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Women Talking Desaturation in cinema film photography, never like this year, has become a trend. In particular, Sarah Polley's Women Talking and Antoine Fuqua's Emancipation present themselves as dark films where the color seems to have completely dried out.
Women Talking cinematographers of their respective films made this choice with the directors, adapting not only to the type of story to be told but, above all, to the context and time in which they were to be set. Although they are two different films, one involving a group of women and therefore almost forced to a choral image while the other concentrated on a single character U.S, both directors see something more in their work.
The visual side of the film has become almost more important than eliciting reactions from many masters of the trade like Roger Deakins, who has admitted how depressing Hollywood has evolved on this front. "Sarah wanted the images to be as epic as the decision these women have to make," said Luc Montpellier, the mastermind behind the photography of Women Talking. "We wanted the audience to feel a little off-kilter and not quite sure what period it was taking place. We hope it kept the viewer a little more engaged and connected to the story," he explained.
Different perspectives that of Richardson and Legato, directors of photography of Emancipation, who, according to what they said, were convinced that with more color, the film was "too good" compared to the brutality of the story it was trying to tell. "We found that the solid color created too much beauty instead of representing the harsh reality of this hellish landscape," they explained. "By adding a little color, we had the best of both worlds. It wasn't as simple as a general desaturation, but it was like artistically changing and altering the perception of color density as needed."
Almost a year after the infamous slap to Chris Rock, Antoine Fuqua's film marks the return of Will Smith, who defined Emancipation as poetic perfection. What do you think? Tell us about it in the comments!.
This is Sarah Polley. You have been reading up on the auteur theory lately, and you question whether one person can or should ever take credit for a film. "Even with the most obnoxious directors in the world, it's always a collaboration," she says. Toronto-born Polley grew up a child prodigy in productions like Terry Gilliam's The Adventures of Baron Munchausen, which required long work hours in conditions ranging from uncomfortable to dangerous. Having previously directed a few feature films, the actress knew she wanted to "change the rules of the game" with her new movie. "No doubt I worked much better as an actress when I felt confident and happy," she says. "People are different when they feel that someone cares about how they are."
Sarah Polley's new film Women Talking premiered at the Telluride Film Festival in Colorado. She and her cast often commuted as a group between brunches in the mountains, other previews, and the occasional bathroom break. Such camaraderie for a Hollywood film is a rarity, and it was quite a spectacle.
Polley decided to make the film after reading the novel Women Talking (2018) by Miriam Toews, which recounts the experiences of women in a Bolivian Mennonite colony in the 2000s who were regularly drugged and raped in their sleep by men from the community (uncles, brothers, cousins, neighbors). When they awoke in pain and bleeding, they were told it was all a figment of their imagination or the work of ghosts or the devil.
When the women finally hide in a barn, they acknowledge the reality of the horrific assaults and evaluate the men's ability to change and forgive, working to build a better future for themselves, strong and united. Polley saw the story as an epic. She heard a powerful soundtrack, occasionally broken by loud laughter, the gallows humor glowing in the dark. She envisioned rich performances and open space; she sought to instill the spirit of her film – three generations of women engaged in a respectful, if heated, the debate about building a new world without men – into the production itself. Less hierarchy, more teamwork.
This is Polley's first feature-length narrative film in 11 years. About, He made his debut in 2006 with Far from her, based on a story by Alice Munro, and in 2011 he directed Take This Waltz. In the meantime, she married and had three children, adapted Margaret Atwood's The Other Grace into a Netflix miniseries, directed Stories We Tell, a stunning documentary that uncovers secrets from her parent's past, and wrote Run Towards the Danger, a memoir in essays that traces his traumatic early years in the film industry and many struggles in adulthood.
I felt the need to go back to the cinema with much more courage than I had before and the desire to take risks,» she tells me a month after Telluride. This energy fueled her urge to do things differently. During the making of Women Talking, Polley meditated and exercised every morning. She asked crew members if they had any suggestions for scenes and how the job affected them logistically and emotionally. Every evening she sent defining email expectations and operational orders for the following day.
"In this world, I've been taught, 'Shut up, do what you're told, don't react, you're lucky you're here,'" says Claire Foy, who plays the rightly furious Salome. "I've never worked with a director like Sarah, ever. She believes this is how the world should be.' She adds her colleague Jessie Buckley: «she constantly puts herself in a position of vulnerability, with the insatiable curiosity to understand something that she doesn't know yet. I think it's great."
The goal was to surround the women – and the only male star, Ben Whishaw, who plays August – with support, love, and security as they worked through a shoot filled with devastating conversations. "There is nothing that helps you recover from your life more than the possibility of things going in a different, better way," says Polley.
After a year of hiatus on live television and several months of controversy, the Golden Globes 2023 are back: the awards decided by the Hollywood Foreign Press Association, the foreign press association that follows American showbiz, were awarded at the Hilton Hotel of Beverly Hills, hit by the torrential rains that are ravaging California, on the evening of January 10th. It was an evening that saw several big names in Hollywood succeed one another on stage and, even more, surprising words, all united in telling how they had a "second chance" in the world of entertainment despite discrimination and missteps. During the evening, Ukrainian President Volodymyr Zelenskyy appeared on video reiterating the path to victory: "The wind is changing, and it is clear who will win," he said.
Predictably, as far as films are concerned, Steven Spielberg's The Fabelmans took home the top awards for best drama and director. Still, Martin McDonagh's Spirit Island emerged as the film most awarded, taking home three statuettes (best comedy film, best leading actor for Colin Farrell, and best screenplay). Praise also for Everything Everywhere All at Once, which saw its protagonists Michelle Yeoh and Ke Huy Quan awarded. Angela Bassett won best supporting actress for her role in Black Panther: Wakanda Forever, and in her acceptance speech, she moved to remember the late Chadwick Boseman: "We cried, we loved, we healed, and we surrounded each other every day with its light and its spirit.
As for the series, the greatest and most deserved exploit was for the comedy Abbott Elementary, which took home three awards, including best comedy series, but The White Lotus also defended itself with two wins, for best miniseries and Best Supporting Actress for Jennifer Coolidge. House of the Dragon took home the coveted Outstanding Drama Series.
Other notable awards were Jeremy Allen White for The Bear, Zendaya for Euphoria, and Evan Peters for Dahmer. The Golden Globes have always been known for the surprising way they were awarded. Although this year they have almost always been predictable, there have still been some titles that have been snubbed a little unexpectedly, starting with Avatar: The Run of the Water and Top Gun: Maverick (although they were the most viewed films of 2022), while Bob Odekirk didn't get the globe for his performance in the last season of Better Call Saul.
It's a horrific story, especially since it's true: In 2011, seven men from a Mennonite community in Bolivia were sentenced to 25 years in prison after being found guilty of years of rape on more than 130 of their sisters, whom they drugged with an anesthetic for cattle.
This infamy inspired author, Miriam Toews, herself from a Mennonite community, to write the novel Women Talking (translated by the late Lori Saint-Martin under the title What They Say). From this powerful material, filmmaker Sarah Polley has made an essential film where, from anger, is born determination and, from words, hope.
That day, a group of women gathered at the top of a barn in the hayloft to decide the future of their friends, sisters, mothers, grandmothers, daughters, and granddaughters. Indeed, shaken since they learned that the attacks they repeatedly suffered, at night, when they were unconscious, were not the work of "demons" but of men from their Christian community an evangelical Anabaptist, the women asked a few of them to choose between three options: leave, stay and fight, or stay and do nothing.
From the outset, this third possibility was rejected by the majority, while the other two aroused the stubborn refusal of one of the delegates: Scarface Janz (Frances McDormand, brief but striking).
A heated, and at times acrimonious, debate ensues between Ona (Rooney Mara), Salome (Claire Foy), Marche (Jessie Buckley), Agata (Judith Ivey), and Greta (Sheila McCarthy). Because although they more or less agree on the impossibility of maintaining the status quo, they do not all see things the same way. Many will leave behind loved ones who have done nothing wrong if they leave. But on reflection, are these men who did not participate in the plot innocent?
From discussions to revelations, from outbursts to confidences, they must decide all costs because their meeting is clandestine. The women took advantage of the temporary absence of the men, who had gone to town to free the attackers caught in the act. Tic-tac: soon, they will be back.
Without concealing or taking pleasure in them, Sarah Polley shows with punchy brevity the tomorrows full of bruises and blood of sometimes horribly young victims.
In this case, the filmmaker does not come out of the hayloft only during these hard-hitting flashbacks. On the contrary, thanks to breaks, the protagonists are filmed in the surrounding fields during sequences whose poetry willingly summons Terrence Malick and Jane Campion.
This desire to open the camera is also reflected in passages where the filmmaker captures, outside, a moment that evokes what is said inside. Thus "oxygenated" visually, the film breathes and unfolds with great breadth. A magnitude of circumstance, in that the issues addressed are crucial.
The new trailer for Women Talking confirmed the MCU debut of classic villain MODOK, complete with his unusually large head. Traditionally a creation of the evil scientific think tank known as AIM, the mental organism designed only to kill has grown so powerful that it has taken over the organization as its leader. However, the MCU's MODOK will have a different origin and reason for his massive skull.
Women Talking star Jonathan Majors reveals an interesting inspiration for his villainous character Kang. Majors first appeared in the Marvel Cinematic Universe in 2021, showing up at the end of the Disney+ series Loki as the enigmatic He Who Remains. He Who Remains is revealed to be a variant of the menacing Kang, who will serve as the antagonist in the third installment of the Ant-Man films. Kang has appeared as a formidable and mysterious force in trailers for the film, setting up the next big villain in the MCU.
Walter White actor Bryan Cranston recalls nailing his famous pizza adventure Breaking Bad in one take. Cranston was once best known for playing the funny dad on the FOX sitcom Malcolm in the Middle. But that all changed for the veteran actor when he signed on for the role of Walter White, a frustrated high school chemistry teacher with mounting medical bills who uses his peculiar skills to become the greatest meth cook in the entire South- American west.
Not only a great actor but also an extraordinary cook. The great passion of gourmand Ugo Tognazzi brought her back in "La grande binge" but above all in his book "Il Rigettario." Facts, misdeeds, and menus drawn with felt-tip pen" published in 1970, which has had a recent re-edition with Fabbri Editore. His son Ricky Tognazzi will pay homage to the great Ugo Tognazzi tomorrow, at 6 pm, in the Salone degli Affreschi of the San Michele Complex in Salerno.
In the new trailer for Women Talking, Scott Lang's Ant-Man and his family are inadvertently transported to the Quantum Realm, where they will encounter beings of all shapes and sizes. This includes the villain Kang the Conqueror, who wants to make a deal with Ant-Man. However, the trailer also features the classic villain MODOK. The MCU's take appears to be a creepy evolution of Darren Cross, the former Yellowjacket and main villain from the first Ant-Man film.
Women Talking Majors has already addressed the inspirations he drew on to play the Marvel villain, revealing that he revisited Ultron (James Spader), Loki (Tom Hiddleston), and Thanos (Josh Brolin) as he created the character. Majors went deeper than the MCU canon to bolster his portrayal of Kang in the upcoming Ant-Man film, diving into classic literature and looking to Iago from Shakespeare's Othello as the kind of supervillain he hopes to emulate in film output. Now, the actor told Empire Magazine (via Comicbook.com) that history also shaped Kang, with Macedonian king Alexander the Great serving as a point of reference for the character. See comments from majors below.
Though the role of a chemistry Women Talking teacher turned meth may have been more dramatic than playing a sitcom father, Cranston didn't quite let go of his flair for slow-burn comedy when he leaped Breaking Bad.
Four different prefaces enrich it, Women Talking, one for each son, Maria Sole, Thomas, Gianmarco, and one of mine, and then we added other felt-tip pen menus, which we found rummaging in the drawers, which dad used to do when he was usually on a diet. Not being able to eat, he sublimated the food by painting with stupendous pencils and felt-tip pens, and he drew menus and recipes. So we supplemented the old edition with these new paintings.
