Here’s the official synopsis: “In 1926 America’s most famous evangelist is a woman. And she’s looking for a way out. Fed up with her own success, she gets swept up in her lover’s daydreams about Mexico and finds herself on a wild road trip towards the border. Based on true events.
The pic written and directed by Buck and Schlingmann tells the mostly fictional story of the real-life early 20th century mega-star evangelist Sister Aimee Semple McPherson (played by Anna Margaret Hollyman), with the movie’s plot revolving around the media sensation faking her own death at the pinnacle of her fame to run away to Mexico with her married lover. In real life, the Foursquare Church founder was allegedly kidnapped and held captive for more than a month, but the
Florence Pugh stars in Ari Aster's (Hereditary) latest horror, Midsommar, while Robert Pattinson and Mia Wasikowska star in David and Nathan Zellner's Damsel.
Tim Burton's live-action remake of Dumbo released a new clip featuring Eva Green, Michael Keaton and Colin Farrell and Nicholas Hoult portrays author J.R.R. Tolkien in the Dome Karukoski-directed film Tolkien, co-starring Lily Collins.
After Gina Rodriguez and Lakeith Stanfield end their long-term relationship, her best friends, played ...
At the 68th Berlin Film Festival, the jury, led by Tom Tykwer, with Cécile de France, Ryuichi Sakamoto, Stephanie Zacharek, Chema Prado, and Oscar-winning producer Adele Romanski of Barry Jenkins' Moonlight and Independent Spirit winner If Beale Street Could Talk, gave the Golden Bear to Adina Pintilie's Touch Me Not, produced by Philippe Avril, and Bianca Oana.
Adina Pintilie: "I think you can find an emotional mirror of what happens within the characters." Photo: Anne-Katrin Titze
Pintilie's début feature, shot by George Chiper, bested such films as Wes Anderson's Isle of Dogs, David Zellner and Nathan Zellner's Damsel, Christian Petzold's Transit, Benoît Jacquot's Eva, Cédric Kahn
Bad Times at the El Royale (Drew Goddard)
Drew Goddard’s follow-up to The Cabin in the Woods seemed to come and go without much fervor this past fall, but there are more than a few reasons to seek it out. Less labyrinthine-esque plotted than his last film, perhaps the fairly straightforward ending threw people for a loop, but I appreciated the well-spun crime drama, which takes more than a few compelling detours. And if you also thought Cynthia Erivo was wasted in Steve McQueen’s Widows, she gets a much more fleshed-out supporting turn here and reason enough to watch. – Jordan R.
Where to Stream: Amazon,
“Piercing” stars Christopher Abbott as a businessman hired to check into a hotel and kill an unsuspecting prostitute, played by indie darling Mia Wasikowska with fearless conviction. Unfortunately for the man, the prostitute he chooses to kill ends up being more intelligent, more twisted, and even more blood-thirty than he ever imagined. The supporting cast includes Laia Costa, Olivia Bond, and Marin Ireland.
In his review out of Sundance, IndieWire’s Eric Kohn called “Piercing” a “swift tribute to Takashi Miike’s ‘Audition’ filtered through Quentin-Tarantinoesque exuberance.
Curated from the Best Films of 2018 So Far list we published for the first half of the year, it also includes films we’ve enjoyed the past few months and some we’ve recently caught up on. This is far from a be-all, end-all year-end feature (that will come at the end of the year), but rather something that will hopefully be a helpful tool for readers to have a chance to seek out notable,
Clouds of Sils Maria (Olivier Assayas)
Movies about making movies often get a bad rap; there’s just a presumed pretentiousness that goes along with watching filmmakers and actors defending their craft. So when it turns out that Clouds of Sils Maria is actually a beautifully directed and acted defense of the timelessness and universal value of storytelling in all forms, what could have been a European Birdman actually becomes something so much more. – Brian R.
Where to Stream: FilmStruck
Custody (Xavier Legrand)
It didn’t win the Oscar for best live action short in 2014, but Xavier Legrand’s Just Before Losing Everything was by far my favorite nominee.
In the weird Western indie comedy Damsel, Robert Pattinson plays Samuel Alabaster, a nattily dressed young man who walks out of the Pacific surf with a guitar, a gun and a miniature horse. He is headed for a seedy, strange Western town in search of a preacher (David Zellner), who he intends to take along to officiate at his wedding to his beloved at the end of a trek into the frontier wilderness.
Damsel does indeed have a damsel, played by Mia Wasikowska, but her distress mostly comes from the various men who have ideas of rescuing her from dangers they mostly create.
Damsel is the front runner for weirdest movie of the year, in this writer’s opinion. It seems to want to be a cross between Jim Jarmusch’s Dead Man and The Princess Bride,
In the last round-up of my conversation with David Zellner and Nathan Zellner on Damsel, which stars Robert Pattinson and Mia Wasikowska, we discuss the connection between Samuel Beckett and a scene with the Preacher (Robert Forster) and Parson Henry (David Zellner), Terry Anderson's costumes, Daisy as Butterscotch (the miniature horse) and Bunzo (the rabbit) in Kumiko, The Treasure Hunter, wanting a "a more colourful look than a lot of Westerns", and the fun of writing scenes that have an "elliptical nature in some way".
Robert Forster as the Preacher: "We like the idea of this prologue. It is very Beckett, I guess, but not in a conscious way. We
Interviewed by Variety film critic Peter Debruge, the helmer was speaking at the Variety Critics Corner series at the Karlovy Vary Intl. Film Festival. He was referring to the types of funds awarded by the Austin Film Society, a nonprofit organization he established in 1985 in his hometown of Austin, Texas – originally to screen classic and auteur films.
Afs – which is being showcased as part of the Made in Texas program at Karlovy Vary – has grown to own a cinema, manage local soundstages, and provide funding to help Texas-based artists at the script stage, in post, or in any other way that will advance their projects. These modest grants, he said, are a way to incubate or jump-start new films.
Linklater came to Karlovy Vary to accompany Made in Texas, as well as
Mia Wasikowska and Robert Pattinson of ‘Damsel’
Photo credit: Sony Pictures Classics
“Damsel” opens on a typical Western-style hoedown, in which Penelope (Wasikowska) and Samuel (Pattinson) seem very connected, possibly in love. The scene shifts to Samuel returning to the territory to marry Penelope, even bringing along a miniature pony named Butterscotch as a gift.
David and Nathan Zellner of ‘Damsel’
Photo credit: Patrick McDonald for HollywoodChicago.com
Samuel meets a false preacher named Henry (David Zellner) – who took his religious persona from the Old Preacher (Robert Forster) – and recruits
David and Nathan Zellner’s Western comedy “Damsel,” in which Pattinson stars alongside Mia Wasikowska, screens at the festival Saturday. David Zellner will also be at the event. Pattinson has recently been shooting David Michod’s Netflix original production “The King,” a Shakespeare-inspired film starring Timothee Chalamet, Joel Edgerton and Lily-Rose Depp.
The nine-day event in the historic spa town kicked off Friday with Taika Waititi, director of “Thor: Ragnarok,” among the guests. Waititi is in the Czech Republic shooting “Jojo Rabbit,” and is joined at the festival by Carthew Neal, producer of the film.
“Jojo Rabbit,” Waititi’s sixth film as director,
Robert Pattinson will receive the honorary festival president’s award at the closing ceremony of this year’s Karlovy Vary Film Festival (Kviff) on July 7. The festival opens on June 29.
The festival presents the award to ”outstanding personalities of world cinema”. Previous recipients include Jean Reno, Charlie Kaufman, Susan Sarandon and last year’s winner, Casey Affleck. The closing night film is Gilles Lellouche’s Sink Or Swim.
Pattinson, who recently appeared in David and Nathan Zellner’s Damsel and will soon
Robert Pattinson is no stranger to surprising his fans. Whether he’s having sex in a limousine with Juliette Binoche (“Cosmopolis”) or making out with a teenage girl (“Good Time”), the 32-year-old actor has made it clear to expect the unexpected when watching his films. “Damsel,” Pattinson’s new film from writer-directors David and Nathan Zellner, takes this mentality to a new extreme and delivers the actor’s most shocking onscreen moment to date.
“Damsel” stars Pattinson as Samuel Alabaster, a bumbling pioneer venturing across the American frontier to rescue and marry the love of his life, Penelope (Mia Wasikowska). The Zellner brothers’ jarring twist arrives just before the halfway point, when it’s revealed that Penelope doesn’t need saving at all, not from Samuel or from any man. Part of the reason she ran away and settled down in a remote
This past week, Peter Fonda, who has a minor role in the film, posted an angry Twitter rant aimed towards President Donald Trump and his wife and son, Melania and Barron, that was a knee-jerk response to the White House’s family separation policy towards undocumented migrants and asylum seekers.
“We should rip Barron Trump from his mother’s arms and put him in a cage with pedophiles,” the actor wrote in a tweet that he later deleted. “And see if mother will stand up against the giant a-hole she is married to.”
Also Read: Disney
The final full weekend of June included at least a half dozen new limited titles, headlined by Sundance’s The King by Eugene Jarecki, which Oscilloscope opened in two Manhattan locations Friday. The documentary lorded over the pack of newcomers with a $29K gross for a solid $14,525 per theater average, easily the best among the specialties, and the third-best among all titles reporting grosses Sunday.
Magnolia Pictures took the Zellner brothers’ Damsel to three locations in its opening frame, grossing $21K. By far the ‘widest’ opener among among the group was IFC Films’ The Catcher Was a Spy, which bowed in 49 theaters, taking in $122,494 for a $2,520 PTA.
Sony Classics’ Boundaries played five locations in its first weekend, grossing $30,395, while China Lion’s Lobster Cop
In the second part of my Wild West conversation with David Zellner and Nathan Zellner on Damsel, we explore Robert Pattinson's role as Samuel Alabaster, casting him against type as Alfred Hitchcock did with Sean Connery for Mark Rutland in Marnie, the strength of Mia Wasikowska's Penelope, Ricky Nelson in Howard Hawks's Rio Bravo, working with The Octopus Project on a cowboy ballad, getting a fresh start, and giving your best shot at following the Code of the Prairie.
David Zellner (here as Parson Henry) on Robert Pattinson's Samuel singing Honeybun in Damsel: "We like it when there's cowboy ballads.
Written and Directed by David Zellner and Nathan Zellner.
Starring Robert Pattinson, Mia Wasikowska, Joseph Billingiere, David Zellner, Nathan Zellner, and Robert Forster.
It’s the Wild West, circa 1870. Samuel Alabaster, an affluent pioneer, ventures across the American frontier to marry the love of his life, Penelope. As his group traverses the west, the once-simple journey grows treacherous, blurring the lines between hero, villain and damsel.
Robert Pattinson is a lover, not a fighter. Playing a businessman named Samuel in the days of the old West, he decides to travel across the country to reunite with his beloved fiancé Penelope believing her to be kidnapped by a local gang of outlaws as she is described as a trophy woman. However, considering this is a film by the Zellner brothers, the trek across the frontier is about as idiosyncratic as they come, complete with gruff men comparing the sizes
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