Russell Tovey, Simon Fisher Turner, Travis Alabanza and Neil Bartlett are teaming up to reimagine the director’s final film – a narrated meditation over a static blue screen – as a ‘thank you’ to the LGBTQ+ hero
Neil Bartlett vividly remembers his first glimpse of Derek Jarman’s work: covertly watching the film Sebastiane. “How I managed to do that without my mum and dad finding out,” he marvels. “I was captivated. That’s when Derek became public property – Mary Whitehouse and her cohorts were frothing at the mouth. And my young man’s cultural gaydar went: ‘Oh, what’s this?’”
As a painter, writer and film-maker, Jarman was a unique figure in British culture: an icon of the Thatcher years who defied all they stood for. He never hid his sexuality, and nor did he hide his Aids diagnosis, despite the snarling hatred shown towards people living with the disease.
Neil Bartlett vividly remembers his first glimpse of Derek Jarman’s work: covertly watching the film Sebastiane. “How I managed to do that without my mum and dad finding out,” he marvels. “I was captivated. That’s when Derek became public property – Mary Whitehouse and her cohorts were frothing at the mouth. And my young man’s cultural gaydar went: ‘Oh, what’s this?’”
As a painter, writer and film-maker, Jarman was a unique figure in British culture: an icon of the Thatcher years who defied all they stood for. He never hid his sexuality, and nor did he hide his Aids diagnosis, despite the snarling hatred shown towards people living with the disease.
- 5/2/2023
- by David Jays
- The Guardian - Film News
Anya Taylor-Joy (“The Queen’s Gambit”) and Josh O’Connor (“The Crown”) sat down for a virtual chat for Variety‘s Actors on Actors. For more, click here.
Anya Taylor-Joy and Josh O’Connor, who appeared together in the latest movie adaptation of “Emma” in 2020, both broke out as Netflix stars during the pandemic. In “The Queen’s Gambit,” Taylor-Joy electrified viewers with her portrayal of Beth Harmon, a fictional 1950s global chess champion with Bobby Fischer’s mind and Audrey Hepburn’s style. O’Connor, coming off playing Jane Austen’s Mr. Elton, made a much less appealing suitor in “The Crown” — his inconsolable Prince Charles scowls through his marriage to Diana, illustrating the exorbitant cost of being a royal.
Josh O’Connor: So probably the last time I saw you was on “Emma.” It feels like that was a long time ago, but we chat. The most active I am on...
Anya Taylor-Joy and Josh O’Connor, who appeared together in the latest movie adaptation of “Emma” in 2020, both broke out as Netflix stars during the pandemic. In “The Queen’s Gambit,” Taylor-Joy electrified viewers with her portrayal of Beth Harmon, a fictional 1950s global chess champion with Bobby Fischer’s mind and Audrey Hepburn’s style. O’Connor, coming off playing Jane Austen’s Mr. Elton, made a much less appealing suitor in “The Crown” — his inconsolable Prince Charles scowls through his marriage to Diana, illustrating the exorbitant cost of being a royal.
Josh O’Connor: So probably the last time I saw you was on “Emma.” It feels like that was a long time ago, but we chat. The most active I am on...
- 6/15/2021
- by Ramin Setoodeh
- Variety Film + TV
Bill Traylor was born into slavery on a Benton, Alabama cotton plantation in 1853, but he died 96 years later as an artist then forgotten by history not far away in Montgomery in 1949. , and “Bill Traylor: Chasing Ghosts” effectively manages to do so in a punchy 70 minutes filled with a mix of clever, theatrical flourishes that don’t eclipse the artist himself. The film offers an insightful window into the jagged wonder of the bracingly modernist drawings he etched onto scraps of cardboard in his late 80s, when he was at the end of his life, looking back on days on the plantation, and on a lifetime spanning the eras of slavery, Reconstruction, and Jim Crow segregation.
Why was Traylor mostly omitted from history for so long? The framework of American Black art in the mid-20th century, this documentary argues, didn’t exist in any robust way. But “Chasing Ghosts” isn...
Why was Traylor mostly omitted from history for so long? The framework of American Black art in the mid-20th century, this documentary argues, didn’t exist in any robust way. But “Chasing Ghosts” isn...
- 4/16/2021
- by Ryan Lattanzio
- Indiewire
No one makes movies quite like French husband-and-wife team Hélène Cattet and Bruno Forzani. The directing duo first made a splash in 2009 with “Amer,” a postmodern homage to Italian giallo films that was followed up by another giallo homage, 2013’s “The Strange Color of Your Body’s Tears.” Both films are filled with a stunning blend of eye-popping and provocative visuals, a kaleidoscope of colors that evokes Dario Argento’s sumptuous technicolor nightmares, woven together with scores lifted from giallos from yesteryear. With this intoxicating cinematic formula, Cattet and Forzani quickly became must-watch genre filmmakers.
Rather than sticking with this successful formula, they branched out with their latest film, “Let the Corpses Tan,” putting their own spin on the western. “Let the Corpses Tan” takes place on a sun-soaked, isolated island hideaway, where a grizzled thug named Rhino (Stéphane Ferrara) and his gang plan to hide away with an eccentric artist,...
Rather than sticking with this successful formula, they branched out with their latest film, “Let the Corpses Tan,” putting their own spin on the western. “Let the Corpses Tan” takes place on a sun-soaked, isolated island hideaway, where a grizzled thug named Rhino (Stéphane Ferrara) and his gang plan to hide away with an eccentric artist,...
- 9/13/2018
- by Jamie Righetti
- Indiewire
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