Following her Best Actress win at Cannes Film Festival last year, we knew great things were destined for Renate Reinsve, but the question of what The Worst Person in the World star will do next was up in the air. Now, it’s finally been announced.
Deadline reports Reinsve will star alongside Lily-Rose Depp and Squid Game breakout Hoyeon Jung in The Governess, the second feature from Joe Talbot (The Last Black Man in San Francisco). Reteaming with A24, the film is an adaptation of Anne Serre’s 2018 novel, following “three rebellious governesses who upend the household they work in—inspiriting the minds of the boys in their care, igniting the imaginations of the bohemian couple who employ them and abandoning their charges for erotic adventures.”
Adapted by Talbot and Olivia Gatwood, see the book’s full synopsis below via Amazon:
In a large country house shut off from the world by a gated garden,...
Deadline reports Reinsve will star alongside Lily-Rose Depp and Squid Game breakout Hoyeon Jung in The Governess, the second feature from Joe Talbot (The Last Black Man in San Francisco). Reteaming with A24, the film is an adaptation of Anne Serre’s 2018 novel, following “three rebellious governesses who upend the household they work in—inspiriting the minds of the boys in their care, igniting the imaginations of the bohemian couple who employ them and abandoning their charges for erotic adventures.”
Adapted by Talbot and Olivia Gatwood, see the book’s full synopsis below via Amazon:
In a large country house shut off from the world by a gated garden,...
- 4/7/2022
- by Jordan Raup
- The Film Stage
An aura of pure eccentricity billows off the new film by Québécois provocateur Denis Côté, like a fug of stale-smelling nitrous oxide. Akin to his prior work only in its magpie-like experimental sensibility, Social Hygiene finds the festival mainstay delving into the static visuals of filmed-theatre presentations, but with a postmodern streak that collapses historical eras and cinematic conventions at will. All through its compact but still satisfying 75-minute runtime, the viewer is liable to ask, “What on earth is this?”, and by its finale, this unanswered query feels rewarding as opposed to exasperating. But you can still feel Côté chuckling behind our backs.
Social Hygiene has an austerity of means initiated by a modest budget, although Côté has opted for this to harness the experimentation it frees up. So we have the majority of the action taking place in around half-a-dozen set-ups of static master shots, all photographed from...
Social Hygiene has an austerity of means initiated by a modest budget, although Côté has opted for this to harness the experimentation it frees up. So we have the majority of the action taking place in around half-a-dozen set-ups of static master shots, all photographed from...
- 3/2/2021
- by David Katz
- The Film Stage
Antonin stands in lovely grass fields and proclaims his dissent. The world, embodied by the three women in his life, want him to buckle under, get a decent job (gainfully employed sis Solveig), remake his marriage (long-suffering wife Eglantine) or make the movie he’s always talking about (love obsession Cassiopée). Another woman, dressed in pink, turns out to be his tax inspector. But Antonin’s having nothing of it. He prefers to sleep in a friend’s car and get by robbing tourists.
Antonin and other characters stand at a healthy social distance of far more than two meters. There’s a hint of wind in many scenes. But the idea for “Social Hygiene” came to Côté way before Covid-19, he explains. The highest profile director at this year’s Berlinale Encounters hated to Variety about his latest feature before its world premiere on March 3. Cote, in interview, flows.
Antonin and other characters stand at a healthy social distance of far more than two meters. There’s a hint of wind in many scenes. But the idea for “Social Hygiene” came to Côté way before Covid-19, he explains. The highest profile director at this year’s Berlinale Encounters hated to Variety about his latest feature before its world premiere on March 3. Cote, in interview, flows.
- 3/1/2021
- by Emiliano Granada and John Hopewell
- Variety Film + TV
Camilo Restrepo's Impression of a War (2015) is playing August 10 - September 8, 2017 on Mubi in many countries around the world as part of the series Direct from Locarno.Like Shadows Growing as the Sun Goes DownThe characters in Camilo Restrepo’s films make art in the face of death. They are dancers, jugglers, tattoo artists, painters, and singers who collectively rise to exorcise hardships. Their journeys are chronicled in lucid, elliptical fashion by an artist whose handheld pursuits of people endow them with explosive and ethereal impressions of force and power.Restrepo was born in 1975 in Colombia, where he lived until a scholarship took him to Europe to study painting. His first three films were shot in his birth country on Super 8 and 16mm and additionally utilized digital archival materials to tell parts of the nation’s recent past in relation to its present time; his two subsequent films were...
- 8/21/2017
- MUBI
Since the breakout success of “Marcel the Shell With Shoes On,” filmmaker Dean Fleischer-Camp has become one of the most original online filmmakers working today. His latest project, “David,” released this month on Super Deluxe, is a dark comedy about a man who learns he only has five weeks to live.
“David” stars Nathan Fielder (“Nathan For You”) as the title character, and Jenny Slate (“Obvious Child”) as his ex-wife. On the surface, this star power is wasted behind the robotic inflections and blank stares that create the eerie tone in “David,” but creating such an idiosyncratic world is no easy task. It takes precision and clarity of vision to fully realize and sustain a unique aesthetic.
Read More: ‘David’ Review: ‘Marcel The Shell’ Meets ‘Twin Peaks’ In Dean Fleischer-Camp’s Surreal Series Starring Nathan Fielder
The experience of watching “David” is not unlike that of watching an experimental film; except “David” is funny,...
“David” stars Nathan Fielder (“Nathan For You”) as the title character, and Jenny Slate (“Obvious Child”) as his ex-wife. On the surface, this star power is wasted behind the robotic inflections and blank stares that create the eerie tone in “David,” but creating such an idiosyncratic world is no easy task. It takes precision and clarity of vision to fully realize and sustain a unique aesthetic.
Read More: ‘David’ Review: ‘Marcel The Shell’ Meets ‘Twin Peaks’ In Dean Fleischer-Camp’s Surreal Series Starring Nathan Fielder
The experience of watching “David” is not unlike that of watching an experimental film; except “David” is funny,...
- 9/20/2016
- by Jude Dry
- Indiewire
It’s a cliche to say that there aren’t many filmmakers quite like insert-director’s name, but in the case of the American identical directing duo known as the Quay Brothers, there truly isn’t another voice in the world of cinema that is quite like theirs.
For over 30 years, the pair of Pennsylvania-born filmmakers have been turning out some of cinema’s most original and breathtakingly unforgettable feature films, mixing a love for Eastern European literature with an equally deep affinity for puppetry and stop motion animation. Marked by a dark sense of humor and an assured hand in mixing live action and animation, the Brothers Quay have, with films like The Piano Tuner Of Earthquakes, become some of the most interesting names in the world of film, genre be damned.
However, as the medium of short film becomes more and more widespread and well regarded, a new...
For over 30 years, the pair of Pennsylvania-born filmmakers have been turning out some of cinema’s most original and breathtakingly unforgettable feature films, mixing a love for Eastern European literature with an equally deep affinity for puppetry and stop motion animation. Marked by a dark sense of humor and an assured hand in mixing live action and animation, the Brothers Quay have, with films like The Piano Tuner Of Earthquakes, become some of the most interesting names in the world of film, genre be damned.
However, as the medium of short film becomes more and more widespread and well regarded, a new...
- 8/19/2015
- by Joshua Brunsting
- CriterionCast
DVD Release Date: July 24, 2012
Price: DVD $29.99
Studio: Zeitgeist
Alice Krige readies for her students as Institute Benjamenta.
Following more than a decade of creating animated short film, The Brothers Quay made feature film directorial debut with 1995’s cult drama Institute Benjamenta, or This Dream People Call Human Life.
Offering the trademark fantastical feel that distinguishes the Quays’ well-known shorts, Institute Benjamenta concerns a dilapidated, moribund boarding school for the training of servants, whose curriculum consists of the endless repetition of a single lesson. Jakob (Mark Rylance, Angels and Insects) enrolls at the Institute, and becomes gradually embroiled in the world of the enigmatic siblings who run the school: the sadistic Johannes Benjamenta (Gottfried John, TV’s Berlin Alexanderplatz) and his sorrowful sister Lisa (Alice Krige, The Sorcerer’s Apprentice). Johannes soon notes that trouble has been brewing ever since the arrival of Jakob. Could this new student be the cause…...
Price: DVD $29.99
Studio: Zeitgeist
Alice Krige readies for her students as Institute Benjamenta.
Following more than a decade of creating animated short film, The Brothers Quay made feature film directorial debut with 1995’s cult drama Institute Benjamenta, or This Dream People Call Human Life.
Offering the trademark fantastical feel that distinguishes the Quays’ well-known shorts, Institute Benjamenta concerns a dilapidated, moribund boarding school for the training of servants, whose curriculum consists of the endless repetition of a single lesson. Jakob (Mark Rylance, Angels and Insects) enrolls at the Institute, and becomes gradually embroiled in the world of the enigmatic siblings who run the school: the sadistic Johannes Benjamenta (Gottfried John, TV’s Berlin Alexanderplatz) and his sorrowful sister Lisa (Alice Krige, The Sorcerer’s Apprentice). Johannes soon notes that trouble has been brewing ever since the arrival of Jakob. Could this new student be the cause…...
- 4/26/2012
- by Laurence
- Disc Dish
Musicologist and writer with radical views on education
Christopher Small, who has died aged 84, influenced successive generations of students, teachers and musicologists through his books Music, Society, Education (1977), Music of the Common Tongue (1987) and Musicking (1998). He coined the title of the latter in the belief that music was a verb, not a noun, a process of performance and not simply a product such as a score or a recording. Small considered the process of musicking to be an instrument of socialisation in all cultures and "a way in which we explore, affirm and celebrate our concepts of ideal relationships … in ways that talking or reading can never allow us to do".
The youngest of three children of a dentist and a former schoolteacher, Small was born in Palmerston North, New Zealand. His maternal grandfather had been a choral society conductor in the 1890s, but Christopher's parents were determined that he should become a doctor.
Christopher Small, who has died aged 84, influenced successive generations of students, teachers and musicologists through his books Music, Society, Education (1977), Music of the Common Tongue (1987) and Musicking (1998). He coined the title of the latter in the belief that music was a verb, not a noun, a process of performance and not simply a product such as a score or a recording. Small considered the process of musicking to be an instrument of socialisation in all cultures and "a way in which we explore, affirm and celebrate our concepts of ideal relationships … in ways that talking or reading can never allow us to do".
The youngest of three children of a dentist and a former schoolteacher, Small was born in Palmerston North, New Zealand. His maternal grandfather had been a choral society conductor in the 1890s, but Christopher's parents were determined that he should become a doctor.
- 9/19/2011
- by Dave Laing
- The Guardian - Film News
Werner Herzog's presence in his own films – including the new Cave of Forgotten Dreams – marks him out as a romantic, eager to experience what he's trying to understand
Few film directors seem as directly present in their work as Werner Herzog. Not only does he have an instantly recognisable aesthetic, but unlike most European auteurs of his generation, he has become a familiar face in front of the camera. We are so accustomed to seeing him – playing football with Peruvian indians, arguing with Klaus Kinski, eating his own shoe at Chez Panisse – that we might mistake him for just another "personality", one of the celebrities who parade past at various scales, from cellphone to Times Square, on our screens. Directors are required to be showmen, particularly directors of documentaries, who always have to hustle to finance and screen their work. But Herzog's presence, his insistence on being in the middle of things,...
Few film directors seem as directly present in their work as Werner Herzog. Not only does he have an instantly recognisable aesthetic, but unlike most European auteurs of his generation, he has become a familiar face in front of the camera. We are so accustomed to seeing him – playing football with Peruvian indians, arguing with Klaus Kinski, eating his own shoe at Chez Panisse – that we might mistake him for just another "personality", one of the celebrities who parade past at various scales, from cellphone to Times Square, on our screens. Directors are required to be showmen, particularly directors of documentaries, who always have to hustle to finance and screen their work. But Herzog's presence, his insistence on being in the middle of things,...
- 4/18/2011
- by Hari Kunzru
- The Guardian - Film News
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