Exclusive: Will Kemp, Amanda Donohoe and Remy Hii will be co-starring in Netflix’s holiday Vanessa Hudgens threequel Princess Switch 3.
They’re part of an ensemble that also features Sam Palladio, Nick Sagar, Florence Hall, Ricky Norwood, Suanne Braun, Mark Fleischmann, and Robin Soans.
In the first Princess Switch, Hudgens plays look-a-likes—a Chicago baker named Stacy De Novo, and Belgravia Princess Lady Margaret—who switch lives for a day. In the sequel, The Princess Switch: Switched Again, the stakes jump for Duchess Margaret and Princess Stacy, when the former’s party-girl cousin Fiona (also played by Hudgens) enters to foil royal plans.
Princess Switch 3‘s plot line: When a priceless relic is stolen, Queen Margaret and Princess Stacy enlist the help of Margaret’s audacious look-alike cousin Fiona again who teams with a dashing, mysterious man from her past to retrieve it, rekindling the sparks of a tantalizing...
They’re part of an ensemble that also features Sam Palladio, Nick Sagar, Florence Hall, Ricky Norwood, Suanne Braun, Mark Fleischmann, and Robin Soans.
In the first Princess Switch, Hudgens plays look-a-likes—a Chicago baker named Stacy De Novo, and Belgravia Princess Lady Margaret—who switch lives for a day. In the sequel, The Princess Switch: Switched Again, the stakes jump for Duchess Margaret and Princess Stacy, when the former’s party-girl cousin Fiona (also played by Hudgens) enters to foil royal plans.
Princess Switch 3‘s plot line: When a priceless relic is stolen, Queen Margaret and Princess Stacy enlist the help of Margaret’s audacious look-alike cousin Fiona again who teams with a dashing, mysterious man from her past to retrieve it, rekindling the sparks of a tantalizing...
- 4/15/2021
- by Anthony D'Alessandro
- Deadline Film + TV
By Troy Ribeiro
Film: Victoria and Abdul; Director: Stephen Frears; Cast: Judi Dench, Ali Fazal, Eddie Izzard, Adeel Akhtar, Tim Pigott-Smith, Olivia Williams, Fenella Woolgar, Paul Higgins, Robin Soans, Julian Wadham, Simon Callow, Michael Gambon; Rating: **1/2...
Film: Victoria and Abdul; Director: Stephen Frears; Cast: Judi Dench, Ali Fazal, Eddie Izzard, Adeel Akhtar, Tim Pigott-Smith, Olivia Williams, Fenella Woolgar, Paul Higgins, Robin Soans, Julian Wadham, Simon Callow, Michael Gambon; Rating: **1/2...
- 10/13/2017
- by TNM NEWS
- The News Minute
Melissa Anderson for Artforum: "After last year's glut of bumptious, high-profile nonfiction films — some of which were revealed to be hoaxes (Casey Affleck's I'm Still Here), possible hoaxes (Banksy's Exit Through the Gift Shop), or artless, witless pseudohoaxes (Henry Joost and Ariel Schulman's Catfish) — Clio Barnard's Brechtian documentary The Arbor stands out all the more for its seamless hybridization of fact and fiction. Barnard, an artist making her feature-length directorial debut, traces the troubled life and legacy of British playwright Andrea Dunbar (1961–1990), whose highly autobiographical work chronicled her grim existence on the Bradford, West Yorkshire, council estate where she grew up. (And which she never left: Dunbar died of a brain hemorrhage at age 29, shortly after collapsing at her local pub.) Though widely acclaimed for her three plays — her first, The Arbor, premiered in 1980 at London's Royal Court Theatre; her second, Rita, Sue and Bob Too, was made...
- 4/29/2011
- MUBI
Although Clio Barnard’s new film The Arbor chronicles the rough-and-tumble life of celebrated British playwright Andrea Dunbar (Rita, Sue and Bob Too), an alcoholic who died from a brain hemorrhage at age 29, it is anything but conventional in its aims and methodology. Shot in and around Brafferton Arbor, a street on the Buttershaw Estate in Bradford, Yorkshire, where Dunbar lived and worked while raising her three children, The Arbor reconstructs the late writer’s gritty milieu through the testimony of her eldest daughter Lorraine and other family members, whose words are lip-synched by professional actors in evocative set-designed environments. Barnard, an installation artist and filmmaker who used the technique previously for a 1998 short film called Random Acts of Intimacy, also cuts in scenes from Dunbar’s heavily autobiographical play The Arbor, performed outdoors by a mix of actors and estate residents, as well as bits of archive.
Though embraced...
Though embraced...
- 4/27/2011
- by Damon Smith
- Filmmaker Magazine - Blog
Director: Clio Barnard Writer: Clio Barnard Starring: Manjinder Virk, Jimi Mistry, Christine Bottomley, Natalie Gavin, Monica Dolan, Danny Web, Neil Dudgeon, Kathryn Pogson, Jonathan Jaynes In what has come to be known as verbatim theatre, transcripts of interviews, hearings and/or trials are dramatised on stage by actors. Rob Epstein’s film Howl is probably the best cinematic example of this novel storytelling technique, but director Clio Barnard really ups the ante by having her actors lip-sync their dialogue to audio-recorded interviews, further morphing the line between reality and fiction. Barnard’s film is about Andrea Dunbar, the West Yorkshire author of three gritty social-realist plays who died in 1990 of a brain hemorrhage at the ripe young age of 29. Dunbar hailed from Bradford, England's rough and tumble Buttershaw Estate (dubbed "the Arbor"). The dialogue in The Arbor is taken directly from interviews conducted by Barnard of Dunbar's family, friends and...
- 3/8/2011
- by Don Simpson
- SmellsLikeScreenSpirit
Clio Barnard's distinctive documentary on playwright Andrea Dunbar, using verbatim theatre techniques, is the 2010 winner
The conclave is over, the white smoke has appeared … and we can tell you that the winner of the 2010 Guardian First Film award is … The Arbor, directed by Clio Barnard. As last year, two films quickly became frontrunners in the judging meeting: The Arbor, the distinctively textured documentary about playwright Andrea Dunbar, and its polar opposite on our shortlist, Monsters, the effects-laden sci-fi parable by Gareth Edwards. Both films, in the judges' view, were brilliant, but The Arbor it was that squeaked home .
One of our judges, Peter Bradshaw described it as an "experimentalist docudrama close to genius", while another, actor Saffron Burrows, said it was "utterly unique and devastating". A third judge, last year's winner Gideon Koppel, of Sleep Furiously renown, called The Arbor "a remarkable and moving portrait that – unusually – describes the internal landscape of a character.
The conclave is over, the white smoke has appeared … and we can tell you that the winner of the 2010 Guardian First Film award is … The Arbor, directed by Clio Barnard. As last year, two films quickly became frontrunners in the judging meeting: The Arbor, the distinctively textured documentary about playwright Andrea Dunbar, and its polar opposite on our shortlist, Monsters, the effects-laden sci-fi parable by Gareth Edwards. Both films, in the judges' view, were brilliant, but The Arbor it was that squeaked home .
One of our judges, Peter Bradshaw described it as an "experimentalist docudrama close to genius", while another, actor Saffron Burrows, said it was "utterly unique and devastating". A third judge, last year's winner Gideon Koppel, of Sleep Furiously renown, called The Arbor "a remarkable and moving portrait that – unusually – describes the internal landscape of a character.
- 1/28/2011
- by Andrew Pulver
- The Guardian - Film News
A film about Andrea Dunbar and her daughter calls for a better understanding of the devastating effects of social change
There was a painfully poignant moment on the Buttershaw estate in Bradford yesterday when a blue plaque to mark the life of playwright Andrea Dunbar was erected on the council house where she lived until her death at the age of 29 in 1990. Most famous for her play Rita, Sue and Bob Too (1982), which was later adapted for the cinema, she was characterised as a writer who exposed the fallout of Thatcherism on the English working class.
The blue plaque was accompanied by the first public screening in the city of a new film, The Arbor, which traces the life of Dunbar and her eldest daughter Lorraine, now 29. Every decade since 1980, when Dunbar's first play was produced, the story of this family has been represented either on stage or in film.
There was a painfully poignant moment on the Buttershaw estate in Bradford yesterday when a blue plaque to mark the life of playwright Andrea Dunbar was erected on the council house where she lived until her death at the age of 29 in 1990. Most famous for her play Rita, Sue and Bob Too (1982), which was later adapted for the cinema, she was characterised as a writer who exposed the fallout of Thatcherism on the English working class.
The blue plaque was accompanied by the first public screening in the city of a new film, The Arbor, which traces the life of Dunbar and her eldest daughter Lorraine, now 29. Every decade since 1980, when Dunbar's first play was produced, the story of this family has been represented either on stage or in film.
- 10/18/2010
- by Madeleine Bunting
- The Guardian - Film News
I was very interested in the idea that a film or a play based on real lives in real places needs an ending, but that the lives and places portrayed don't end. That was why I wanted to go back to the estate where playwright Andrea Dunbar's autobiographical plays are set and which was revisited by playwright Robin Soans [in her docudrama “A State Affair”] a decade after Dunbar's death.
After that initial compulsion to return another decade later, I was drawn into a compelling story that I hadn't expected to find — the story of four generations of one family struggling to cope with poverty, addiction and racism. Lorraine Dunbar, who is the central interviewee, has her playwright mother's ability with words. She can speak about complex situations with an astonishing directness.
To draw attention to the gap between reality and representation, I chose the unique approach of having the actors lip-sync to the voices of the interviewees.
After that initial compulsion to return another decade later, I was drawn into a compelling story that I hadn't expected to find — the story of four generations of one family struggling to cope with poverty, addiction and racism. Lorraine Dunbar, who is the central interviewee, has her playwright mother's ability with words. She can speak about complex situations with an astonishing directness.
To draw attention to the gap between reality and representation, I chose the unique approach of having the actors lip-sync to the voices of the interviewees.
- 4/28/2010
- Moving Pictures Magazine
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