Michelle Williams, Christopher Plummer Answer Controversial Questions About 'All the Money in the World'
It's one of the most controversial films of the year and it hasn't even been released yet.
By now, everyone should be aware of the last minute casting shakeup that made All the Money in the World global news. Kevin Spacey, accused of various sexual assaults, was cut out of the film after it had already been shot, edited, and ready for screening at the AFI Film Festival just last month. In came Christopher Plummer, joining fellow actors Michelle Williams and Charlie Plummer (no relation), to take over the role of J. Paul Getty. In our interview with the trio, we talk about the stress of this absurdly quick turnaround, director Ridley Scott's unconventional on-set methods, and what it's like to have another Plummer on the acting scene.
For our interview with director Ridley Scott, screenwriter David Scarpa, and producer Bradley Thomas, click here.
Ridley impressed Christopher by doing this one thing.
Christopher Plummer, "J. Paul Getty": Ridley flew all the way from London to see me, unbelievable. Even if I didn't want to do [the movie] I would've done it just for that! For years I've wanted to work with Ridley- I'm not just saying that to get another job. Really, seriously, I admire his work. I probably would've done it even if I loathed the script. Ridley made me feel as confident and comfortable as possible, which he did miraculously- mostly because of his outrageous sense of humor. That will calm anybody down.
As a single mother herself, Michelle found this was the biggest challenge in playing Gail.
Michelle Williams, "Gail": The way that the script was conceived was of a woman who refuses to let herself fall apart, a woman who takes great effort to keep herself together because falling apart won't get any closer to the ultimate goal which is to have her son back. At times, that was the hardest thing to do- to stay as strong and steely as possible when confronted with these circumstances that are so wrenching. She has to go through so much in this movie; so much that's unfair, undue, and just shouldn't have been, and she's doing it essentially alone. She and Chase [Mark Wahlberg] form a certain partnership at some point but she is essentially taking all of these hurdles by herself.
This is how Michelle studied the mannerisms of Gail Getty.
Michelle Williams: There are only two or three clips of her online. Those clips would always put me right back into the pocket of how Gail carried herself, how she moved her mouth... I spent a lot of time working on them with a dialect coach, breaking apart the vowel sounds and understanding where that specific kind of speech pattern comes from. They meant a great deal to me.
"That was the hardest thing to do- to stay as strong and steely as possible when confronted with these circumstances that are so wrenching." -Michelle Williams
Charlie Plummer and Paul Getty have these two things in common.
Charlie Plummer, "J. Paul Getty III": At a young age, Paul had been surrounded by adults and around a lot of adult matters. That is something I can relate to, I've been acting since I was 12 and so I've had lots of conversations with adults. I also think the relationship with his mother is one that I can relate to, in some aspect.
Christoper is none too pleased there is another actor named 'Plummer.'
Christopher Plummer: I didn't know there was an actor named 'Charlie Plummer'... how dare there be. Laughter. Especially with the name 'Charlie.'
Haha, no but from the little I saw on the screen, he's absolutely super. Although I hate to say it. Laughter.
This is the only question Michelle would ask Gail Getty.
Michelle Williams: I would really only want to ask her what her [experience] was like.
The time crunch was a welcomed challenge.
Christopher Plummer: I thrived on it. If you love your profession, which I certainly do, you welcome challenges and stress more than anything else.
"If you love your profession, which I certainly do, you welcome challenges and stress more than anything else." -Christopher Plummer
A lot of the scenes in the film were the actor's first take.
Michelle Williams: Ridley was so great at putting me at ease and giving me the floor. I had never worked with someone who had given me so much freedom. He just opened up the space and said, 'This is yours, go be free.' That was intoxicating. So [Ridley] would say, 'Here's the space, I've got cameras in places I don't need to tell you about, why don't we rehearse on film?' That's a scary thing to do because nothing is finessed, nothing is smoothed out, it's all unknown. So we would do this thing that we called... rehearsing on film... and very often he would say, 'Ok great, I've got it, I'd like to move on.' And in the middle of rehearsing on film, he would throw a physical obstacle in your way that you couldn't have anticipated, so you would be dealing with something in real time and always in the back of my head a little smile went on in my brain, thinking 'God, what is he going to come up with next?' I would get so excited to come to work because it was like the stage, it was like being in a play where it's real, it's alive. So what you see in the movie, a lot of [the scenes] are our first take, which has a real aliveness to it. It was a really exciting workplace and I'm a little lost without it.
Christopher relied heavily on the script.
Christopher Plummer: I must congratulate the writing, I really did depend on David's wonderful script because I didn't have any preparation at all. There were so many rolling colors in the character as written that I knew it was more than just a monotonous monologue lasting page after page. There is an awful lot of value in [this character].
She doesn't see any similarity between Gail and her mother character in The Greatest Showman.
Michelle Williams: Gail Getty is very different from Charity Barnum. [Gail] required a lot more of me but I was ready for it, hungry for it. After the "couch time" that was Showman, I was ready to get back up on my feet and be driven hard again which is, what everyone here described, is what we live for. Still, after all this time, I'm just burning for the "unknown."
"At a young age, Paul had been surrounded by adults ... That is something I can relate to [because] I've been acting since I was 12." -Charlie Plummer
A natural bond formed between Paul and his captor.
Charlie Plummer: That was through speaking with Ridley at the beginning of the process and talking about how crucial that relationship was. My character spends five months in captivity, and [we talked about] how important it is to physically see what that does to a person, but also mentally. Being the only human connection Paul has for five months, naturally [a bond] will happen. Romaine also does such a phenomenal job of really bridging those two characters.
Makeup is a distraction, authenticity is key.
Christopher Plummer: In playing real people, you have to be as subtle as possible. If you try to make an imitation out of it you might as well wear a mask. You have to save something from inside you that can be revealed through the character that you're playing, otherwise, it is a cheap imitation.
'All the Money in the World' opens on Christmas Day.
Ridley Scott: "In 3 1/2 weeks, we went from zero to a Golden Globe"
Ridley Scott is a very busy man.
But that didn't stop him from re-shooting almost half of the scenes from the kidnapped Getty-heir drama All the Money in the World in the 11th hour. Out was the film's anchor, Kevin Spacey, and in was Christopher Plummer, who had just days to prepare and shoot his scenes as J. Paul Getty. For many in the unfortunate situation that Scott found himself in 3 1/2 short weeks ago, it's likely that no one could have pulled off this feat as seamlessly and controlled as Ridley- the 80-year-old legendary director- has done. As if we needed proof, Scott was recently nominated for his 5th Golden Globe. In our interview with the self-professed "stress lover," screenwriter David Scarpa, and producer Bradley Thomas, we talk casting Plummer, what he loves the most about stress, and how he uses one simple trick to connect with his actors. We begin:
Ridley left another project mid-stream to work on All the Money in the World.
Ridley Scott, director: I was mid-stream on a fairly large project when I got a call from Bradley [Thomas, producer] who said he would like to meet because [he and co-producer Dan Friedkin] wanted to work with me on something. I read everything myself, I don't have anyone read for me, [so] when I read the script, it hit me hard. It just sat there with me. I knew I was mid-stream with this other project so I said, 'Listen, we'll put that on hold and it will evolve later- I'm going to jump in and do this [All the Money in the World].'
This is the one thing about the Getty kidnapping that shocked the screenwriter.
David Scarpa, screenwriter: When I embarked on this, I was looking for a movie that was about money and the power that it has over everyone's lives- whether they be rich or poor, it drives the choices they make in life. I was already somewhat familiar with the Getty kidnapping because everybody knows the story of the ear... However, something I didn't already know was that J. Paul Getty was the richest man in the world at the time and refused to pay the ransom that would've been easy for him to pay. To me, that seemed like a Shakespearean jumping-off point for a story about a man who both loved his grandson yet was so addicted to money that he was incapable of parting with it.
Re-shoots started 3 1/2 weeks ago. Yes, you read that correctly: 3 1/2 weeks ago.
Bradley Thomas, producer: Keeping it a secret was very important. We were discussing the idea of doing this [reshoot], even though it seemed insane, but we were scared if it got out and we didn't pull it off, people would be [critical]. It could've hurt us. Keeping it a secret was the most important thing.
Ridley Scott, director: It's worth mentioning that this happened 3 1/2 weeks ago. Just to put things in perspective. Since then, we went to Italy, Rome... and now here we are. From zero to a Golden Globe.
"From zero to a Golden Globe."
Ridley Scott and Christopher Plummer. Courtesy of Tom Jamieson for The New York Times
Casting Christopher Plummer was fairly easy.
Ridley Scott, director: I met Christopher at the Four Seasons in New York. He said it sounded good but he needed to read it first. So he read it and the next day he said, 'Yes, why not?'
"Ridley Scott eats stress for breakfast."
Bradley Thomas, producer: I just read a quote that 'Ridley eats stress for breakfast.'
Ridley Scott, director: Haha. Stress, for me, is not working. I've never "worked" a day in my life. My job is not work, my job is my passion and my life. So I don't even think about [obstacles], I go Yipee, here's stress.
Ridley's cinematic eye is so perfect because of his gift of "natural geometry."
Ridley Scott, director: First of all, I had to protect Christopher from ever having seen what Kevin [Spacey] did because it has to be his. Christopher has to own it. Of course, I initially asked him if he wanted to see [the old footage] and he said, 'Absolutely not.' And so that was the right thing to do.
I was born with a natural geometry in my head, it's a gift for me which was polished doing years of commercials. I can shoot anything from any angle and, normally, what lands is- I hate to say perfect- but correct. It's right, and I wouldn't re-do it. The problem can be efficacy, I can turn a 9-day shoot into a 22-day shoot if I'm being inefficient, but I feel like all the scenes already worked geographically and choreographically so well. Why change that?
I've never "worked" a day in my life. My job is not work, my job is my passion and my life.
Ridley Scott on set of 'Exodus: Gods and Kings.' Courtesy of We Geek Girls.
Authenticity is the most important element in any fact or fiction work.
Ridley Scott, director: I did it with Black Hawk Down, which was chaos. It was a pocket edition of the chaotic stupidity of battle. Whether your story is fiction or fact, you have to be true to your story. The great thing about fiction is, if it feels like fact, it's stronger.
His upbringing as a concrete-layer shaped Ridley's work ethic.
Ridley Scott, director: The script says it- there's a great scene with Getty (the gun cleaning scene) where we get inside Getty's soul and he professes what money can do. He's seen it destroy men, families, and most importantly it destroys the children. You talk about the abyss of wealth which, in a similar way, is the abyss of poverty, like 'I'd much rather die in the back of a Rolls Royce than some garbage can somewhere.' By the way- I grew up as a concrete-layer, I did not come from a wealthy background. But my dad made me work, every Sunday. We worked Christmas, during the summer... I had to have pocket money. What I learned was that there was no way I was going to have that job [for the rest of my life].
The budget for All the Money in the World wasn't too extravagant... only less than $60 million.
Ridley Scott, director: For the scale of the movie and the scale of the story, this was a slightly expensive movie. Laughter. It wasn't a low-budget movie... but it was below $60 [million]. But I am very respectful of Dan and Bradley [producer] wanting to keep the budget as tight as possible. I'm very economical, I always end up slightly below budget. It becomes an internal competition for me- 'Do I need 100 cars? No. Do I need 10 cars? Yes, but 5 will do.'
"I like that unevenness. I like the ship moving all the time."
Ridley Scott and Mark Wahlberg. Courtesy of Twitter.
Ridley's powerful secret to connecting with actors is actually, quite simple.
Ridley Scott, director: I came into directing without going through drama school or film school. I was thrown into the deep end after being asked to do a live hour-long drama on TV. The training was, 'Here's your script, here's your office, here's your P.A., you're on in three weeks.' I got beaten up so often by actors- the worst was when they went silent and just rolled their eyes because I didn't know what to say to them. After a while, I began to design and devise my own method and what I discovered the most powerful thing to do is to make a partnership with the actor you're working with. Frequently, when I meet with an actor that I haven't necessarily given the role to, I'll chat with them about anything other than the film. I'll talk about bullshit. Suddenly, they're talking and relaxing and usually they start to leak into the story. Then you enter and from that moment on, you're their best friend. So my job is to be the actor's best friend and make them feel absolutely secure.
Ridley Scott thrives on the unknown.
Ridley Scott, director: Doing my job, like most people at this table, is a minute-by-minute process of things changing all the time. Sometimes it's important, sometimes it's just par for the course. I like that unevenness, I like the ship moving all the time. That feeds my stress. There is positive stress and negative stress. Negative stress is doing nothing, being unemployed- that's the worst stress you can possibly feel. Being over-employed is what I call positive stress. [The pleasure of telling stories] is the unknown.
'All the Money in the World' opens in theaters on Christmas Day.
Soko: "I always think of life and death and legacy and what you leave behind"
Paris is a city known for cultivating innovative minds and inspiring artistic souls.
It comes as no surprise, then, that this is where the pioneer of modern dance Loïe Fuller found her calling, and the actress that portrays her, Soko, calls home. Earlier this week, I had the opportunity to talk with the French musician/actress/artist/L.A. transplant about the process of getting into character in The Dancer, what she does (or doesn't) think about while performing, and the meaning behind her name. We begin:
Babysitting was her first job.
My first job was a babysitter when I was 13 or 14. Over the summer I would just take care of my neighbor's kids, take them to the beach. But I've known that I wanted to act since I was five. I knew that before I started making money with other things, haha.
She doesn't think about the audience while performing.
[When I'm performing] I don't think of anything but the story, what I have to do in the scene, and connecting with the director. You're telling the story- it doesn't involve people you don't know. It only involves whatever and whoever you're working with.
The meaning of her name is extremely powerful.
[Soko] is not a stage name for me. Soko was my dad's nickname and when he died, I was five, I felt like if I heard his name all the time then he would never "die" and I would always remember him. That just became my name. That is my complete identity and part of why I make art is because I always think of life and death and legacy and what you leave behind. With Loïe [her stage name], I guess she felt like she wanted to start over and be someone else, not the farm girl Marie Louise Fuller, but the star she always dreamt she'd be.
Training for seven hours a day made it hard for her to put her socks on in the morning.
This film was all risks and challenges, there was nothing that wasn't a risk or challenge about playing Loïe. She had been copied and imitated her whole entire life, and so it was a huge challenge for me to give the truest performance that is the most her. It was showcasing everything, like how she came up with [the dance] and how hard she trained, and how emotional it was for her and how many sacrifices she had to make in her personal life. To be able to give the truest performance, I had to just do it- which means training seven hours a day. Which means knowing what it feels like in your body after training seven hours a day, looking at your bruises, feeling achy, and not being able to put your own socks on in the morning because that means you'd have to warm up haha. All of this, you can't cheat it. There is no way of "acting around" it.
All of these things were a part of understanding Loïe. Knowing what it feels like to get dizzy after doing her dance, and dancing in the dark on the tiniest platform with lights blinding you! These are very real sensations that, unless you do the work, you don't know. I hope I'm giving a real portrait of an artist and show that if you're passionate and you love something, you devote your entire life to it.
Gaspard Ulliel, Melanie Thierry, Lily-Rose Depp, Soko and Stephanie Di Giusto at the 69th Cannes Film Festival. Photo by Aurore Marechal/ABACAPRESS.COM
Even though it is a biopic, the role of Loïe was written exclusively for Soko.
Director Stéphanie Di Giusto and I have been friends for 10 years now. It took her seven years to write the movie for me, so I was part of the entire process. I helped with casting, every bit of it I was there with her. It's a wonderful relationship and incredible collaboration because I inspired her to write the movie and she changed a lot of things for me. I witnessed Stéphanie become a feature film director. She started out making music videos and commercials and I witnessed her become who she truly wanted to be. She was like Loïe [in that way].
Soko relates to Loïe's struggle.
There were some traits that were similar between myself and Loïe, like feeling isolated and being hard on yourself. She was also a multi-hyphenate, like me. I don't like doing just one thing. I like making my merch, doing my artwork, directing my videos, making music, writing, performing, acting... I like doing it all. I'm hyperactive and need things to constantly keep me focused and inspired and challenged. Same with Loïe, you know? I felt very lucky that, by playing someone else, I could bring it back to myself knowing that I'm not alone in the struggle of putting my entire energy into something.
Determination is her strong suit.
You're not anywhere by yourself. I've just always had the biggest drive, and it comes really naturally. I don't force it, I really want to do all of these things. No one is trying to make me do something other than myself. Obviously, I have a great team– an amazing publicist and manager (that took a really long time to find). My label is amazing too, they've been helping me a lot. Acting wise, I've been really lucky that strong and powerful women come to me with a script and ask if I want to be the lead in their next film. Weirdly enough, they're always women directors with one thing in common– their strength, determination, and ambition.
'The Dancer' Review: Soko Gives Blood, Sweat, and Tears in Moving Biopic
The name Loïe Fuller may not be a familiar one today, but it is one that we will likely come to know.
Born in 1862, Fuller stands as a pioneer of both modern dance and theatrical lighting techniques, as well as a champion for feminism and gay rights. For as much as she accomplished, however, Fuller had remained relatively unknown... until now. Much like the revolutionary woman she portrays on-screen, the multi-hyphenate French artist/actress/singer Soko takes on the role of Loïe Fuller in director Stéphanie Di Giusto's historical biopic, The Dancer (La Danseuse).
Regarded now as the "Goddess of Light," Loïe (Soko) was predisposed to be an artist. Born and raised in the American Midwest in the 19th Century, she struggled to find her calling until, after much trial and error in other areas of the arts, she created a new type of revolutionary dance movement, called "The Serpentine."
Holding onto long bamboo sticks and draped in white silk, Loïe would swing her arms and contort her body to make the most amazing butterfly-like shapes, made even more powerful with the use of strategic lighting which would project multiple colors onto her dress. This new movement fascinated audiences, and admiration for this graceful wonder grew. However, when the young apprentice Isadora Duncan (Lily-Rose Depp) gets involved in Loïe's professional and personal life, Isadora quickly supersedes everything Loïe has worked her entire life for.
Soko is mesmerizing as Loïe, and not just because of how beautifully her sharp features play against the gracefulness of her movements.
Soko is mesmerizing as Loïe, and not just because of how beautifully her sharp features play against the gracefulness of her movements. Soko gives a much-needed strength and vulnerability to this artistic enigma, and her emotional range is far-reaching. She fully embodies the highs and lows of Loïe's struggle with fame and her performance; many scenes have her crying in agony over the pain in her shoulders and icing her body to soothe the painful tension. Soko gives her blood, sweat, and tears to the role and this commitment is admirable.
Visually, The Dancer is stunning. It is hard to go wrong when a film is set in Paris in the 1800s, especially when the arts are involved. Unfortunately, though, good looks don't translate to a good script and that is what the film is lacking most. A confusing storyline with flat scenes (including Loïe's two competing love interests, Louis d'Orsay and Isadora Duncan, that are never fully reconciled) is ultimately the biggest disservice to the film as a whole. We sit through the slow, dry moments to be rewarded with the dancing scenes, but even those are few and far between.
While the story of The Dancer and Loïe Fuller is a fascinating one, the story we see onscreen may not be the best representation of the artist's full life. It did peak my interest enough to try to find out more about Loïe because, ultimately, the film didn't provide quite enough to leave me satisfied. However, I am excited to see what projects Soko chooses to take on next, her performance was the biggest takeaway from this film.
'The Dancer' is not rated. 108 minutes. Opening this Friday at Laemmle Fine Arts.
'Call Me By Your Name': Young Love Discovered In One Perfect Summer
“Is it better to speak, or to die?”
These are the words Mrs. Pearlman reads aloud to her son, Elio (Timothée Chalamet) and her husband from the love story about a prince who doesn’t know whether or not to express his love to the princess – the love of his life – or not. Lounging about in the living room of their 17th-century vacation villa in Northern Italy, the Pearlman family takes in the endless summer afternoon of 1983. The prince’s quandary is the same one felt by young Elio when exchange student Oliver (Armie Hammer) comes to stay with the family in Luca Guadagnino’s latest film, Call Me By Your Name, a beautiful film of discovery, pure love, and one of the best films of the year.
The summer will be a transformational one for the intelligent but still boyish 17-year-old Elio, who spends his afternoons studying classical piano sheet music and reading novels. His academic parents may have been able to culture him on the finer things in life regarding art and history, however, Elio finds himself inexperienced when it comes to understanding his feelings and own sexuality. It is only when his father’s 24-year-old American intern, Oliver, arrives at their family’s home to study for the summer, that Elio is awakened to the feelings of pure love and desire for the very first time.
'Call Me By Your Name's' universal themes are bound to resonate with everyone who has ever felt the pang in their chest the moment they knew something was different with themselves; the way just looking at a person makes one think about – makes one not able to stop thinking about– a new world of happiness, completeness, or even just the hope for it.
Call Me By Your Name (much like our previously reviewed film, Thelma) explores the theme of finding one's voice and navigating through the messiness of being in love against the backdrop of coming to understand one’s sexual desires. Elio and Oliver's relationship, growing closer throughout the story as they ride bikes into town and take dips in the pool, simmers into one that starts and stops with both attraction and hesitations of acting upon their desires. It plays out like a beautifully orchestrated dance. The patient, measured pace allows the audience to experience all of the visceral and sensual moments the film has to offer: the bite into a plump apricot, the sound of trickling water, the warm of the Italian sun, and an alarmingly welcomed first touch on a shoulder all convey the feelings of sensuality that first love can awaken us to.
These are the things that director Luca Guadagnino evokes so vividly in creating an endless summer with an amazing visual language (much as he did in his previous film, 2015's A Bigger Splash). In a technical sense, Guadagnino understands how to transition between these moments, allowing the film to breathe effortlessly into the next as scenes are woven together with cross dissolves and fades rather than harsh cuts. Adding to the film's overall tone is the original music from singer-songwriter Sufjan Stevens, whose whispered, confessional lyrics against the quiet staccato of melodic piano keys perfectly capture and heighten the optimism in discovery in the film.
Based on the 2007 novel from André Aciman of the same name, Call Me By Your Name was quickly regarded as a modern classic on first love. Although mainly celebrated in the LGBTQ community for its subject matter, it has since been embraced universally for its portrayal of the joy and heartache that comes from first love that transcends gender or sexuality (the film has also been nominated for six Independent Spirit Awards, including Best Feature, Best Actor, and Best Supporting Actor). Call Me By Your Name's universal themes are bound to resonate with everyone who has ever felt the pang in their chest the moment they knew something was different within themselves; the way just looking at a person makes one think about – or not able to stop thinking about– a new world of happiness, completeness, or even just the hope for it.
'Call Me By Your Name' is rated R for sexual content, nudity and some language. 132 minutes. Now playing at ArcLight Hollywood and The Landmark.
Joachim Trier Talks 'Thelma,' Love For Surrealist Cinema [WATCH]
I recently sat down with Joachim Trier, the visionary director behind the supernatural thriller and Norway’s official foreign-language Oscar submission, Thelma. The professional skateboarder-turned-director gets in-depth as he talks about his first job working on a game show in Norway, his passion for surrealist cinema, and his surprising artistic influences (plus, who he would love to have dinner with).
'Thelma': In Trier's Latest, Sexuality Conjures the Supernatural
A good film is often hard to describe. Like a powerful work of art, the connection one has to the picture can be unexplainable, but at the same time, undeniable.
So to say that Joachim Trier's latest film, Thelma, left me breathless would be pretty accurate. Following his American-set drama Louder Than Bombs (which made my top 10 favorite films of 2016), Trier sets the stage in his native country of Norway (Oslo to be exact). With his proven artistic and sensitive eye, the seemingly ordinary story of a young woman coming of age turns into something extraordinary– dabbling in the supernatural, repressed sexuality, and family secrets. Thelma, which is also Norway’s official foreign-language Oscar submission, is an unwavering, head-on look at the human desire for connection and the need to be understood.
Do you remember the moment you fell in love for the very first time? The rush of adrenaline pulsating throughout your body made you feel as if you were floating, and you welcomed this loss of control because you were happy. For the reserved first-year college student Thelma (Eili Harboe), this experience also included the heavy burden of shame and guilt because these feelings involved another woman, fellow student Anja (Kaya Wilkins). Thelma’s strict religious background forced upon her by her parents not only alienates her from her peers, but her history of being predisposed to epileptic fits makes it difficult to live confidently in her own skin.
Anja reciprocates Thelma's growing romantic feelings but even that isn't enough for Thelma to overcome her sexual discomfort and confusion. This suppression eventually leads to a literal bursting of supernatural powers, taking shape in the form of wild creatures and nightmarish situations. The tangled themes of simultaneously experiencing grief and love are universal feelings although, for Thelma, her internal struggle has existential implications.
Without sounding cliché, Trier has given us the true definition of a cinematic experience in 'Thelma.'
A relative newcomer to the big screen, Eili Harboe delivers a fearless, gut-wrenching, and award-winning performance that will surely be talked about in the coming months. Aside from demanding physical stunts, Harboe gives many dimensions to her character– she is complex in that she can be both vulnerable and strong at the same time. For Kaya Wilkins, Thelma marks her acting debut and it is her doe-eyed innocence in front of the camera that makes Anja a deeply sympathetic character. I venture to say that we can expect both of these names to be recognizable ones very, very soon.
The character-driven storyline is one that Joachim Trier has come to perfect throughout his career, but what sets Thelma apart from the rest of his filmography is this film's dip into the supernatural in an otherwise straightforward story of dealing with the human desire and struggle for self-acceptance. Ultimately, Thelma embodies the great pursuit of love, told in an allegorical way that ruminates in silence and a sense of foreboding.
At this point in his career, Trier is developing a recognizable "look" that washes over his films. A tightly crafted script with help from frequent co-writer and longtime friend, Eskil Vogt, and a brooding musical composition complement Thelma's sobering color palette. The cool temperature is juxtaposed between the characters' emotional warmth, evoking a visual style all it's own.
Thelma is a genre film with intellect. Trier pushes his audience to imagine what cinema can be beyond the constraints of sequels and re-boots. His imaginative and ambitious storytelling results in stunning films that feel timeless in both their visual style and subject matter. Without sounding cliché, Trier has given us the true definition of a cinematic experience in Thelma.
'Thelma' is not rated. 116 minutes. Opening in select Los Angeles theaters this Friday.
The Best Way To Fest: AFI Film Festival
Cheers to another amazing time at the 2017 AFI Film Festival!
The fest wrapped up yesterday and let me tell you, it was one for the record books. Ryan beat out the rest of us by watching four movies in one day. Four movies! Our reviews will be trickling in throughout next week, so be sure to check back for the latest.
While team Cinemacy was busy movie-watching, I took to the Hollywood streets to show you my favorite things do at AFI, which includes a tour of the press lounge at The Hollywood Roosevelt Hotel and a red carpet interview with the cast of the indie film Mr. Roosevelt: Noël Wells, Nick Thune, and Britt Lower.
Check out our vid below and if you're feeling generous on this fine Friday, give it a 