On Friday nights, IndieWire After Dark takes a feature-length beat to honor fringe cinema in the streaming age.
First, the spoiler-free pitch for one editor’s midnight movie pick — something weird and wonderful from any age of film that deserves our memorializing.
Then, the spoiler-filled aftermath as experienced by the unwitting editor attacked by this week’s recommendation.
The Pitch: The Swan, The Twins, Their Wives, and Their Deaths
The line between midnight movies and arthouse cinema has always been blurrier than we might like to believe. Both niches exist to accommodate creators (and their fans) who crave something different from conventional Hollywood fare and are willing to seek out unorthodox screening options like festivals and independent theaters in order to scratch that itch. And while they have both produced plenty of forgettable fare from artists who became too comfortable existing in yesterday’s version of transgression — we’ve all...
First, the spoiler-free pitch for one editor’s midnight movie pick — something weird and wonderful from any age of film that deserves our memorializing.
Then, the spoiler-filled aftermath as experienced by the unwitting editor attacked by this week’s recommendation.
The Pitch: The Swan, The Twins, Their Wives, and Their Deaths
The line between midnight movies and arthouse cinema has always been blurrier than we might like to believe. Both niches exist to accommodate creators (and their fans) who crave something different from conventional Hollywood fare and are willing to seek out unorthodox screening options like festivals and independent theaters in order to scratch that itch. And while they have both produced plenty of forgettable fare from artists who became too comfortable existing in yesterday’s version of transgression — we’ve all...
- 3/2/2024
- by Christian Zilko and Alison Foreman
- Indiewire
Actress Julia Ormond has accused Harvey Weinstein of sexual assault in a new lawsuit that also accuses her agents at Creative Artists Agency, Walt Disney Pictures, and Miramax with failing to protect her and enabling Weinstein’s alleged abuse.
Ormond said the disgraced producer forced her to perform oral sex on him in December 1995 after a business dinner. Afterwards, she allegedly told her agents at CAA — Bryan Lourd and Kevin Huvane — what had happened, only to have them dissuade her from pressing the issue further. In the aftermath, the lawsuit...
Ormond said the disgraced producer forced her to perform oral sex on him in December 1995 after a business dinner. Afterwards, she allegedly told her agents at CAA — Bryan Lourd and Kevin Huvane — what had happened, only to have them dissuade her from pressing the issue further. In the aftermath, the lawsuit...
- 10/4/2023
- by Jon Blistein
- Rollingstone.com
The actor on her love of dogs, granting wishes and Ryan Gosling
Born in Surrey, Julia Ormond, 56, starred in Peter Greenaway’s 1993 film The Baby Of Mâcon. She went on to appear in Legends Of The Fall, First Knight and The Curious Case Of Benjamin Button; her latest film, Reunion, is available on digital platforms. She has a daughter and lives in Malibu, California.
What is your greatest fear?
Heights.
Born in Surrey, Julia Ormond, 56, starred in Peter Greenaway’s 1993 film The Baby Of Mâcon. She went on to appear in Legends Of The Fall, First Knight and The Curious Case Of Benjamin Button; her latest film, Reunion, is available on digital platforms. She has a daughter and lives in Malibu, California.
What is your greatest fear?
Heights.
- 3/27/2021
- by Rosanna Greenstreet
- The Guardian - Film News
In the films of Yorgos Lanthimos, sex, love, friendship and familial duty all exist only in their relation to the power they give people over each other. So while “The Favourite” stands apart from his best-known films by being a period piece, as well as his major feature that he did not write or co-write, it very much fits the intimate jockeying and gamesmanship on display in his earlier work.
Written by first-timer Deborah Davis and Aussie TV writer Tony McNamara, “The Favourite” plays like “All About Eve” as filtered through “The Draughtman’s Contract,” where women in bustles and corsets hopelessly outmaneuver men in wigs and breeches, and where everyone from the servants to the queen herself is playing the game and manipulating others to get what they want.
The queen in question is Queen Anne (Olivia Colman), ensconced in the estate of her lifelong friend Sarah Churchill, Duchess...
Written by first-timer Deborah Davis and Aussie TV writer Tony McNamara, “The Favourite” plays like “All About Eve” as filtered through “The Draughtman’s Contract,” where women in bustles and corsets hopelessly outmaneuver men in wigs and breeches, and where everyone from the servants to the queen herself is playing the game and manipulating others to get what they want.
The queen in question is Queen Anne (Olivia Colman), ensconced in the estate of her lifelong friend Sarah Churchill, Duchess...
- 8/30/2018
- by Alonso Duralde
- The Wrap
With six children, his parents struggled to make ends meet. Now Ralph Fiennes is the toast of Hollywood – and making his directorial debut with Coriolanus. He tells Xan Brooks his story
Ralph Fiennes's trailer sits on a patch of wasteland beside the river and near the airport, in a neck of east London that's barely London. The cabbie can't find it and keeps driving in circles, his irritation rising as the planes rumble overhead. Either the satnav is scrambled or the address does not exist. "It's meant to be here but there's nothing there," he grumbles. "It's not a place, it's off the map."
It's only later, safely arrived, that it strikes me that the non-place may well be the best place to meet Ralph Fiennes, an actor who does not so much inhabit his roles as hide out in them and a man who approaches press interviews with...
Ralph Fiennes's trailer sits on a patch of wasteland beside the river and near the airport, in a neck of east London that's barely London. The cabbie can't find it and keeps driving in circles, his irritation rising as the planes rumble overhead. Either the satnav is scrambled or the address does not exist. "It's meant to be here but there's nothing there," he grumbles. "It's not a place, it's off the map."
It's only later, safely arrived, that it strikes me that the non-place may well be the best place to meet Ralph Fiennes, an actor who does not so much inhabit his roles as hide out in them and a man who approaches press interviews with...
- 12/10/2011
- by Xan Brooks
- The Guardian - Film News
"All art is political, otherwise it would just be decoration," proclaims sad-eyed Edward de Vere (Rhys Ifans) in Anonymous. "If artists didn't have anything to say, they'd make shoes."
You almost expect him to add: "So you see, there's more to the films of Roland Emmerich that you thought!"
And then: "I'm a stand-in for this film's director. Get it?"
After all, it's difficult not to think of de Vere—a neglected genius who collects curios and writes plays in which prominent cultural figures (in this case, his enemies in the royal court) get killed before a cheering audience—as an alter-ego for Emmerich, a stealth artist who collects kitsch and directs movies where pop culture landmarks are obliterated before forgiving summer moviegoers worldwide. de Vere spins his personal vendettas into enduring poetry; Emmerich has turned his Pop Art aspirations into lucrative spectacle, vaporizing the White House on two separate...
You almost expect him to add: "So you see, there's more to the films of Roland Emmerich that you thought!"
And then: "I'm a stand-in for this film's director. Get it?"
After all, it's difficult not to think of de Vere—a neglected genius who collects curios and writes plays in which prominent cultural figures (in this case, his enemies in the royal court) get killed before a cheering audience—as an alter-ego for Emmerich, a stealth artist who collects kitsch and directs movies where pop culture landmarks are obliterated before forgiving summer moviegoers worldwide. de Vere spins his personal vendettas into enduring poetry; Emmerich has turned his Pop Art aspirations into lucrative spectacle, vaporizing the White House on two separate...
- 11/1/2011
- MUBI
Hot property in the mid-90s, Julia Ormond turned her back on Hollywood in favour of political activism – which may just have saved her sanity
Sitting by a hotel pool in Santa Monica with a cappuccino, Julia Ormond is recalling, and with some relish, her first movie disaster, the Cannes premiere of Peter Greenaway's The Baby of Mâcon in 1993.
"The film was so disturbing. There's a mercy-killing of a child, and its body is then cut up and preserved as relics in jars and disseminated across the world, as happened with saints – you know, 'I present you with the finger of Saint John the Whatever.' So the movie's a pretty heavy slog already," she guffaws. "But someone made a mistake with all the programmes, posters and signs – and they misnamed it The Baby of Bacon! And then in the screening itself, there's this scene that goes on for ever,...
Sitting by a hotel pool in Santa Monica with a cappuccino, Julia Ormond is recalling, and with some relish, her first movie disaster, the Cannes premiere of Peter Greenaway's The Baby of Mâcon in 1993.
"The film was so disturbing. There's a mercy-killing of a child, and its body is then cut up and preserved as relics in jars and disseminated across the world, as happened with saints – you know, 'I present you with the finger of Saint John the Whatever.' So the movie's a pretty heavy slog already," she guffaws. "But someone made a mistake with all the programmes, posters and signs – and they misnamed it The Baby of Bacon! And then in the screening itself, there's this scene that goes on for ever,...
- 10/25/2011
- by John Patterson
- The Guardian - Film News
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