale
Screenplay by: Joel Coen, Ethan Coen
Production Design by: Jon Hutman
Cinematography by: Roger Deakins
Film Editing by: William Goldenberg, Tim Squyres
Costume Design by: Louise Frogley
Set Decoration by: Lisa Thompson
Art Direction by: Bill Booth, Jacinta Leong, Charlie Revai
Music by: Alexandre Desplat
MPAA Rating: PG-13 for war violence including intense sequences of brutality, and for brief language.
Studio: Universal Pictures
Release Date: December 25, 2014
Taglines: Once Brothers, Now Enemies.
Epic adventure Exodus: Gods and Kings is the story of one man’s daring courage to take on the might of an empire. Using state of the art visual effects and 3D immersion, Scott brings new life to the story of the defiant leader Moses as he rises up against the Egyptian Pharaoh Ramses, setting 600,000 slaves on a monumental journey of escape from Egypt and its terrifying cycle of deadly plagues.
Exodus: Gods and Kings is a biblically-inspired epic film directed by Ridley Scott. It was written by Adam Cooper, Bill Collage, Jeffrey Caine and Steven Zaillian. The film stars Christian Bale, Joel Edgerton, John Turturro, Aaron Paul, Ben Mendelsohn, María Valverde, Sigourney Weaver, Ghassan Massoud, Golshifteh Farahani and Ben Kingsley. It is a loose interpretation of the story of the exodus of the Hebrews from Egypt as led by Moses and related in the Book of Exodus.
Shooting of the film began in October 2013 in Almería. Additional filming was scheduled at Pinewood Studios, England. Shooting begun on October 22 in Tabernas (Almería) as the first and main location is Ouarzazate (Morocco), and in Sierra Alhamilla (Almería). The Red Sea scene was filmed at a beach on Fuerteventura, one of the Canary Islands off the northwest coast of Africa. Shooting also reportedly took place in Almeria and in Fuerteventura and lasted 74 days.
About the Story
In 1300 BC, Moses, a general and member of the royal family, prepares to attack the Hittite army with Prince Ramesses. A High Priestess divines a prophecy from animal intestines, which she relates to Ramesses’ father, Seti I. He tells the two men of the prophecy, in which one (of Moses and Ramesses) will save the other and become a leader. During the attack on the Hittites, Moses saves Ramesses’ life, leaving both men troubled.
Later, Moses is sent to the city of Pithom to meet with the Viceroy Hegep, who oversees the Hebrew slaves. Upon his arrival, he encounters the slave Joshua, who is the descendant of Joseph, and is appalled by the horrific conditions of the slaves. Shortly afterwards, Moses meets Nun, who informs him of his true lineage; he is the child of Hebrew parents who was sent by his sister Miriam to be raised by Pharaoh’s daughter. Moses is stunned at the revelation and leaves angrily. However, two Hebrews also overhear Nun’s story and report their discovery to Hegep.
Seti dies soon after Moses’ return to Memphis, and Ramesses becomes the new Pharaoh (Ramesses II). Hegep arrives to reveal Moses’ true identity, but Ramesses is conflicted about whether to believe the story. At the urging of Queen Tuya, he interrogates the servant Miriam, who denies being Moses’ sister. When Ramesses threatens to cut off Miriam’s arm, Moses comes to her defense, revealing he is a Hebrew.
Although Tuya wants Moses to be put to death, Ramesses decides to send him into exile. Before leaving Egypt, Moses meets with his adopted mother and Miriam, who refer to him by his birth name of Moishe. Following a journey into the desert, Moses comes to Midian where he meets Zipporah and her father, Jethro. Moses becomes a shepherd, marries Zipporah and has a son Gershom.
About the Production
On March 15, 2013, It has ben eported Ridley Scott wanted Christian Bale to star in the film; in August he confirmed the role to be Moses himself. On the same day, Joel Edgerton joined the cast to play Ramses and production was set to begin in September. The studio announced the casting calls in Spain’s Almería and Pechina for 3,000 to 4,000 extras and with another 1,000 to 2,000 extras on the island of Fuerteventura. On August 27, Aaron Paul joined the film to play Joshua. Sigourney Weaver, Ben Kingsley and John Turturro were still in talks about joining the cast. On March 27, 2014, the studio changed the title of the film to Exodus: Gods and Kings.
Exodus set in Pechina, Andalusia, Spain. Shooting of the film began in October 2013 in Almería. Additional filming was scheduled at Pinewood Studios, England. Shooting begun on October 22 in Tabernas (Almería) as the first and main location, and in Sierra Alhamilla (Almería). In Fuerteventura, Canary Islands, Ridley Scott shot additional footage in Pájara and Antigua.
Exodus: Gods and Kings
Directed by: Ridley Scott
Starring: Exodus: Christian Bale, Joel Edgerton, John Turturro, Indira Varma, Aaron Paul, Ben Mendelsohn, Sigourney Weaver, Ben Kingsley, María Valverde, Hiam Abbass
Screenplay by: Adam Cooper, Bill Collage
Production Design by: Arthur Max
Cinematography by: Dariusz Wolski
Film Editing by: Billy Rich
Costume Design by: Janty Yates
Set Decoration by: Celia Bobak
Art Direction by: Ravi Bansal, Alex Cameron, Alejandro Fernández, Gavin Fitch, Matthew Gray, Marc Homes, Luigi Marchione, Óscar Sempere, Ashley Winter, Matt Wynne
Music by: Alberto Iglesias
MPAA Rating: PG-13 for violence including battle sequences and intense images.
Studio: 20th Century Fox
Releas Dat: December 12, 2014
A troubled young man and his straight-laced niece embark on a thrilling odyssey through New York City in this heartrending drama based on an Oscar-winning short. As his life hits rock bottom, 20-something Richie decides to end it all, only to have his half-hearted suicide attempt interrupted by an urgent request from his sister to babysit her precocious daughter. So begins a madcap tour of Manhattan after dark, as uncle and niece find unexpected bonds in the unlikeliest of places.
Before I Disappear is an American drama film directed by Shawn Christensen. The film is a feature-length adaptation of the 2012 Oscar-winning short film, Curfew. The film had its world premiere at South by Southwest Film on March 10, 2014. The film was acquired for distribution by IFC Films on August 5, 2014 and released on November 28, 2014
About the Story
In New York City, Richie (Shawn Christensen), a downtrodden young man whose girlfriend, Vista (Isabelle McNally), recently disappeared, discovers the corpse of a girl who died from a heroin overdose while he is cleaning bathroom stalls at a nightclub. The club owner, Bill (Ron Perlman), arranges for her body to be removed without notifying the authorities.
At his apartment, Richie attempts suicide by cutting one of his wrists in a bathtub, when he receives a call from his estranged sister, Maggie (Emmy Rossum), asking him to look after her eleven-year-old daughter, Sophia (Fátima Ptacek). Richie goes to her school, where she recites an Emily Dickinson poem in English and Mandarin. Richie takes her to her apartment before heading home, where he attempts suicide by drug overdose. Richie hallucinates a drug dealer calling him on the phone, threatening him by saying he is in the building. Sophia calls, however, and informs Richie that her mother has not returned home.
Richie arrives at the lobby of Maggie’s apartment, where he discovers that the drugs he took were Zolafren, intended for menopause. Outside Maggie’s apartment, a suspicious-looking woman asks Richie about his sister’s whereabouts. After entering, Maggie calls the apartment, indicating to Richie that she is in central booking and upon hearing of the woman, orders Richie to sneak Sophia out of the building.
Richie takes Sophia to a bowling alley where he works. Richie calls central booking, who inform him that his sister was arrested and is awaiting arraignment at 4:30 AM. The owner of the bowling alley, Gideon (Paul Wesley), has Richie brought to the office. Gideon informs him that his girlfriend has been missing for a day, with her last whereabouts being at Bill’s nightclub, and produces a photograph, which Richie recognizes as being of the dead woman he saw the night before. Richie denies knowledge of her whereabouts. He calls Bill, who tells him to come in at 1:30 AM to discuss the situation.
Before I Dissapear
Directed by: Shawn Christensen
StarringB Emmy Rossum, Ron Perlman, Paul Wesley, Fatima Ptacek, Shawn Christensen, Stephanie Kurtzuba, J. Elaine Marcos, Isabelle McNally, Jacqui Denski
Screenplay by: Shawn Christensen
Production Design by: Scott Kuzio
Cinematography by: Daniel Katz
Film Editing by: Andrew Napier, Damon Russell
Costume Design by: Mikaela Wohl
Set Decoration by: Nora Mendis
Art Direction by: Fletcher Chancey
Music by: Darren Morze
MPAA Rating: None.
Studio: IFC Films
Release Date: November 28, 2014
Having recently lost her sight, Ingrid retreats to the safety of her home – a place where she can feel in control, alone with her husband and her thoughts. But Ingrid’s real problems lie within, not beyond the walls of her apartment, and her deepest fears and repressed fantasies soon take over.
Blind is a Norwegian drama film written and directed by Eskil Vogt. The film premiered in-competition in the World Cinema Dramatic Competition at 2014 Sundance Film Festival on January 19, 2014. Vogt received the Screenwriting Award for Blind at the 2014 Sundance Film Festival. The film was later screened in the Panorama section of the 64th Berlin International Film Festival. The film has been nominated for the 2014 Nordic Council Film Prize.
Blind received positive reviews upon its premiere at the 2014 Sundance Film Festival. Review aggregator Rotten Tomatoes reports that 100% of 20 film critics have given the film a positive review, with a rating average of 7.7 out of 10.
Scott Foundas of Variety, said in his review that “Ace Norwegian scribe Eskil Vogt makes a sparkling directorial debut with an alternately tragic and playful tale of a blind authoress.” Boyd van Hoeij in his review for The Hollywood Reporter called the film “An ambitiously constructed screenplay translates into a film that’s easier to admire than to love.”
William Bibbiani from CraveOnline praised the film by saying that “Blind exists as a nebulous construction, ever shifting but ultimately centered around a lovely and funny love-quadrangle with curious characters and consistent insight. The film’s curious blend of the sensual and the cerebral manages to engage even when you begin to lack confidence about whether anything is actually happening at all.”
Review for Bilnd Movie
A Norwegian woman who has lost her sight prefers to stay within the confines of her own home, memories and thoughts in Blind, the skillful if a tad cold directorial debut of screenwriter Eskil Vogt (Joachim Trier’s Reprise and Oslo, August 31st).
Though the film’s structure makes it very hard to warm to the protagonist until very late into the proceedings, Vogt finally manages to not only suggest what the world of a blind person must be like in terms of the countless everyday impracticalities but also what it could do to the inner life of a thirty-something woman who’s married and would’ve liked to have children.
The blind Ingrid (Ellen Dorrit Petersen) opens the film in voice-over, conjuring up the image of a tree before the camera shows what she’s talking about. “Places are harder to remember,” she continues, describing how it helps if she’s frequented them often before she lost her eyesight. The film then shows at length what should in theory be a facile domestic task: making some tea and then sitting down to drink it. Already, Vogt is implying with the minute way of observing the action that it pays for the viewer to pay close attention to details.
Audiences will need to do just that, as the narrative, much of it accompanied by Ingrid’s voice-over, keeps introducing new material that’ll inspire double takes or necessitate backtracking through the story.
Ingrid introduces us to the lonely and somewhat portly Einar (Marius Kolbenstvedt), who is addicted to fetish-dominated porn (shown in all its explicit glory) though, as Ingrid remarks, “the Internet can’t tell him how it feels to touch those bodies.” Einar often spies on the lonely young woman who lives in the building across the street, Elin (Vera Vitali), a divorced Swedish mother whose shared custody of her child has made her a prisoner of Norway. In an early bravura sequence, Einar provides the sound to the mute image he sees of Elin in her flat by switching to the same TV channel and eating the same snack. It’s an early indication of the importance of sound in this story narrated by a blind woman.
There’s also the married architect, Morten (Henrik Rafaelsen), qualified by his wife as extremely boring, though apparently not boring enough to secretly communicate with Elin via Internet chat. The film’s first half toggles between the stories of these three characters and the narrator, as it gradually emerges that Ingrid, when home alone, has taken to writing stories and that not everything we see is necessarily real, as a meeting of old student buddies Morten and Einar at a café suggests when, suddenly, the background behind one of the characters suggests he’s been miraculously transported to another place though the conversation between the two simply seems to continue.
Directed by: Eskil Vogt
Starring: Ellen Dorrit Petersen, Henrik Rafaelsen, Vera Vitali, Marius Kolbenstvedt, Stella Kvam Young, Nikki Butenschøn
Screenplay by: Eskil Vogt
Production Design by: Jørgen Stangebye Larsen
Cinematography by: Thimios Bakatakis
Film Editing by: Jens Christian Fodstad
Costume Design by: Ellen Dæhli Ystehede
Set Decoration by: Solfrid Kjetså
Music by: Henk Hofstede
Release Date: January 19, 2014