Tag: film

  • Domestic despair

    Express News Service

    Joachim Lafosse’s Un Silence (A Silence) begins on an intriguing note. An air of mystery envelops things as Astrid Schaar (Emmanuelle Devos) is summoned for an urgent conversation with a cop/investigator (Jeanne Cherhal). All you can gather from the exchange between the two is that something devastating has happened in the Schaar home involving her lawyer husband Francois (Daniel Auteuil) and son Raphael (Matthieu Galoux). Meanwhile, Astrid keeps harping on the fact that she was the only one who knew of Francois’ problem and had never breathed a word about it to anyone.

    What is it that she has been maintaining a silence on, how has it come to affect each one of them individually, and the family as a whole, forms the core of the film. As the narrative progresses, you encounter a universal theme of how secrets and lies of the family elders can lead to disastrous consequences for the young. Astrid, who has maintained her silence on Francois’s unforgivable transgressions for thirty long years, decides to side with justice eventually, on seeing her family reach the verge of an implosion and collapse.

    On the face of it, the Belgium-Luxembourg-France co-production is a stormy story brimming over with not just brutality but deviance and perversion as well. But it is told with an antithetical elegance and restraint. The scandal at the core doesn’t turn lurid. In fact, the characters—the criminal, the victim, the one who hides the crime, and even the media covering it—are all impeccably measured. The story unfolds gently, the unobtrusive and non-invasive camera pausing ever so gracefully on the faces of actors, their close-ups powered by the eloquence of fleeting expressions.

    A Silence lives up to its title. It communicates a lot by saying very little. The moderation in filmmaking and the artistic distance with which the Belgian filmmaker Lafosse approaches the subject makes it even more dark and disturbing than it already is. The essential crime, and the victim, are never shown on screen but the weight of it hangs heavy on the film. The film is notable for the many ideas it throws, like how imperative it is for a man of justice to be brought under trial to face the consequences of his misdemeanours. Even more telling is the irony of him talking about a failing judicial system when all along he has been subverting it in the vilest possible way himself and getting away with it.

    Then there are larger arcs that are relatable across cultures—the bourgeoisie proclivity to not wash its so-called dirty linen in public, to brush things under the carpet and the consequent perpetration of guilt and shame through generations in a family. The biggest takeaway for me is how it underlines the fact that our biggest icons could have feet of clay. That seemingly decent people could be little else than wolves dressed in sheep’s clothing. That the public and private persona of the same person could be wildly different.

    The performances keep the momentum going. Galoux in his maiden appearance is like the moral core of the film, the restlessness and righteous anger reflecting as much in his languorous body language as on his striking face. His Raphael is someone you feel deeply for, grappling with adolescent angst as well as the actions of those he loves.

    On the other hand, there is something reptilian and inscrutable that Auteuil invests in his character which works to the film’s advantage. Hearing him impassively acknowledge his wife and son for standing by him sends a chill down the spine.

    It’s Astrid who comes across as an enigma. How can a woman accept her husband for crossing the limits of human decency? Not just that, to even live with the ordeal of his guilt for thirty years? But keeping one’s own personal response to her situation aside, the fact is that Devos’ intense, stoic presence and unflappable demeanour is the truth of a lot of women stuck in toxic relationships for various reasons. Hopefully, one day, like her, they will also find a way out of them.

    Joachim Lafosse’s Un Silence (A Silence) begins on an intriguing note. An air of mystery envelops things as Astrid Schaar (Emmanuelle Devos) is summoned for an urgent conversation with a cop/investigator (Jeanne Cherhal). All you can gather from the exchange between the two is that something devastating has happened in the Schaar home involving her lawyer husband Francois (Daniel Auteuil) and son Raphael (Matthieu Galoux). Meanwhile, Astrid keeps harping on the fact that she was the only one who knew of Francois’ problem and had never breathed a word about it to anyone.

    What is it that she has been maintaining a silence on, how has it come to affect each one of them individually, and the family as a whole, forms the core of the film. As the narrative progresses, you encounter a universal theme of how secrets and lies of the family elders can lead to disastrous consequences for the young. Astrid, who has maintained her silence on Francois’s unforgivable transgressions for thirty long years, decides to side with justice eventually, on seeing her family reach the verge of an implosion and collapse.

    On the face of it, the Belgium-Luxembourg-France co-production is a stormy story brimming over with not just brutality but deviance and perversion as well. But it is told with an antithetical elegance and restraint. The scandal at the core doesn’t turn lurid. In fact, the characters—the criminal, the victim, the one who hides the crime, and even the media covering it—are all impeccably measured. The story unfolds gently, the unobtrusive and non-invasive camera pausing ever so gracefully on the faces of actors, their close-ups powered by the eloquence of fleeting expressions.googletag.cmd.push(function() {googletag.display(‘div-gpt-ad-8052921-2’); });

    A Silence lives up to its title. It communicates a lot by saying very little. The moderation in filmmaking and the artistic distance with which the Belgian filmmaker Lafosse approaches the subject makes it even more dark and disturbing than it already is. The essential crime, and the victim, are never shown on screen but the weight of it hangs heavy on the film. The film is notable for the many ideas it throws, like how imperative it is for a man of justice to be brought under trial to face the consequences of his misdemeanours. Even more telling is the irony of him talking about a failing judicial system when all along he has been subverting it in the vilest possible way himself and getting away with it.

    Then there are larger arcs that are relatable across cultures—the bourgeoisie proclivity to not wash its so-called dirty linen in public, to brush things under the carpet and the consequent perpetration of guilt and shame through generations in a family. The biggest takeaway for me is how it underlines the fact that our biggest icons could have feet of clay. That seemingly decent people could be little else than wolves dressed in sheep’s clothing. That the public and private persona of the same person could be wildly different.

    The performances keep the momentum going. Galoux in his maiden appearance is like the moral core of the film, the restlessness and righteous anger reflecting as much in his languorous body language as on his striking face. His Raphael is someone you feel deeply for, grappling with adolescent angst as well as the actions of those he loves.

    On the other hand, there is something reptilian and inscrutable that Auteuil invests in his character which works to the film’s advantage. Hearing him impassively acknowledge his wife and son for standing by him sends a chill down the spine.

    It’s Astrid who comes across as an enigma. How can a woman accept her husband for crossing the limits of human decency? Not just that, to even live with the ordeal of his guilt for thirty years? But keeping one’s own personal response to her situation aside, the fact is that Devos’ intense, stoic presence and unflappable demeanour is the truth of a lot of women stuck in toxic relationships for various reasons. Hopefully, one day, like her, they will also find a way out of them.

  • ‘All of Us Strangers’ gets a release date

    By Express News Service

    Andrew Scott and Paul Mescal- starrer All of Us Strangers will be released in theatres on December 22. Along with the release date, the makers also unveiled the first look image from the film.

    Written and directed by Andrew Haigh, the upcoming film is an adaptation of Taichi Yamada’s Japanese novel, which was translated into English in 2004 under the title Strangers. The film also stars Claire Foy and Jamie Bell in significant roles. 

    It is to be noted that the novel Taichi Yamada penned in 1987 was already made into a Japanese language film in 1988. The upcoming film follows the storyline of the novel but takes place in present-day London instead of 1980s Tokyo.

    The official logline of the film reads, “One night in his empty tower block in contemporary London, Adam (Andrew Scott) has a chance encounter with his neighbour Harry (Paul Mescal) that punctures the rhythms of his everyday life.

    As Adam and Harry get closer, Adam is pulled back to his childhood home, where it appears his long-dead parents (Claire Foy and Jamie Bell) are both living and look the same age as the day they died 30 years before.” Backed by Pete Czerin and Graham Broadbent under Blueprint alongside Sarah Harvey, the film hails from Searchlight Pictures.

    Andrew Scott and Paul Mescal- starrer All of Us Strangers will be released in theatres on December 22. Along with the release date, the makers also unveiled the first look image from the film.

    Written and directed by Andrew Haigh, the upcoming film is an adaptation of Taichi Yamada’s Japanese novel, which was translated into English in 2004 under the title Strangers. The film also stars Claire Foy and Jamie Bell in significant roles. 

    It is to be noted that the novel Taichi Yamada penned in 1987 was already made into a Japanese language film in 1988. The upcoming film follows the storyline of the novel but takes place in present-day London instead of 1980s Tokyo.googletag.cmd.push(function() {googletag.display(‘div-gpt-ad-8052921-2’); });

    The official logline of the film reads, “One night in his empty tower block in contemporary London, Adam (Andrew Scott) has a chance encounter with his neighbour Harry (Paul Mescal) that punctures the rhythms of his everyday life.

    As Adam and Harry get closer, Adam is pulled back to his childhood home, where it appears his long-dead parents (Claire Foy and Jamie Bell) are both living and look the same age as the day they died 30 years before.” Backed by Pete Czerin and Graham Broadbent under Blueprint alongside Sarah Harvey, the film hails from Searchlight Pictures.

  • Film Review: ‘The Beautiful Summer’ is all about finding freedom

    Express News Service

    At its very basic, La Bella Estate (The Beautiful Summer) by Laura Luchetti, based on the Italian writer Cesare Pavese’s novel by the same name, is all about finding freedom; from what the world expects of us and the self-imposed limitations within which we often bind ourselves. Ironically, it happens to be set in Turin in the late 1930s, the Italy of the fascist era. However, politics remains in the background, a radio broadcast wafting in from the neighbouring window, and doesn’t interfere with the journey of the film’s leading lady, young Ginia (Yile Yara Vianello).

    The film unfolds from Ginia’s point of view, who, along with her brother Severino (Nicolas Maupass), moves from the countryside to the city to seek a better future for herself. She works as a seamstress; he does odd jobs, and they hang out with a cosy set of friends. A chance entry of model Amelia (Deva Cassel) into the group disrupts its harmony for a while, scorches their balmy summer outing by the lake and turns Ginia’s life upside down. The bohemian Amelia inspires a reluctant Ginia to let her hair down. She introduces her to the many artists she poses for. It’s a wild and wanton world with Amelia’s licentiousness leading Ginia to surrender to her baser instincts. But more than being a temptress, Amelia is the force of nature that helps Ginia find an identity of her own. It makes her connect with her somnolent femininity, gives vent to her repressed desires and sends her on a quest to be seen and loved by others. 

    Luchetti’s film starts off promisingly but loses some steam on the way and eventually almost derails with a sentimental twist and maudlin moments coming to the surface in the tale of carefree friendships and amour. But not all is entirely lost. There’s something timeless and universal about the world of paintings and portrait-making that the film delves into. The urgency to be seen through the eyes of the artist and be represented by his stencils and brushes becomes like a validation and celebration of your own self. The need for recognition and approval that holds true of people in any place, day and age is what Ginia also craves for.

    While the film loses out a lot on the much-desired spirit and sensuality, with its patchy narrative, it gains in gravitas from a superbly layered performance from Yile Yara Vianello. Delicately expressive, she carries it all the way deftly with her petite frame, frail presence and big, beautiful eyes. She is equally adept at being inhibited just as she is at becoming unrestrained, tender and fearless at the same time. You can see her grow on screen even while making wrong choices and buckling under peer pressure. The Beautiful Summer is her show all the way.

    Giving her good company is Deva Cassel, all oomph and glamour in the role that is a bit of a stereotyping of the modern, profligate woman. Deva, incidentally, happens to be the daughter of popular actors Monica Bellucci and Vincent Cassel and will be seen soon in a Netflix series adaptation of Luchino Visconti’s 1963 classic The Leopard in which she’d be reprising the role originally played by the diva Claudia Cardinale. 

    More than the Ginia-Amelia affinity, what lifts the film is the sibling equation of Severino and Ginia. Protective, concerned but hands off, he lets her go on the journey away from himself even though it means she wouldn’t be around to celebrate her birthday with him, that the candle will remain unlit, the cake uncut and the gift unopened. Yet when she is back in the fold, after her new experiences, he’s around to share a cigarette with his grown-up kid sister.

    At its very basic, La Bella Estate (The Beautiful Summer) by Laura Luchetti, based on the Italian writer Cesare Pavese’s novel by the same name, is all about finding freedom; from what the world expects of us and the self-imposed limitations within which we often bind ourselves. Ironically, it happens to be set in Turin in the late 1930s, the Italy of the fascist era. However, politics remains in the background, a radio broadcast wafting in from the neighbouring window, and doesn’t interfere with the journey of the film’s leading lady, young Ginia (Yile Yara Vianello).

    The film unfolds from Ginia’s point of view, who, along with her brother Severino (Nicolas Maupass), moves from the countryside to the city to seek a better future for herself. She works as a seamstress; he does odd jobs, and they hang out with a cosy set of friends. A chance entry of model Amelia (Deva Cassel) into the group disrupts its harmony for a while, scorches their balmy summer outing by the lake and turns Ginia’s life upside down. The bohemian Amelia inspires a reluctant Ginia to let her hair down. She introduces her to the many artists she poses for. It’s a wild and wanton world with Amelia’s licentiousness leading Ginia to surrender to her baser instincts. But more than being a temptress, Amelia is the force of nature that helps Ginia find an identity of her own. It makes her connect with her somnolent femininity, gives vent to her repressed desires and sends her on a quest to be seen and loved by others. 

    Luchetti’s film starts off promisingly but loses some steam on the way and eventually almost derails with a sentimental twist and maudlin moments coming to the surface in the tale of carefree friendships and amour. But not all is entirely lost. There’s something timeless and universal about the world of paintings and portrait-making that the film delves into. The urgency to be seen through the eyes of the artist and be represented by his stencils and brushes becomes like a validation and celebration of your own self. The need for recognition and approval that holds true of people in any place, day and age is what Ginia also craves for.googletag.cmd.push(function() {googletag.display(‘div-gpt-ad-8052921-2’); });

    While the film loses out a lot on the much-desired spirit and sensuality, with its patchy narrative, it gains in gravitas from a superbly layered performance from Yile Yara Vianello. Delicately expressive, she carries it all the way deftly with her petite frame, frail presence and big, beautiful eyes. She is equally adept at being inhibited just as she is at becoming unrestrained, tender and fearless at the same time. You can see her grow on screen even while making wrong choices and buckling under peer pressure. The Beautiful Summer is her show all the way.

    Giving her good company is Deva Cassel, all oomph and glamour in the role that is a bit of a stereotyping of the modern, profligate woman. Deva, incidentally, happens to be the daughter of popular actors Monica Bellucci and Vincent Cassel and will be seen soon in a Netflix series adaptation of Luchino Visconti’s 1963 classic The Leopard in which she’d be reprising the role originally played by the diva Claudia Cardinale. 

    More than the Ginia-Amelia affinity, what lifts the film is the sibling equation of Severino and Ginia. Protective, concerned but hands off, he lets her go on the journey away from himself even though it means she wouldn’t be around to celebrate her birthday with him, that the candle will remain unlit, the cake uncut and the gift unopened. Yet when she is back in the fold, after her new experiences, he’s around to share a cigarette with his grown-up kid sister.

  • ‘Boycott culture’ vitiates atmosphere: Union Minister Anurag Thakur 

    By PTI

    Union Information and Broadcasting Minister Anurag Thakur on Friday deplored the “boycott culture” targeting certain films and said such instances vitiate the atmosphere at a time when India is keen to enhance its influence as a soft power.

    In case someone has a problem with a movie, they should talk to the concerned government department which can take up the issue with the filmmakers, he said.

    “At a time when India is keen to enhance its influence as a soft power, at a time when Indian films are making waves in every corner of the world, such talk vitiates the atmosphere,” Thakur told reporters here responding to questions on boycott of films by various interest groups.

    The minister’s remarks come at a time when Shah Rukh Khan-starrer “Pathaan”, which released on Wednesday, is facing boycott calls over one of its songs.

    In the past, actor Akshay Kumar’s “Samrat Prithviraj”, Aamir Khan’s “Laal Singh Chaddha” and Deepika Padukone’s “Padmaavat” had faced boycott calls.

    ALSO READ | ‘Pathaan’ is also very patriotic, says Shah Rukh Khan amid boycott calls

    “If someone has a problem (with a film), then they should talk to the concerned department which will take it up with the producer and director,” Thakur said.

    “But sometimes, just to vitiate the atmosphere, some people comment on something even before knowing about it fully. That causes problems. This should not happen,” he said.

    Thakur is in Mumbai to inaugurate the Shanghai Cooperation Organisation (SCO) Film Festival that will showcase 58 movies from the regional grouping of eight Eurasian nations.

    SCO observer countries and dialogue partners have sent entries in the non-competition section of the film festival.

    The minister also made a strong pitch for creative autonomy and said there were adequate safeguards in place for monitoring content on over-the-top (OTT) platforms.

    “There should be no restrictions on creativity,” Thakur said.

    He said the Ministry of Information and Broadcasting does receive complaints about the content on OTT platforms, but almost 95 per cent of grievances are settled at the level of producers and the others get resolved at the second stage of the association of publishers of the content.

    The minister said only one per cent of complaints reach the inter-departmental committee and it is ensured that strict action is taken in such cases.

    Union Information and Broadcasting Minister Anurag Thakur on Friday deplored the “boycott culture” targeting certain films and said such instances vitiate the atmosphere at a time when India is keen to enhance its influence as a soft power.

    In case someone has a problem with a movie, they should talk to the concerned government department which can take up the issue with the filmmakers, he said.

    “At a time when India is keen to enhance its influence as a soft power, at a time when Indian films are making waves in every corner of the world, such talk vitiates the atmosphere,” Thakur told reporters here responding to questions on boycott of films by various interest groups.

    The minister’s remarks come at a time when Shah Rukh Khan-starrer “Pathaan”, which released on Wednesday, is facing boycott calls over one of its songs.

    In the past, actor Akshay Kumar’s “Samrat Prithviraj”, Aamir Khan’s “Laal Singh Chaddha” and Deepika Padukone’s “Padmaavat” had faced boycott calls.

    ALSO READ | ‘Pathaan’ is also very patriotic, says Shah Rukh Khan amid boycott calls

    “If someone has a problem (with a film), then they should talk to the concerned department which will take it up with the producer and director,” Thakur said.

    “But sometimes, just to vitiate the atmosphere, some people comment on something even before knowing about it fully. That causes problems. This should not happen,” he said.

    Thakur is in Mumbai to inaugurate the Shanghai Cooperation Organisation (SCO) Film Festival that will showcase 58 movies from the regional grouping of eight Eurasian nations.

    SCO observer countries and dialogue partners have sent entries in the non-competition section of the film festival.

    The minister also made a strong pitch for creative autonomy and said there were adequate safeguards in place for monitoring content on over-the-top (OTT) platforms.

    “There should be no restrictions on creativity,” Thakur said.

    He said the Ministry of Information and Broadcasting does receive complaints about the content on OTT platforms, but almost 95 per cent of grievances are settled at the level of producers and the others get resolved at the second stage of the association of publishers of the content.

    The minister said only one per cent of complaints reach the inter-departmental committee and it is ensured that strict action is taken in such cases.

  • M Night Shyamalan’s next confirmed to be horror novel adaptation

    By Express News Service

    M Night Shyamalan’s upcoming film titled Knock At The Cabin is confirmed to be an adaptation of the horror novel, Cabin At the End Of The World. The novel, written by author Paul Tremblay, revolves around a family vacationing at a remote cabin and ending up being visited by a group of mysterious strangers.

    The novel is notable for winning the Bram Stoker award from Horror Writers Association in 2019.  Shyamalan had earlier announced the wrap-up of the film on Twitter.

    Following the release of the film’s plot description, there was a discussion online about the story being similar to the novel but the author remained tight-lipped. 

    Now, following the director’s update about the completion of the shoot, the author officially confirmed the news about the adaptation.

    Going on the wall. Just wrapped #knockatthecabin sincerest love to the cast and crew. This one really changed me as a person and an artist. #riskeverythingeverytime pic.twitter.com/F4MtEPZzSP
    — M. Night Shyamalan ⌛ (@MNightShyamalan) June 11, 2022
    Knock At The Cabin is the filmmaker’s second and final film in his two-film deal with Universal Pictures, signed in 2019. 

    David Bautista, Nikki Amuka-Bird, Ben Aldridge, Jonathan Groff, and Rupert Grint are announced to be a part of the film’s cast. The horror film is slated to get a theatrical release on February 3, 2023. 

    M Night Shyamalan’s upcoming film titled Knock At The Cabin is confirmed to be an adaptation of the horror novel, Cabin At the End Of The World. The novel, written by author Paul Tremblay, revolves around a family vacationing at a remote cabin and ending up being visited by a group of mysterious strangers.

    The novel is notable for winning the Bram Stoker award from Horror Writers Association in 2019.  Shyamalan had earlier announced the wrap-up of the film on Twitter.

    Following the release of the film’s plot description, there was a discussion online about the story being similar to the novel but the author remained tight-lipped. 

    Now, following the director’s update about the completion of the shoot, the author officially confirmed the news about the adaptation.

    Going on the wall. Just wrapped #knockatthecabin sincerest love to the cast and crew. This one really changed me as a person and an artist. #riskeverythingeverytime pic.twitter.com/F4MtEPZzSP
    — M. Night Shyamalan ⌛ (@MNightShyamalan) June 11, 2022
    Knock At The Cabin is the filmmaker’s second and final film in his two-film deal with Universal Pictures, signed in 2019. 

    David Bautista, Nikki Amuka-Bird, Ben Aldridge, Jonathan Groff, and Rupert Grint are announced to be a part of the film’s cast. The horror film is slated to get a theatrical release on February 3, 2023. 

  • Sony confirms Venom 3

    By Express News Service

    Sony Pictures has officially confirmed Venom 3. They made the announcement during their CinemaCon panel.

    But there is no word on the crew and release date of the film. The announcement isn’t a surprise as the previous two films of the series: Venom and Venom: Let There Be Carnage, were successes at the box office. Both the films saw Tom Hardy playing Eddie Brock, the journalist who comes in contact with an alien symbiote. 

  • Kevin Bacon, Farrah Mackenzie join Netflix’s Leave the World Behind

    By Express News Service

    Actors Kevin Bacon and Farrah Mackenzie have joined the cast of Netflix’s upcoming film Leave the World Behind. The actors join the previously announced cast that includes Julia Roberts, Mahershala Ali, Ethan Hawke and Myha’la Herrold.

    Based on the bestselling novel by Rumaan Alam, the film is set to be directed by Sam Esmail who also adapts the book to screen. The story revolves around a couple vacationing in a rental house on Long Island, who are surprised when the homeowners arrive bearing news of a mysterious blackout.

    Esmail also produces the film with Chad Hamilton through Esmail Corp, alongside Roberts, Lisa Gillan, and Marisa Yeres Gill for Red Om Films. Higher Ground’s Tonia Davis will serve as executive producer alongside Alam, Danny Stillman and Esmail Corp’s Nick Krishnamurthy.

    Bacon currently stars on City on a Hill and has been on series such as SMILF and I Love Dick. His other recent film credits include You Should Have Left and Patriots Day. Mackenzie, who was previously seen on Amazon’s Utopia, currently stars on United States of A1. 

  • Angela Bassett joins Millie Bobby Brown in Netflix’s fantasy feature ‘Damsel’

    By PTI

    LOS ANGELES: Critically acclaimed actor Angela Bassett has been tapped to star alongside Millie Bobby Brown in Netflix’s upcoming fantasy movie “Damsel”.

    Oscar-nominated filmmaker Juan Carlos Fresnadillo is directing the film from a script penned by Dan Mazeau.

    According to Deadline, the story centres on a princess who is shocked to discover that she’ll be sacrificed to the kingdom’s sacred cave dragon, after being married to her prince charming.

    Bassett, who recently finished filming for Disney/Marvel’s much-anticipated sequel, “Black Panther 2: Wakanda Forever”, will play essay the role of Lady Bayford, the stepmother to Brown’s Elodie in “Damsel”.

    Brown is also serving as executive producer for PCMA Productions, alongside Mazeau, Zack Roth, Chris Castaldi and Sue Baden-Powell. Joe Roth and Jeff Kirschenbaum are the producers.

  • Anthony Mackie, Priyanka Chopra team up for Ending Things

    By Express News Service

    It has been announced that actors and Priyanka Chopra will be teaming up for a film titled Ending Things.

    The film, which is currently in development at Amazon Studios, tells the story of a hit-woman who decides to quit the assassination business and end her relationship with her business partner. She quickly realises that she is not wholeheartedly willing to end the relationship, and the couple must team up for one last job.

    According to Deadline, Davis Entertainment’s Jeremy Stein and Lit Entertainment will produce the film along with Mackie’s production house, Make It With Gravy Productions and Jason Spire of Inspire Entertainment. Chopra Jonas will also be serving as the executive producer through her banner, Purple Pebble Pictures.

    Further details related to the project, such as the director and other cast members, are currently under wraps considering the nascency of the project.

    In addition to this film, Mackie has Desert Warrior coming up. He will also headline the fourth Captain America film. Chopra Jonas, on the other hand, will be seen in Text For You alongside Sam Heughan and the limited series, Citadel.

  • Hoyeon, Renate Reinsve, Lily-Rose Depp to star in The Governesses

    By Express News Service

    Actor Renate Reinsve (of The Worst Person in the World fame), Hoyeon (of Squid Game-fame), and Lily-Rose Depp will star in filmmaker Joe Talbot’s upcoming movie The Governesses.

    Based on author Anne Serre’s novel of the same name, the feature will have an adapted screenplay written by Talbot in collaboration with poet-novelist Olivia Gatwood.

    The film will follow three rebellious governesses who upend the household-they work in by inspiriting the minds of the boys in their care, igniting the imaginations of the bohemian couple who employ them, and abandoning their charges for erotic adventures.

    Ed Guiney and Andrew Lowe of Element Pictures will produce the film along with Rob Richert of Talbot’s Longshot Features and Angus Lamont. BBC Film will co-finance the project alongside A24. Filmmaker Talbot previously directed the critically-acclaimed 2019 film The Last Black Man in San Francisco.

    Norweigian star Reinsve most recently starred in Joachim Trier’s Oscar-nominated hit The Worst Person in the World. Hoyeon, who made her mark in Netflix’s Squid Game, will be seen next in Alfonso Cuaron’s thriller series Disclaimer. Depp, known for titles like Tusk, The King, Planetarium, Voyagers, will be seen next in HBO’s The Idol.