September 27, 2020

‘Antebellum’: This Movie Polarizes Audiences and for the Directors, That’s the Point

Making movies is arduous, but the appreciation that follows can make it all worthwhile. For writer-director duo Bush|Renz, comprised of Gerard Bush and Christopher Renz, that experience has so far evaded them. Their feature debut “Antebellum,” which premiered on PVOD last week, aimed to recontextualize what American slavery meant. To put it kindly, it found a blistering reception.

The film, a glossy twist on the so-called “slave narrative,” stars Janelle Monáe as a woman “trapped in a horrifying reality that forces her to confront the past, present and future.” (The promotional language is cryptic, but to say more would create spoilers.) The filmmakers (Bush is Black, Renz is white) made “Antebellum” to catalyze a national dialogue around a host of urgent topics, including race.

Critics don’t see it that way. Rotten Tomatoes currently scores “Antebellum” with a 28 percent rating, with the critical consensus that it’s “a largely unpleasant experience.” It has its supporters — Stephanie Zacharek at Time praises Monáe as “electrifying” and said the film is “a tense, thoughtful picture that seeks both to entertain and provoke.” She’s the outlier; others described it as “a gory theme-park ride showcasing the horrors of slavery” (The Atlantic) and a “leering, exploitative depiction of violent, slavery movie tropes” (RogerEbert.com).

Bush|Renz, best known for their advertising work and directing Jay Z’s 2017 “Kill Jay Z” short, know all of this, of course. Some filmmakers might find this crushing. “Well, we’re the number-one movie in the country on all platforms, streaming or rented or otherwise, so, there’s that,” Bush said. “So, apparently, the polarization of the conversation around this movie is working to great effect.”

Beyond box-office returns, they take the long view. “We maintain our sovereignty as artists above a tech platform as Rotten Tomatoes, because we know that in the end, this is a marathon and the art will be not judged to just in this moment,” Bush said. “And I think that you would be hard pressed to say that the movie isn’t generating so much conversation even among critics. We want them to have those conversations. But we don’t want to put ourselves in a place where our decision making, as artists, will be informed by what critics have to say about our art.”

Renz believes much of the critical reaction speaks to the film’s subject matter rather than the film itself. “We knew, based on slavery, that there were going to be plenty of people that would say, ‘Why is this movie necessary at this time? It’s irresponsible’, etc, and that’s the headline — that there’s no need for any other ‘slave film’, which we completely understand,” he said. “However, we’re not going to contribute to the erasure of the history of Black people in America and how this country was founded, and where they want to get back to. This movie really is a visual representation of what ‘Make America Great Again’ would look like.”

Bush rejects the idea of what is colloquially referred to as “slavery movie fatigue,” insisting that there are still far more stories to be told and being white is not a prerequisite to being a provocateur. “Me, as a Black American artist, I’m going to be really accurate about what my own history looks like,” he said. “Our Jewish brothers and sisters have done an effective job of taking responsibility for their own story,” he said. “I think from our perspective, the stories of the enslaved are by and large always approved or greenlit by someone white. And so it’s interesting to me that Quentin Tarantino is the only one who has been able to do something so provocative with the slave narrative in ‘Django Unchained’ because he could.”

Another factor that may feed into the “Antebellum” response is whether the film’s brutality, in all of its accuracy, might be viewed as overwhelming in this particular sociopolitical environment. Americans are overwhelmed by images of Black bodies under assault in the real world, along with a deadly pandemic that disproportionately affects Black people. Who wants to see a film that depicts brutality on Black bodies in a fictional world as well?

“I want to make it clear that we are deeply respectful of the trauma that Black folk have endured since our beginning in this country and we understand the exhaustion of it,” Bush said. “We are not irresponsible artists, and we would never want to traumatize the community. We know that it is quite traumatizing for some people and we need to respect that, but we also need for them to respect that Black people are not monolith and they don’t get to decide, as ‘thought leaders,’ what black people need or the conversations that they want to have around this film.”

Bush|Renz are not the first to reinvent the slave narrative. Other projects like WGN’s underground railroad action-drama series “Underground” (2016-2017) and Focus Features’ Harriet Tubman biopic “Harriet” (2019) also attempted to offer a different kind of slave narrative that broke free of the genres’ tacit restrictions that required Black characters to be portrayed as submissive victims of a tragic fate, lacking in agency. “Antebellum” shares a production company, QC Entertainment, with Jordan Peele’s “Get Out,” a hit film that also hinges on the abduction of a Black person into subjugation by, and servitude of, white people.

“Black people, our history in this country, was built upon our kidnapping,” Bush said. “So thematically, kidnapping is just how many of these stories start, because our story in America starts with our kidnapping.”

Ultimately, the filmmakers hope that, at the very least, audiences walk away with the idea that Bush|Renz was committed and determined to depict Black people in a fresh and interesting way while addressing this country’s original sin of slavery.

“We cannot spend our time exhausted by critics,” said Bush. “The critics are here to critique us, the artists, and our art. They have every right to that, and we have every right to continue making the art that we feel compelled to make.”

“Antebellum” is now streaming across premium VOD platforms where it’s available for $19.99 per rental. The film is being released theatrically in select international markets.

Source: IndieWire film

September 27, 2020

Dwayne ‘The Rock’ Johnson Supports Joe Biden and Kamala Harris in His First-Ever Endorsement

As we move toward the presidential election, November 3, so do celebrity endorsements. The latest is Dwayne “The Rock” Johnson, who is throwing his weight behind Democratic candidates Joe Biden and Kamala Harris. Johnson announced his endorsement via Twitter on Sunday morning. Watch below.

“As a registered independent for years now with centrist ideologies, I do feel that Vice President Biden and Senator Harris, are the best choice to lead our country. And I am endorsing them to become President and Vice President of our United States,” Johnson said in his video announcement supporting the Democratic candidates.

“I’ve never publicly endorsed a presidential candidate or a vice presidential candidate in my life, over my career,” Johnson added in a video Q&A with Harris and Biden that followed the announcement. Johnson used the opportunity to ask Harris and Biden how they plan to use their time in office to bridge a divided nation.

“By doing what we say we’re going to do. By keeping our word. By leveling with the American people,” Biden said. “By taking responsibility. When we fail, acknowledge it. We’re not going to be perfect, but take responsibility. Say this is what I’m going to do, this is what I believe, and tell the truth. That sounds so basic, but the American people are strong, they’re tough. They can take anything if you level with them and tell the truth.”

Johnson has used his social media platforms to spread a political message before. Back in June, Johnson made a passionate plea on Instagram demanding a change in leadership and compassion. “Where is our compassionate leader who’s going to step up to our country who’s down on its knees, and extend a hand and say, ‘You stand up, stand up with me because I got you. I hear you, I’m listening to you. And you have my word that I’m going to do everything in my power, until my dying day, my last breath, to do everything I can to create the change that is needed, to normalize equality because Black Lives Matter.’ Where are you?”

As a political independent & centrist, I’ve voted for both parties in the past. In this critical presidential election, I’m endorsing @JoeBiden & @KamalaHarris.

Progress takes courage, humanity, empathy, strength, KINDNESS & RESPECT.

We must ALL VOTE: https://t.co/rZi1mxh8DC pic.twitter.com/auLbc8xDBv

— Dwayne Johnson (@TheRock) September 27, 2020

Source: IndieWire film

September 27, 2020

Sufjan Stevens Compares the Oscars to ‘a Horrifying Scientology End-of-Year Prom’

Sufjan Stevens is the darling of “Call Me By Your Name” fans thanks to the singer/songwriter’s contributions to the soundtrack, including his Oscar nominee for Best Original Song, “Mystery of Love.” At the 2018 Academy Awards ceremony, Stevens performed the romantic ballad onstage alongside collaborators St. Vincent and Moses Sumney, but in a new interview with The Guardian, he called the experience “traumatizing.”

“Honestly, one of the most traumatizing experiences of my entire life,” Stevens said of his live performance at the 90th annual Oscar ceremony that he likened to “a horrifying Scientology end-of-year prom.” The Oscars, he said, represent “everything I hate about America and popular culture.”

With 26 million viewers, the Oscars represented massive exposure for the shy musician revered for his plaintive and experimental folk-electronic music. Even so, it’s an experience he doesn’t want to repeat. Stevens, whose new studio album “The Ascension” dropped September 25, said he felt out of his skin amid Hollywood A-listers.

“I didn’t want to have anything to do with that world and that culture,” he said. “I don’t want to be part of any room full of adults hemming and hawing over plastic trophies.” (Each eight-pound statuette is actually made of solid bronze, and plated in 24-karat gold.)

The winning song was “Remember Me” from the movie “Coco.” Stevens was also up against Mary J. Blige for the song “Mighty River” from “Mudbound,” Diane Warren for “Stand Up for Something” from “Marshall,” and Benj Pasek and Justin Paul for “This Is Me” from “The Greatest Showman.” Prior to his Oscar nomination, Stevens received one Grammy nomination, also for “Mystery of Love” in the Best Song Written for Visual Media category.

“Mystery of Love” is one of three songs from Stevens featured on the soundtrack for Luca Guadagnino’s lush romance “Call Me By Your Name,” including the teary goodbye to love that closes the film, “Visions of Gideon,” and a remix of his track “Futile Devices,” a song off his 2016 record “The Age of Adz.”

Stevens’ ambitious new album “The Ascension” has been earning the singer/songwriter some of his best reviews since 2015’s “Carrie & Lowell.”

Source: IndieWire film

September 26, 2020

Georgia’s ‘Beginning’ Tops This Year’s San Sebastián Fest: See the Winners

The 68th San Sebastián Film Festival helped revive the global festival circuit this season with a physical event held September 18-26 in Spain. The lineup, which kicked off with Woody Allen’s “Rifkin’s Festival,” concluded with the annual awards September 26.

The festival’s big winner was Georgian writer/director Dea Kulumbegashvili’s debut feature “Beginning,” taking four of the jury prizes including Best Screenplay, Best Director, Best Actress, and the Golden Shell for Best Film. A psychological portrait of the effects of an extremist attack on a rural place of worship, “Beginning” was originally slotted for a Cannes competition premiere, and also played the Toronto International Film Festival. Next, it will head to the ongoing New York Film Festival.

Other highlights included Florian Zeller’s Oscar hopeful “The Father,” winner of the Audience Award — and a likely Best Actor nominee next year for Anthony Hopkins’ devastating turn as a man wrestling with dementia. Mads Mikkelsen took the Silver Shell for Best Actor for his performance as a drunken teacher in Thomas Vinterberg’s “Another Round,” hot off acclaim in Toronto. Eliza Hittman’s “Never Rarely Sometimes Always,” a February 2020 stateside opener hit hard by the pandemic, also picked up an award outside the official selection.

Led by president Luca Guadagnino, the jury members included Joe Alwyn, Marisa Fernández Armenteros, Michel Franco, and Lena Mossum. See the full list of winners below.

Official Selection Prizes

Golden Shell for Best Film: “Beginning,” Dea Kulumbegashvili

Special Jury Prize: “Crock of Gold: A Few Rounds With Shane MacGowan,” Julien Temple

Silver Shell for Best Director: “Beginning,” Dea Kulumbegashvili

Silver Shell for Best Actress: “Beginning,” Ia Sukhitashvili

Silver Shell for Best Actor: “Another Round,” Mads Mikkelsen

Best Screenplay: “Beginning,” Dea Kulumbegashvili and Rati Oneli

Best Cinematography: “Any Crybabies Around?,” Yuta Tsukinaga

Other Festival Prizes

New Directors’ Award: “Last Days of Spring,” Isabel Lamberti

New Directors’ Award (Special Mention): “Slow Singing,” Dong Xingyi

Latin Horizons Award: “Identifying Features,” Fernanda Valadez

Latin Horizons Award (Special Mention): “One in a Thousand,” Clarisa Navas

San Sebastian Audience Award: “The Father,” Florian Zeller

Audience Award for Best European Film: “The Mole Agent,” Maite Alberdi

Zabaltegi-Tabakalera Award: “The Metamorphosis of Birds,” Catarina Vasconcelos

Zabaltegi-Tabakalera Award (Special Mention): “The Woman Who Ran,” Hong Sang-soo

TVE Another Look Award: “Never Rarely Sometimes Always,” Eliza Hittman

TVE Another Look Award (Special Mention): “Gull,” Kim Mi-jo

Spanish Cooperation Award: “Identifying Features,” Fernanda Valadez

Irizar Basque Film Award: “Where is Mikel?,” Amaia Merino and Miguel Angel Llamas

Source: IndieWire film

September 26, 2020

Matthew Modine Compares Christopher Nolan to Stanley Kubrick: Big Movies, Small Sets

Actors who worked with Christopher Nolan have plenty of stories about the methods to his madness. Earlier this year, comments from “The Dark Knight Rises” and “Interstellar” star Anne Hathaway got blown out of proportion when she said the filmmaker doesn’t allow chairs on his sets. (What she meant was Nolan doesn’t keep directors’ chairs clustered around the video-village monitors.) Now, “The Dark Knight Rises” co-star Matthew Modine, who played Commissioner Gordon’s second-in-command Foley, shared the major similarity between Nolan and director Stanley Kubrick. Modine starred in Kubrick’s 1987 war classic “Full Metal Jacket.”

The similar approach between the legendary filmmakers, Modine told Hollywood Reporter, is in the intimacy of the set despite the massiveness of the project. “Sometimes on ‘Full Metal Jacket,’ there weren’t more than 10 or 15 people on the set,” he said. “And as big as ‘The Dark Knight Rises’ was, with all of the people that were working on it and the tremendous size of the cast and crew, it got smaller and smaller and smaller as you got closer and closer to the set where you were going to be filming. So there’s a similarity between Stanley and Chris.”

Nolan and Kubrick share a notoriety for perfectionism, Modine said, and that helped foster a great collaboration between the cast and crew. “As you got to the epicenter of where the action was taking place, it was incredibly calm, quiet, focused and intimate. All of the noise and all of those other things were kept far, far away from the set, and there wasn’t any reason to have a chair or a video village because for what purpose? Everybody could see what was going on. It was a quiet environment where we were making the film.”

Modine’s biggest recent role was a run on the Syfy series “Sanctuary,” and he’ll next appear in Tate Taylor’s star-stuffed “Breaking News in Yuba County,” alongside Mila Kunis, Juliette Lewis, Allison Janney, Awkwafina, and Regina Hall.

Nolan’s most recent film, “Tenet,” has just crossed the $250 million mark globally despite key markets remaining shut down in the United States.

Source: IndieWire film