We had the chance to speak with Laurent Lafitte, star of the upcoming French film See You Up There and Elle. We spoke about how he got the role, Albert Dupontel’s unique directional style and the importance of seeing the film in a cinema.
Despite a hopeful change of pace for Jim Carrey, Dark Crimes doesn’t deliver, suffering from choppy editing, a lack of dynamic characters, and a generic murder mystery story.
The Seagull appears to be a faithful adaptation of the play of the same name, trusting that the source material will be enough to keep audiences engaged without needing to updating it to a contemporary setting.
In this first part of Fantasy Science, our resident physicist Radha Pyari Sandhir explains wormholes and discusses how they are portrayed in film, and explains what the real life science behind them is.
![Were you familiar with Mary Magdalene before you read the script? Garth Davis: Not in a deep, detailed way, but in the movies I have seen before and in the way everyone kind of understands. When I read this it was a completely different version, so that got me curious. I started to investigate it in a deeper way and found it astonishing it has taken us so long to put that story out there in a more popular light. Extraordinary really. It was definitely different than the story I grew up reading in the bible. I remember when the Passion of the Christ came out, an actor got struck by lightening during shooting. Anything like that happen on set for you? Garth Davis: There were a couple of pretty amazing moments. When we were shooting the scene of the exorcism, where the family was exorcising Mary in the Sea of Galilee, just before we were about to walk into the water the wind just completely stopped. Completely still, almost on cue, right? Then suddenly lightening appeared all over the ocean. It was unbelievable! So much so, that when shooting the scene I had to paint it out. It just felt like a trope, you know? People would have thought it was a visual effect. [laughs] Wow!Garth Davis: The other one was during a scene on the beach of Magdala. I did a drawing of the location and I wanted to add some smoke in the background. So we went down to the Recee, and as I was standing there, smoke emerged exactly where I was drawing it (laughs). It was one of those moments where you have to ask if something was guiding us in some way.](https://www.filminquiry.com/wp-content/uploads/2018/03/MV5BNDc5ODE4OTQxNl5BMl5BanBnXkFtZTgwODEzOTcyNDM_V1_SY1000_CR0014991000_AL_.jpg)
Garth Davis proves once again his skills behind the camera can help uplift middlebrow material, but only to a certain extent, Mary Magdalene significantly undercut by the increased familiarity and conventional storytelling.
Shawn Glinis reviews the two films he saw on the Monday of SXSW: Bo Burnham’s Eighth Grade and Bart Layton’s American Animals.
A Wrinkle in Time has many touching and beautiful moments, in large part due to the incredible and relatable performance of its young star. However, the heavy-handed direction and sugary-sweet story may wear on adults used to more nuanced fare.
You can’t fault EVERY DAY for a lack of ambition – however, the film feels watered down by a breezy running time that doesn’t allow for a deeper exploration of the body swap conceit.
The screenplays of A History of Violence and Rambo: First Blood share similarities in their stories, such as centering on violent men who are confronted by their past, and how each of them deal with this collision of their two worlds.
Demon House has a crawling sense of escalating paranoia, with witness accounts and medical testimonials, Zak Bagans presents a documentary that will have you believing this just might have happened.
The Death and Life of Marsha P. Johnson is a rewarding experience and a tragic story filled with heartbreaking real-life characters, but their own humor and joy helps to balance out the very grim tidings.
On Sunday, Shawn Glinis attended Barry Jenkins’ keynote speech, a conversation between Richard Linklater and french auteur Olivier Assayas and saw several films.
Amy Adrion’s must-see documentary HALF THE PICTURE features many prominent women filmmakers who open up about their experiences with discrimination in Hollywood.
Disguised simply as a small-scale action horror film, Mohawk becomes a good focal point for something much larger than itself, which enables its flaws to be more readily overlooked.
Lynn Shelton is bringing more wandering characters to the big screen, letting them bounce off each other until havoc breaks loose.