With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit platforms. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon, and more (note: U.S. only). Check out our rundown for this week’s selections below.
A.W. A Portrait of Apichatpong Weerasethakul (Connor Jessup)
As part of the Meet the Filmmakers series, A.W. A Portrait of Apichatpong Weerasethakul, is now screening on the Criterion Channel on FilmStruck. Directed by Connor Jessup, who will be most familiar to viewers as a cast member on Falling Skies and American Crime as well as his breakthrough lead performance in Stephen Dunn’s Closet Monster, he is...
A.W. A Portrait of Apichatpong Weerasethakul (Connor Jessup)
As part of the Meet the Filmmakers series, A.W. A Portrait of Apichatpong Weerasethakul, is now screening on the Criterion Channel on FilmStruck. Directed by Connor Jessup, who will be most familiar to viewers as a cast member on Falling Skies and American Crime as well as his breakthrough lead performance in Stephen Dunn’s Closet Monster, he is...
- 3/23/2018
- by Jordan Raup
- The Film Stage
Sofia Coppola’s fresh take on a civil war story is beautiful but deadly, a culture-clash comedy plays it too safe, and it’s a reboot too far for one hero
There’s so much gauzy, dusty pink and perfume saturating the screen in Sofia Coppola’s gorgeous The Beguiled (Universal, 15) that you briefly wonder if the characters might just bleed rosewater if you cut them. Yet the blood, when it comes, runs dark, and so does everything else in this smartly, subtly nasty reframing of Don Siegel’s more overtly lurid American civil war thriller, in which suppressed male physicality and repressed female sexuality do tense, unforgiving battle. It’s not quite a complete feminist inversion of Thomas Cullinan’s source novel, but in assiduously stripping back the material to its barest, ghostliest bones, Coppola has highlighted female perspectives less prominent in the earlier film’s musky genre stew.
There’s so much gauzy, dusty pink and perfume saturating the screen in Sofia Coppola’s gorgeous The Beguiled (Universal, 15) that you briefly wonder if the characters might just bleed rosewater if you cut them. Yet the blood, when it comes, runs dark, and so does everything else in this smartly, subtly nasty reframing of Don Siegel’s more overtly lurid American civil war thriller, in which suppressed male physicality and repressed female sexuality do tense, unforgiving battle. It’s not quite a complete feminist inversion of Thomas Cullinan’s source novel, but in assiduously stripping back the material to its barest, ghostliest bones, Coppola has highlighted female perspectives less prominent in the earlier film’s musky genre stew.
- 11/19/2017
- by Guy Lodge
- The Guardian - Film News
With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we’ve taken it upon ourselves to highlight the titles that have recently hit platforms. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of streaming titles (new and old) across platforms such as Netflix, iTunes, Amazon, and more (note: U.S. only). Check out our rundown for this week’s selections below.
The Bad Batch (Ana Lily Amirpour)
Ana Lily Amirpour’s second feature shoots for Harmony Korine meets Mad Max and would have nearly almost hit the mark were it not for the gratingly aloof attitude and the swaths of directorial license being taken. The Bad Batch — an ambitious, expansive dystopian sci-fi western which features partying, drugs, and cannibals — might come as music to the ears of diehard fans of...
The Bad Batch (Ana Lily Amirpour)
Ana Lily Amirpour’s second feature shoots for Harmony Korine meets Mad Max and would have nearly almost hit the mark were it not for the gratingly aloof attitude and the swaths of directorial license being taken. The Bad Batch — an ambitious, expansive dystopian sci-fi western which features partying, drugs, and cannibals — might come as music to the ears of diehard fans of...
- 9/29/2017
- by Jordan Raup
- The Film Stage
If you’ve taken a stroll through Film Twitter during the last few weeks, you’ve likely seen the backlash that has been generated against Sofia Coppola. The director has been taken to task for “The Beguiled,” her steamy drama/comedy set during the Civil War that doesn’t feature any African-American characters. In fact, Coppola excised the slave character Mattie, who is featured in Thomas Cullinan’s book and Don Siegel‘s 1971 movie.
Continue reading Sofia Coppola Defends ‘The Beguiled’ Against Backlash at The Playlist.
Continue reading Sofia Coppola Defends ‘The Beguiled’ Against Backlash at The Playlist.
- 7/17/2017
- by Kevin Jagernauth
- The Playlist
Sofia Coppola’s dreamy, ‘woman’s eye’ adaptation of a Us civil war story brings the battleground indoors
Thomas Cullinan’s 1966 novel The Beguiled (Aka A Painted Devil), about a wounded Union soldier taken into a southern girls’ academy during the Us civil war, was first brought to the screen by director Don Siegel in 1971. With posters declaring that leading man Clint Eastwood “has never been in a deadlier spot!”, Siegel’s film was a horror-inflected psychodrama, full of sinewy interior monologues, and foreshadowing some of the male paranoia themes of Eastwood’s directorial debut Play Misty for Me. Now, writer-director Sofia Coppola revisits this story with a sly, sensuous adaptation that earned her the best director award at Cannes, making her the first woman to take that prize since Yuliya Solntseva won for Chronicle of Flaming Years in 1961. Despite closely mirroring the narrative of Siegel’s film (the screenplay...
Thomas Cullinan’s 1966 novel The Beguiled (Aka A Painted Devil), about a wounded Union soldier taken into a southern girls’ academy during the Us civil war, was first brought to the screen by director Don Siegel in 1971. With posters declaring that leading man Clint Eastwood “has never been in a deadlier spot!”, Siegel’s film was a horror-inflected psychodrama, full of sinewy interior monologues, and foreshadowing some of the male paranoia themes of Eastwood’s directorial debut Play Misty for Me. Now, writer-director Sofia Coppola revisits this story with a sly, sensuous adaptation that earned her the best director award at Cannes, making her the first woman to take that prize since Yuliya Solntseva won for Chronicle of Flaming Years in 1961. Despite closely mirroring the narrative of Siegel’s film (the screenplay...
- 7/16/2017
- by Mark Kermode, Observer film critic
- The Guardian - Film News
Sofia Coppola has responded to backlash against the way her film “The Beguiled” has eliminated slavery in the Civil War-era South. In a column published at Indiewire, the filmmaker explained her decision to remove the character of Mattie, a slave woman, from her adaptation of Thomas Cullinan’s 1966 novel (the character was named Hallie in the 1971 film adaptation starring Clint Eastwood). Coppola’s film stars Nicole Kidman, Kirsten Dunst and Elle Fanning as the last few residents of a run-down Southern girls’ school whose lives are turned upside down when they take in an injured Union soldier (Colin Farrell). Also...
- 7/15/2017
- by Reid Nakamura
- The Wrap
Since the release of “The Beguiled” earlier this summer, Sofia Coppola’s film has faced criticism that it fails to include the African American character featured in Don Siegel’s 1971 version. As the new film continues to open around the country, Coppola provided this exclusive statement to IndieWire in response to the backlash.
There have been some questions regarding my approach to my new film, “The Beguiled.” More specifically, there have been objections to my decision not to include the slave character, Mattie, in Thomas Cullinan’s book on which my film is based. I would like to clarify this.
My film is set in a Southern school for girls at the point in the Civil War when the men had been away fighting for some time and the Union had gained momentum. According to historians and several women’s journals from the time, many slaves had departed, and a...
There have been some questions regarding my approach to my new film, “The Beguiled.” More specifically, there have been objections to my decision not to include the slave character, Mattie, in Thomas Cullinan’s book on which my film is based. I would like to clarify this.
My film is set in a Southern school for girls at the point in the Civil War when the men had been away fighting for some time and the Union had gained momentum. According to historians and several women’s journals from the time, many slaves had departed, and a...
- 7/15/2017
- by Sofia Coppola
- Indiewire
For the most part Sofia Coppola has been spared the coded, patronizing, and often frankly misogynist, criticism leveled at movies by female filmmakers. But that was before the June 23 release of Coppola’s “The Beguiled.” While her overall review rating on Metacritic is 77, something about her rethink of Don Siegel’s 1971 adaptation of the novel by Thomas Cullinan has brought out a few knives.
Some cuts are of the double-standard sort. The same people who love Wes Anderson rip Coppola for being a child of privilege and making movies about those of her class. The same people who love Jason Reitman attack Coppola, implying that she gets work only because she has a father who is a famous director. While Ralph Waldo Emerson said that foolish consistency is a hobgoblin of small minds, this isn’t a consistency of foolishness but of critical fairness.
Is there a reason other than...
Some cuts are of the double-standard sort. The same people who love Wes Anderson rip Coppola for being a child of privilege and making movies about those of her class. The same people who love Jason Reitman attack Coppola, implying that she gets work only because she has a father who is a famous director. While Ralph Waldo Emerson said that foolish consistency is a hobgoblin of small minds, this isn’t a consistency of foolishness but of critical fairness.
Is there a reason other than...
- 7/14/2017
- by Carrie Rickey
- Indiewire
Chicago – The human-ness of being human never changes, fundamentally. The mating season arrives, and the effect makes for both great connections and bad decisions. Director Sofia Coppola emphasizes this in a reverent film production of the story called “The Beguiled.”
Rating: 5.0/5.0
It began as a novel in 1971 by Thomas Cullinan (originally entitled “A Painted Devil”) and was adapted into a film version that same year by director Don Siegel, starring Clint Eastwood (the same team that brought us “Dirty Harry”). Sofia Coppola wrote the screenplay adaptation for her directorial version, focusing on how the relationships developed and changed in a Southern girls boarding school during the Civil War, when adjacent to the property a wounded Union soldier is found. Coppola generates an understanding of how women are, in a repressed society, when faced with their own longings and desires. This is framed by a tense situation – almost a thriller – as...
Rating: 5.0/5.0
It began as a novel in 1971 by Thomas Cullinan (originally entitled “A Painted Devil”) and was adapted into a film version that same year by director Don Siegel, starring Clint Eastwood (the same team that brought us “Dirty Harry”). Sofia Coppola wrote the screenplay adaptation for her directorial version, focusing on how the relationships developed and changed in a Southern girls boarding school during the Civil War, when adjacent to the property a wounded Union soldier is found. Coppola generates an understanding of how women are, in a repressed society, when faced with their own longings and desires. This is framed by a tense situation – almost a thriller – as...
- 7/6/2017
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
2017 has now crossed the halfway mark, so it’s time to take a look back at the first six months and round up our favorite titles thus far. While the end of this year will bring personal favorites from all of our writers, think of the below 28 entries as a comprehensive rundown of what should be seen before heading into a promising fall line-up.
Do note that this feature is based solely on U.S. theatrical releases from 2017, with many currently widely available on streaming platforms or theatrically. Check them out below, as organized alphabetically, followed by honorable mentions and films to keep on your radar for the remaining summer months. One can also see the list on Letterboxd.
Abacus: Small Enough to Jail (Steve James)
Steve James’ filmography has long been about finding entry into larger conversations through intimate portraits. The director’s landmark debut, Hoop Dreams, and latter-day...
Do note that this feature is based solely on U.S. theatrical releases from 2017, with many currently widely available on streaming platforms or theatrically. Check them out below, as organized alphabetically, followed by honorable mentions and films to keep on your radar for the remaining summer months. One can also see the list on Letterboxd.
Abacus: Small Enough to Jail (Steve James)
Steve James’ filmography has long been about finding entry into larger conversations through intimate portraits. The director’s landmark debut, Hoop Dreams, and latter-day...
- 7/3/2017
- by The Film Stage
- The Film Stage
Kirsten Dunst never shies away from challenging characters.
For her, Edwina in The Beguiled is definitely one of her best performances yet.
Dunst is reunited with director Sofia Coppola in The Beguiled as a teacher at an all girl’s school in this re-adaptation of Thomas Cullinan's novel.
The film revolves around a group of girls during the Civil War in Virginia, who provided shelter to a Union soldier. However, sexual tensions arises to create rivalries--leading to an unexpected turn of events.
The movie also stars Nicole Kidman, Elle Fanning, and Colin Farrell.
The Beguiled is playing nationwide in theaters today.
Watch our exclusive sit-down interview with Kirsten Dunst below:
Source: Exclusive to Lrm...
For her, Edwina in The Beguiled is definitely one of her best performances yet.
Dunst is reunited with director Sofia Coppola in The Beguiled as a teacher at an all girl’s school in this re-adaptation of Thomas Cullinan's novel.
The film revolves around a group of girls during the Civil War in Virginia, who provided shelter to a Union soldier. However, sexual tensions arises to create rivalries--leading to an unexpected turn of events.
The movie also stars Nicole Kidman, Elle Fanning, and Colin Farrell.
The Beguiled is playing nationwide in theaters today.
Watch our exclusive sit-down interview with Kirsten Dunst below:
Source: Exclusive to Lrm...
- 6/30/2017
- by Nancy Tapia
- LRMonline.com
Director Sofia Coppola has a unique style of directing that marks her as one of the best female directors today.
For Elle Fanning, she was delighted in reuniting with Coppola in The Beguiled, in which they worked together in 2010’s Somewhere.
Based off the Thomas Cullinan novel, it’s about young women at a girls’ school who are sheltered from the outside world in Virginia during the Civil War. A wounded Union soldier unexpectedly shows up and the woman provides him shelter. Soon, the house is taken over with sexual tensions, rivalries and unexpected turns of events.
The film stars Nicole Kidman, Kirsten Dunst, Elle Fanning and Oona Laurence.
The Beguiled is currently playing in nationwide today.
Lrm had an exclusive sit-down interview with director Elle Fanning for The Beguiled. Our correspondent Nancy Tapia talked with Fanning about her character and Coppola’s direction style.
Check out our TV video...
For Elle Fanning, she was delighted in reuniting with Coppola in The Beguiled, in which they worked together in 2010’s Somewhere.
Based off the Thomas Cullinan novel, it’s about young women at a girls’ school who are sheltered from the outside world in Virginia during the Civil War. A wounded Union soldier unexpectedly shows up and the woman provides him shelter. Soon, the house is taken over with sexual tensions, rivalries and unexpected turns of events.
The film stars Nicole Kidman, Kirsten Dunst, Elle Fanning and Oona Laurence.
The Beguiled is currently playing in nationwide today.
Lrm had an exclusive sit-down interview with director Elle Fanning for The Beguiled. Our correspondent Nancy Tapia talked with Fanning about her character and Coppola’s direction style.
Check out our TV video...
- 6/30/2017
- by Nancy Tapia
- LRMonline.com
Men and women are different in many ways though perhaps one of the most subtle and misunderstood is in the way we communicate in a group. There's a version of the "bro-code" for women which remains mostly a mystery - sometimes even to women - and considering how badly women are under-represented in the film industry, one doesn't often see the nuance of female interaction on the big screen.
Enter Sofia Coppola who, from her first feature, showed a capability of not only capturing the way women interact but doing so in a way that feels like we're in the middle of the conversation. With The Beguiled, Coppola returns the story to author Thomas Cullinan's original vision, telling it from the female perspective while also trimming the unnecessary to deliver an intimate observation on [Continued ...]...
Enter Sofia Coppola who, from her first feature, showed a capability of not only capturing the way women interact but doing so in a way that feels like we're in the middle of the conversation. With The Beguiled, Coppola returns the story to author Thomas Cullinan's original vision, telling it from the female perspective while also trimming the unnecessary to deliver an intimate observation on [Continued ...]...
- 6/30/2017
- QuietEarth.us
It’s been a bit of a rough week for Sofia Coppola, at least in the micro world of Film Twitter media. Her new film, “The Beguiled,” starring Nicole Kidman, Colin Farrell, Kristen Dunst and Elle Fanning has received excellent reviews and it heads into the arthouse box-office this weekend with strong chances for success (here’s our review). But online, the film—a Civil War-set movie based on the book by Thomas Cullinan and something of a very loose remake of the 1971 movie by Don Siegel — and Sofia’s art has been put under the microscope.
Continue reading Sofia Coppola: Listen To 4 Hours Of Podcast Talks at The Playlist.
Continue reading Sofia Coppola: Listen To 4 Hours Of Podcast Talks at The Playlist.
- 6/24/2017
- by The Playlist
- The Playlist
After winning the Best Director Award at Cannes Film Festival earlier this year, Sofia Coppola’s The Beguiled will make its way into theaters for a limited release in Los Angeles and New York this weekend.
Based off the Thomas Cullinan novel, it’s about young women at a girls’ school who are sheltered from the outside world in Virginia during Civil War. A wounded Union soldier unexpectedly shows up and the woman provides him shelter. Soon, the house is taken over with sexual tensions, rivalries and unexpected turns of events.
The film stars Nicole Kidman, Kirsten Dunst, Elle Fanning and Oona Laurence.
The Beguiled is currently playing in limited theaters in Los Angeles and New York. It will be expanded nationwide on June 30.
Lrm had an exclusive sit-down interview with director Sofia Coppola for The Beguiled. Our correspondent Nancy Tapia discussed the novel adaptation on to screen, Coppola’s...
Based off the Thomas Cullinan novel, it’s about young women at a girls’ school who are sheltered from the outside world in Virginia during Civil War. A wounded Union soldier unexpectedly shows up and the woman provides him shelter. Soon, the house is taken over with sexual tensions, rivalries and unexpected turns of events.
The film stars Nicole Kidman, Kirsten Dunst, Elle Fanning and Oona Laurence.
The Beguiled is currently playing in limited theaters in Los Angeles and New York. It will be expanded nationwide on June 30.
Lrm had an exclusive sit-down interview with director Sofia Coppola for The Beguiled. Our correspondent Nancy Tapia discussed the novel adaptation on to screen, Coppola’s...
- 6/23/2017
- by Nancy Tapia
- LRMonline.com
Fresh off becoming only the second woman ever to capture the Best Director award at the Cannes Film Festival last month, Sofia Coppola’s artistry lands in theaters everywhere for the first time in four years (“The Bling Ring”) with her Civil War-era revenge thriller “The Beguiled.”
Coppola’s Palme d’Or contending adaptation of the novel by Thomas Cullinan features a plethora of talent including Nicole Kidman, Kirsten Dunst, Elle Fanning and Colin Farrell.
Continue reading 22 Of The Best Revenge Films at The Playlist.
Coppola’s Palme d’Or contending adaptation of the novel by Thomas Cullinan features a plethora of talent including Nicole Kidman, Kirsten Dunst, Elle Fanning and Colin Farrell.
Continue reading 22 Of The Best Revenge Films at The Playlist.
- 6/22/2017
- by Oliver Lyttelton
- The Playlist
The Last Seduction: Coppola Eschews Subtext with High Profile Remake
Claiming to be a closer adaptation to Thomas Cullinan’s 1966 novel than the famed 1971 Don Siegel version starring Clint Eastwood, Sofia Coppola’s remake of The Beguiled unfortunately seems a missed opportunity.
Continue reading...
Claiming to be a closer adaptation to Thomas Cullinan’s 1966 novel than the famed 1971 Don Siegel version starring Clint Eastwood, Sofia Coppola’s remake of The Beguiled unfortunately seems a missed opportunity.
Continue reading...
- 6/22/2017
- by Nicholas Bell
- IONCINEMA.com
Colin Farrell has nothing but kind words for Sofia Coppola after working with her on his latest film, The Beguiled.
Sitting down with People at the Cannes Film Festival, the actor credits the acclaimed director for creating a “really cool environment” behind the scenes of the award-winning project.
“Sofia created this really easy, laid back environment on the set that was such a counter point to what was going on in front of the camera,” Farrell, 41, explains. “In between takes of us screaming at each other, we’d go outside and have coffee.”
He continues: “There was this wooden picnic...
Sitting down with People at the Cannes Film Festival, the actor credits the acclaimed director for creating a “really cool environment” behind the scenes of the award-winning project.
“Sofia created this really easy, laid back environment on the set that was such a counter point to what was going on in front of the camera,” Farrell, 41, explains. “In between takes of us screaming at each other, we’d go outside and have coffee.”
He continues: “There was this wooden picnic...
- 6/22/2017
- by Brianne Tracy
- PEOPLE.com
The classical western exists as an ideal sandbox for stories of heroism, in which white hats can immediately separate our protagonists from the black-hatted antagonists. Occasionally, though, we have a revisionist western that questions and defies the well-trodden patriarchal confines of the genre, as if looking at an old image from a tilted perspective and finding something new.
Sometimes, the characters don’t fit into the dusty old boxes occupied by so many western heroes and heroines. The hero robs and kills to stay alive, frightened and overwhelmed by this strange, new frontier. Other times, the stereotypical Western landscape disappears, blanketed in snow. Horses drive their hooves through ice-covered puddles. Wind screams past bone-thin trees — manifest destiny frozen over, encasing the American dream in ice.
In the case of Sofia Coppola’s newest, The Beguiled, gender and power roles reverse: an injured Union soldier (Colin Farrell) turns up at a girl’s school, an arrival which breeds intense sexual tension and rivalry among the women (Nicole Kidman, Kirsten Dunst and Elle Fanning). According to our review, the movie is “primarily based on the 1966 book by Thomas Cullinan,” and “appears, at first glance, to be a remake of Don Siegel’s 1971 film adaptation rather than any sort of new reading of the original text. Coppola, of course, is far too clever for that.”
In celebration of The Beguiled, we’ve decided to take a look at the finest examples of the revisionist western. Enjoy, and please include your own favorites in the comments.
The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik)
Robert Ford (Casey Affleck) idolized the legendary outlaw Jesse James (Brad Pitt), growing up hearing campfire stories about the man. Ford loved James so much that he eventually willed himself into the man’s life story. You cannot tell James’s story without also telling Ford’s. These two tragic lives are irrevocably linked by Ford’s betrayal. The film’s dryly antiseptic voiceover narration confides that Ford grew to regret his violent ways. The same goes for James, who at one point beats a child and then weeps into his horse’s neck, unable to live with his own deeds. While James’ propensity for violence is a deeply cut character flaw, Pitt plays the outlaw like an emotionally wounded teenager. His jovial sense of humor cloaks a vindictive and self-loathing interior. Whether Jesse James hurts himself or someone else, there is always a witness looking on with wide eyes. After James’ murder, Ford became a celebrity, touring the country reenacting the shooting. But Ford gained his prominence by killing a beloved folk hero. And so, one day, a man named Edward Kelly walked into Ford’s saloon with a shotgun and took revenge for James’s murder. Unlike the aftermath of Ford’s deed, people leapt to Kelly’s defense, collecting over 7000 signatures for a petition, leading to his pardon. America hated Robert Ford because he killed Jesse James. They loved Edward Kelly because he killed Robert Ford.
Buffalo Bill and the Indians, or Sitting Bull’s History Lesson (Robert Altman)
Robert Altman’s largely forgotten and often funny western about egotistical showman Buffalo Bill Cody (Paul Newman) treats its lead without respect, eagerly mocking him at every opportunity. Known across America as they best tracker of man and animals alive, Cody runs Buffalo Bill’s Wild West Show, a rodeo-like performance of cowboy-feats, ranging from simple rope tricks to the trick-shots of the legendary Annie Oakley. However, Cody is a fraud, a walking accumulation of lies and tall-tales. When Cody gets the chance to hire Chief Sitting Bull, the man who defeated General Custer at Little Big Horn, he’s thrilled, until Sitting Bull refuses to participate in his offensive show. Contrasted with phony Buffalo Bill Cody, Sitting Bull drips with dignified authenticity, totally uninterested in living up to the ignorant public’s racist image of his people. While the manufactured “reality” of Cody’s shows gets applause from white audiences, the stoic realness of Sitting Bull initially receives jeers, until something occurs to the crowd: this isn’t showmanship; this is the real thing. Later, when Cody and his gang form a posse, he hastily removes his show attire and searches through his wardrobe, cursing: “Where’s my real jacket?” So utterly consumed by his own public image, Cody can no longer locate his true self. Altman’s film is a rare western with a lead character who never succeeds, changes, or learns from his mistakes, always remaining a hopelessly pompous horse’s ass.
Butch Cassidy and the Sundance Kid (George Roy Hill)
As we meet the legendary Butch Cassidy (Paul Newman) he’s scoping out a bank, recently renovated to include heavy iron bars over every window and bolted-locks on every door. He asks the guard what happened to the old bank, which displayed such architectural beauty. “People kept robbing it,” the guard says. “Small price to pay for beauty,” Butch replies. It’s a running theme in revisionist westerns to reveal the truth behind the legend. The changing times had rendered bandits on horseback obsolete. But Butch Cassidy and his partner, the Sundance Kid (Robert Redford) didn’t see the end coming until the future was already upon them. After barely evading a super-posse (to use a term coined by screenwriter William Goldman) led by a ruthless bounty hunter, they escape to Bolivia with Etta (Katherine Ross) Sundance’s girl, where their criminal ways are similarly received. What began as a vacation away from their troubles slowly becomes a permanent getaway run, sowing seeds of inevitable tragedy. Etta sees what Butch and Sundance cannot: the end. “We’re not going home anymore, are we?” Etta tearfully asks Sundance, informing him that she has no plans to stick around to watch them die. George Roy Hill’s Butch Cassidy and the Sundance Kid is a tearful celebration of a pair of old dogs too foolish to learn new tricks.
Dead Man (Jim Jarmusch)
The gorgeous and haunting Dead Man opens with a soot-faced Crispin Glover trilling as he points out the window of a train: “They’re shooting buffalo,” he cries. “Government said, it killed a million of them last year alone.” The American machine greedily consumes the landscape, leaving smoldering devastation in its path, while a stone-faced accountant named William Blake (Johnny Depp) travels to the hellish town of Machine, where he’s promised a job. Unfortunately, there’s no job at the end of the line for this seemingly educated man, blissfully unaware of his namesake, the poet William Blake. After taking a bullet to the chest, Blake wanders this dying western landscape as if in a dream, guided by Nobody (Gary Farmer) a Native American raised in England after getting kidnapped and paraded around as a sideshow attraction for whites. At one point, Blake stumbles upon three hunters by a camp fire, one of which, played by Iggy Pop, wears a muddy dress and bonnet like a twisted schoolmarm. Writer-director Jim Jarmusch’s twist on the western (accompanied by Robby Müller’s flawless cinematography) hums with textured period detail and vivid costume design, the accumulation of which achieves an eerily stylized tone.
Django Unchained (Quentin Tarantino)
The spirit of Quentin Tarantino’s Django Unchained is in the sequence scored by Jim Croce’s “I’ve Got a Name.” Django (Jamie Foxx), now a free man, removes the old saddle from his horse’s back, a saddle originally procured by a white slaver, the animal’s previous owner. He then mounts in its place, his own saddle personalized with an embroidered D. His freedom is still new and unfamiliar but, Django is more than willing to grasp those reigns. What works best about the film is how Tarantino’s screenplay embraces the politics of the Antebellum South in a fashion carefully ignored by every other western of its time. The dialogue, Tarantino’s most applauded talent, wheels a careful turn between a sly comedy-of-manners and a bluntly provocative historical indictment, always landing on a shameless exploitation cinema influenced need for violent catharsis. Tarantino’s channeling of Spaghetti Western violence, with the gore cranked up to a level far beyond that of even Sergio Corbucci’s bloodiest work, delivers tenfold on that catharsis, splattering the pristine white walls of Candyland plantation bright red.
El Topo (Alejandro Jodorowsky)
Dripping with transgressive and bizarre imagery, El Topo embraces every taboo imaginable with a breathless zeal. Existing somewhere between Midnight Movie oddity and art-house epic, Alejandro Jodorowsky’s second feature envisions the west as an unknowable landscape, dotted with peculiar and grotesque characters, such as a legless gunfighter who rides around on the back of an armless man. Describing the film in narrative terms, beat by beat, would be pointless, although we follow a rider in black, the titular El Topo (which means The Mole) who crosses the desert with a naked boy on the saddle. Though we spend more time with El Topo, his son is the heart of the film, this warped and subversive pseudo-fable exploring the cyclical nature of life. Jodorowsky’s painterly eye for composition lends individual shots with arresting and breathtaking resonance. With less than subtle biblical imagery scattered throughout, including a marvelous sequence involving a religion based around the game of Russian Roulette, Jodorowsky’s film feels at times like a twisted celebration of mysticism, sampling notes from Catholicism, Christianity, Hinduism and Buddhism. It’s ending, a chaotic, dream-like burst of violence, adds a scathing gut-punch to an already overwhelming experience. There is no other western quite like El Topo, to say the least.
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Sometimes, the characters don’t fit into the dusty old boxes occupied by so many western heroes and heroines. The hero robs and kills to stay alive, frightened and overwhelmed by this strange, new frontier. Other times, the stereotypical Western landscape disappears, blanketed in snow. Horses drive their hooves through ice-covered puddles. Wind screams past bone-thin trees — manifest destiny frozen over, encasing the American dream in ice.
In the case of Sofia Coppola’s newest, The Beguiled, gender and power roles reverse: an injured Union soldier (Colin Farrell) turns up at a girl’s school, an arrival which breeds intense sexual tension and rivalry among the women (Nicole Kidman, Kirsten Dunst and Elle Fanning). According to our review, the movie is “primarily based on the 1966 book by Thomas Cullinan,” and “appears, at first glance, to be a remake of Don Siegel’s 1971 film adaptation rather than any sort of new reading of the original text. Coppola, of course, is far too clever for that.”
In celebration of The Beguiled, we’ve decided to take a look at the finest examples of the revisionist western. Enjoy, and please include your own favorites in the comments.
The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik)
Robert Ford (Casey Affleck) idolized the legendary outlaw Jesse James (Brad Pitt), growing up hearing campfire stories about the man. Ford loved James so much that he eventually willed himself into the man’s life story. You cannot tell James’s story without also telling Ford’s. These two tragic lives are irrevocably linked by Ford’s betrayal. The film’s dryly antiseptic voiceover narration confides that Ford grew to regret his violent ways. The same goes for James, who at one point beats a child and then weeps into his horse’s neck, unable to live with his own deeds. While James’ propensity for violence is a deeply cut character flaw, Pitt plays the outlaw like an emotionally wounded teenager. His jovial sense of humor cloaks a vindictive and self-loathing interior. Whether Jesse James hurts himself or someone else, there is always a witness looking on with wide eyes. After James’ murder, Ford became a celebrity, touring the country reenacting the shooting. But Ford gained his prominence by killing a beloved folk hero. And so, one day, a man named Edward Kelly walked into Ford’s saloon with a shotgun and took revenge for James’s murder. Unlike the aftermath of Ford’s deed, people leapt to Kelly’s defense, collecting over 7000 signatures for a petition, leading to his pardon. America hated Robert Ford because he killed Jesse James. They loved Edward Kelly because he killed Robert Ford.
Buffalo Bill and the Indians, or Sitting Bull’s History Lesson (Robert Altman)
Robert Altman’s largely forgotten and often funny western about egotistical showman Buffalo Bill Cody (Paul Newman) treats its lead without respect, eagerly mocking him at every opportunity. Known across America as they best tracker of man and animals alive, Cody runs Buffalo Bill’s Wild West Show, a rodeo-like performance of cowboy-feats, ranging from simple rope tricks to the trick-shots of the legendary Annie Oakley. However, Cody is a fraud, a walking accumulation of lies and tall-tales. When Cody gets the chance to hire Chief Sitting Bull, the man who defeated General Custer at Little Big Horn, he’s thrilled, until Sitting Bull refuses to participate in his offensive show. Contrasted with phony Buffalo Bill Cody, Sitting Bull drips with dignified authenticity, totally uninterested in living up to the ignorant public’s racist image of his people. While the manufactured “reality” of Cody’s shows gets applause from white audiences, the stoic realness of Sitting Bull initially receives jeers, until something occurs to the crowd: this isn’t showmanship; this is the real thing. Later, when Cody and his gang form a posse, he hastily removes his show attire and searches through his wardrobe, cursing: “Where’s my real jacket?” So utterly consumed by his own public image, Cody can no longer locate his true self. Altman’s film is a rare western with a lead character who never succeeds, changes, or learns from his mistakes, always remaining a hopelessly pompous horse’s ass.
Butch Cassidy and the Sundance Kid (George Roy Hill)
As we meet the legendary Butch Cassidy (Paul Newman) he’s scoping out a bank, recently renovated to include heavy iron bars over every window and bolted-locks on every door. He asks the guard what happened to the old bank, which displayed such architectural beauty. “People kept robbing it,” the guard says. “Small price to pay for beauty,” Butch replies. It’s a running theme in revisionist westerns to reveal the truth behind the legend. The changing times had rendered bandits on horseback obsolete. But Butch Cassidy and his partner, the Sundance Kid (Robert Redford) didn’t see the end coming until the future was already upon them. After barely evading a super-posse (to use a term coined by screenwriter William Goldman) led by a ruthless bounty hunter, they escape to Bolivia with Etta (Katherine Ross) Sundance’s girl, where their criminal ways are similarly received. What began as a vacation away from their troubles slowly becomes a permanent getaway run, sowing seeds of inevitable tragedy. Etta sees what Butch and Sundance cannot: the end. “We’re not going home anymore, are we?” Etta tearfully asks Sundance, informing him that she has no plans to stick around to watch them die. George Roy Hill’s Butch Cassidy and the Sundance Kid is a tearful celebration of a pair of old dogs too foolish to learn new tricks.
Dead Man (Jim Jarmusch)
The gorgeous and haunting Dead Man opens with a soot-faced Crispin Glover trilling as he points out the window of a train: “They’re shooting buffalo,” he cries. “Government said, it killed a million of them last year alone.” The American machine greedily consumes the landscape, leaving smoldering devastation in its path, while a stone-faced accountant named William Blake (Johnny Depp) travels to the hellish town of Machine, where he’s promised a job. Unfortunately, there’s no job at the end of the line for this seemingly educated man, blissfully unaware of his namesake, the poet William Blake. After taking a bullet to the chest, Blake wanders this dying western landscape as if in a dream, guided by Nobody (Gary Farmer) a Native American raised in England after getting kidnapped and paraded around as a sideshow attraction for whites. At one point, Blake stumbles upon three hunters by a camp fire, one of which, played by Iggy Pop, wears a muddy dress and bonnet like a twisted schoolmarm. Writer-director Jim Jarmusch’s twist on the western (accompanied by Robby Müller’s flawless cinematography) hums with textured period detail and vivid costume design, the accumulation of which achieves an eerily stylized tone.
Django Unchained (Quentin Tarantino)
The spirit of Quentin Tarantino’s Django Unchained is in the sequence scored by Jim Croce’s “I’ve Got a Name.” Django (Jamie Foxx), now a free man, removes the old saddle from his horse’s back, a saddle originally procured by a white slaver, the animal’s previous owner. He then mounts in its place, his own saddle personalized with an embroidered D. His freedom is still new and unfamiliar but, Django is more than willing to grasp those reigns. What works best about the film is how Tarantino’s screenplay embraces the politics of the Antebellum South in a fashion carefully ignored by every other western of its time. The dialogue, Tarantino’s most applauded talent, wheels a careful turn between a sly comedy-of-manners and a bluntly provocative historical indictment, always landing on a shameless exploitation cinema influenced need for violent catharsis. Tarantino’s channeling of Spaghetti Western violence, with the gore cranked up to a level far beyond that of even Sergio Corbucci’s bloodiest work, delivers tenfold on that catharsis, splattering the pristine white walls of Candyland plantation bright red.
El Topo (Alejandro Jodorowsky)
Dripping with transgressive and bizarre imagery, El Topo embraces every taboo imaginable with a breathless zeal. Existing somewhere between Midnight Movie oddity and art-house epic, Alejandro Jodorowsky’s second feature envisions the west as an unknowable landscape, dotted with peculiar and grotesque characters, such as a legless gunfighter who rides around on the back of an armless man. Describing the film in narrative terms, beat by beat, would be pointless, although we follow a rider in black, the titular El Topo (which means The Mole) who crosses the desert with a naked boy on the saddle. Though we spend more time with El Topo, his son is the heart of the film, this warped and subversive pseudo-fable exploring the cyclical nature of life. Jodorowsky’s painterly eye for composition lends individual shots with arresting and breathtaking resonance. With less than subtle biblical imagery scattered throughout, including a marvelous sequence involving a religion based around the game of Russian Roulette, Jodorowsky’s film feels at times like a twisted celebration of mysticism, sampling notes from Catholicism, Christianity, Hinduism and Buddhism. It’s ending, a chaotic, dream-like burst of violence, adds a scathing gut-punch to an already overwhelming experience. There is no other western quite like El Topo, to say the least.
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- 6/22/2017
- by Tony Hinds
- The Film Stage
Up until a few years ago, Sofia Coppola swore she would never do a remake. Then her production designer, Anne Ross, brought Don Siegel's 1971 pulp classic The Beguiled to her attention – and the director saw a film ripe for retelling. A group of Southern belles are holed up at an all-girls school during the Civil War; suddenly, the young women and their headmistress have their isolated existence disrupted by a wounded Union soldier. Nearly half a century ago, Clint Eastwood's Corporal John McBurney behaved as if he had arrived at a brothel,...
- 6/22/2017
- Rollingstone.com
Sofia Coppola’s version of “The Beguiled,” which premiered in Cannes in May and then screened at the Los Angeles Film Festival before its release on Friday, is a delicious rarity. It’s an understated potboiler, if that combination is possible, about a wounded Union soldier during the Civil War (Colin Farrell) who’s nursed back to health in a girls’ boarding school in the South, where he disrupts the orderly existence of a handful of women who include headmistress Martha, teacher Edwina (Kirsten Dunst) and headstrong student Alicia (Elle Fanning). The film is based on a Thomas Cullinan book that was also.
- 6/21/2017
- by Steve Pond
- The Wrap
The Beguiled Focus Features Director: Sofia Coppola Written by: Sofia Coppola based on Thomas Cullinan’s novel and Albert Maltz and Grimes Grice’s screenplay Cast: Colin Farrell, Nicole Kidman, Kirsten Dunst, Elle Fanning Screened at: Dolby88, NYC, 6/19/17 Opens: June 23, 2017 Given the way the U.S. is divided today, politicians from red states clashing with […]
The post The Beguiled Movie Review appeared first on Shockya.com.
The post The Beguiled Movie Review appeared first on Shockya.com.
- 6/20/2017
- by Harvey Karten
- ShockYa
When a shirtless Clint Eastwood starred in The Beguiled in 1971 – he played a wounded Yankee soldier who finds refuge from the Civil War on the grounds of a Southern girls school – he was the boss rooster in a henhouse.
That was then. Now writer-director Sofia Coppola has reshaped that film, based on the 1966 novel by Thomas Cullinan, into a Southern Gothic that simmers with violent undercurrents and dark, subversive wit. Laughs? You bet, though a few of them will stick in your throat.
Coppola, who last month won the directing prize at Cannes,...
That was then. Now writer-director Sofia Coppola has reshaped that film, based on the 1966 novel by Thomas Cullinan, into a Southern Gothic that simmers with violent undercurrents and dark, subversive wit. Laughs? You bet, though a few of them will stick in your throat.
Coppola, who last month won the directing prize at Cannes,...
- 6/20/2017
- Rollingstone.com
Sofia Coppola’s The Beguiled resembles a decadent pie stuffed with poison apples. Fluffy mounds of cream and a golden, crispity crust – Coppola’s atmospheric outer layer – entice hungry audiences on sight alone. Southern comfort reminds of firefly fields and womanly sophistication in the most innocent ways. Aromatic warmth wofts under noses, but each bite – the scenes that Coppola structures – brings upon the most delicious darkness. Notes of sweetness (a child’s newfound friendship) and spice (the fatal attraction that brews) intoxicate with pleasurable trappings. Coppola’s savory four-star treat is an achievement in both tone and repercussion, and apologies for the metaphor, but all its best scenes play out during mealtime – my madness is with good reason, rest assured.
Ms. Coppola’s 2017 “thrill-ish-er” is both a remake of Don Siegel’s 1971 caper and an adaptation of Thomas Cullinan’s novel, with Colin Farrell stepping in as wounded Union soldier John McBurney.
Ms. Coppola’s 2017 “thrill-ish-er” is both a remake of Don Siegel’s 1971 caper and an adaptation of Thomas Cullinan’s novel, with Colin Farrell stepping in as wounded Union soldier John McBurney.
- 6/19/2017
- by Matt Donato
- We Got This Covered
Enter here for your chance to win a pair of passes to an advance screening of the new film from director Sofia Coppola, The Beguiled starring Nicole Kidman, Kirsten Dunst, and Elle Fanning.
For your chance to receive a pair of complimentary passes to see the new film The Beguiled at the Landmark Main Art Theater in Royal Oak, Michigan on Monday, June 26th at 7:00Pm, just look for the “Enter the Contest” box further down on this page. But hurry because there are a limited number of passes available and when they’re gone, they’re gone!
About The Film
The Beguiled: Adapted by acclaimed writer/director Sofia Coppola from Thomas Cullinan’s novel of the same name. The story unfolds in Virginia at a girls’ school during the Civil War where the young women have been sheltered from the outside world. When a wounded Union soldier is discovered and taken in,...
For your chance to receive a pair of complimentary passes to see the new film The Beguiled at the Landmark Main Art Theater in Royal Oak, Michigan on Monday, June 26th at 7:00Pm, just look for the “Enter the Contest” box further down on this page. But hurry because there are a limited number of passes available and when they’re gone, they’re gone!
About The Film
The Beguiled: Adapted by acclaimed writer/director Sofia Coppola from Thomas Cullinan’s novel of the same name. The story unfolds in Virginia at a girls’ school during the Civil War where the young women have been sheltered from the outside world. When a wounded Union soldier is discovered and taken in,...
- 6/19/2017
- by Administrator
- CinemaNerdz
Sofia Coppola joined James Corden on The Late Late Show to talk about her new film, The Beguiled, which is not only getting a lot of critical acclaim, but won her Best Director at Cannes. While she was there, she revealed that the cast, cooped up all day shooting in the film’s house, apparently had a Girls Gone Wild 1860s style inspiration, which Sofia shot on her phone.
Take a look at the hijinx, and Kirsten Dunst‘s shoulder.
The film hits June 23rd, but release wide on the 30th, and stars – Colin Farrell, Nicole Kidman, Kirsten Dunst, Elle Fanning, Oona Laurence, Angourie Rice, Addison Riecke, and Emma Howard.
The film is based on the Thomas Cullinan novel, like the 1974, Clint Eastwood/Don Siegel version, and follows the events that transpire when an enemy soldier is taken into a Southern girls’ boarding school during the Civil War.
Follow The Beguiled...
Take a look at the hijinx, and Kirsten Dunst‘s shoulder.
The film hits June 23rd, but release wide on the 30th, and stars – Colin Farrell, Nicole Kidman, Kirsten Dunst, Elle Fanning, Oona Laurence, Angourie Rice, Addison Riecke, and Emma Howard.
The film is based on the Thomas Cullinan novel, like the 1974, Clint Eastwood/Don Siegel version, and follows the events that transpire when an enemy soldier is taken into a Southern girls’ boarding school during the Civil War.
Follow The Beguiled...
- 6/14/2017
- by Marc Eastman
- AreYouScreening.com
Author: Zehra Phelan
With the fearsome ladies of The Beguiled stepping out to dazzle fans at the La Premiere of the film last night another set of images have emerged from the film to beguile…. Ok, yes that wasn’t very good.
Related: The Beguiled news and trailers
The sensual thriller, which is out in cinemas July 14th has so far met with mixed reviews with some stating this civil war drama is “pulp made tasteful and flavourless” while others have swooned over its cinematic beauty and its touches of black and noir comedy. Whilst it won’t appeal to everyone, Sofia Coppola’s remake of Don Siegel’s 1971 Clint Eastwood led offering will certainly be a focal talking point amongst many film lovers.
Apart from one, the four newly released images depict Colin Farrell’s injured soldier John McBurney in a tension-fuelled atmosphere, and you could almost cut the...
With the fearsome ladies of The Beguiled stepping out to dazzle fans at the La Premiere of the film last night another set of images have emerged from the film to beguile…. Ok, yes that wasn’t very good.
Related: The Beguiled news and trailers
The sensual thriller, which is out in cinemas July 14th has so far met with mixed reviews with some stating this civil war drama is “pulp made tasteful and flavourless” while others have swooned over its cinematic beauty and its touches of black and noir comedy. Whilst it won’t appeal to everyone, Sofia Coppola’s remake of Don Siegel’s 1971 Clint Eastwood led offering will certainly be a focal talking point amongst many film lovers.
Apart from one, the four newly released images depict Colin Farrell’s injured soldier John McBurney in a tension-fuelled atmosphere, and you could almost cut the...
- 6/13/2017
- by Zehra Phelan
- HeyUGuys.co.uk
The 70th anniversary Cannes Film Festival capped off weeks of seaside premieres—and controversy—May 28 with its prestigious award ceremony. Bringing together the film industry’s “crème de la crème,” Pedro Almodóvar and his jury made this year’s celebration somewhat unconventional, awarding a tie for best screenplay and an unprecedented special 70th anniversary award for Nicole Kidman, who appeared in an unrivaled four projects in the 2017 festival. Sofia Coppola made a triumphant return to the festival after famously being booed for 2006’s “Marie Antoinette,” taking home best director for her adaptation of Thomas Cullinan’s novel “The Beguiled.” Coppola is only the second female in history to win the award (the first being Yuliya Solntseva in 1961 for her film “The Chronicle of Flaming Years”). The critically lauded film, set to be released June 30 from Focus Features, stars festival darling Kidman, plus Kirsten Dunst, Elle Fanning, and Colin Farrell. The coveted Palme d’Or,...
- 5/29/2017
- backstage.com
After nearly two weeks of viewing some of the best that cinema will have to offer this year, the 70th Cannes Film Festival has concluded. With Ruben Östlund‘s Force Majeure follow-up The Square taking the top jury prize of Palme d’Or (full list of winners here), we’ve set out to wrap up our experience with our favorite films from the festival, which extends to the Un Certain Regard and Directors’ Fortnight side bars. Check out our favorites below, followed by the rest of the reviews. One can also return in the coming months as we learn of distribution news.
120 Beats Per Minute (Robin Campillo)
Sometimes a movie doesn’t need much character development to make an impact. The ensemble cast that comprise Robin Campillo’s AIDS activists in 120 Beats Per Minute all work together to be the same voice. Through this group, the director captures a force...
120 Beats Per Minute (Robin Campillo)
Sometimes a movie doesn’t need much character development to make an impact. The ensemble cast that comprise Robin Campillo’s AIDS activists in 120 Beats Per Minute all work together to be the same voice. Through this group, the director captures a force...
- 5/29/2017
- by The Film Stage
- The Film Stage
Kirsten Dunst is no stranger to the glamorous red carpet of the Cannes Film Festival — but this year, her experience at the star-studded occasion was a little more eventful than usual.
On Wednesday, Dunst joined director Sofia Coppola and her costars to walk the carpet for the premiere of their upcoming thriller The Beguiled. While strolling alongside the group, Dunst, 35, was suddenly overcome with emotion — a whole lot of it. She cried, she wiped away her tears, she laughed and then cried some more.
Coppola and Dunst’s costars Nicole Kidman, Elle Fanning and Colin Farrell were quick to come to the rescue,...
On Wednesday, Dunst joined director Sofia Coppola and her costars to walk the carpet for the premiere of their upcoming thriller The Beguiled. While strolling alongside the group, Dunst, 35, was suddenly overcome with emotion — a whole lot of it. She cried, she wiped away her tears, she laughed and then cried some more.
Coppola and Dunst’s costars Nicole Kidman, Elle Fanning and Colin Farrell were quick to come to the rescue,...
- 5/26/2017
- by Aurelie Corinthios
- PEOPLE.com
The Beguiled ladies (and gentleman) dressed to impress at the film's premiere at the 70th annual Cannes Film Festival on Wednesday.
Nicole Kidman, Kirsten Dunst, Elle Fanning, Colin Farrell, director Sofia Coppola, Addison Riecke and Angourie Rice were all smiles as they posed for the cameras on the iconic red steps at the Palais des Festivals before entering the screening.
Getty Images
Kidman, who has been dominating the fashion game at the Croisette, was stunning in a metallic, flapper-inspired Michael Kors Collection gown. The 49-year-old actress completed her look with chandelier earrings, silver heels, a low ponytail and burgundy lips.
Getty Images
Related: 5 Frocks and Counting! Nicole Kidman Stuns in a Series of Gorgeous Gowns at Cannes Film Festival
Fanning, 19, looked ethereal in a custom-made, strapless, lilac Rodarte dress. The Neon Demon actress opted for a neutral look and accessorized her evening wear with diamond earrings and a pearl-and-diamond necklace.
Getty Images
Watch:...
Nicole Kidman, Kirsten Dunst, Elle Fanning, Colin Farrell, director Sofia Coppola, Addison Riecke and Angourie Rice were all smiles as they posed for the cameras on the iconic red steps at the Palais des Festivals before entering the screening.
Getty Images
Kidman, who has been dominating the fashion game at the Croisette, was stunning in a metallic, flapper-inspired Michael Kors Collection gown. The 49-year-old actress completed her look with chandelier earrings, silver heels, a low ponytail and burgundy lips.
Getty Images
Related: 5 Frocks and Counting! Nicole Kidman Stuns in a Series of Gorgeous Gowns at Cannes Film Festival
Fanning, 19, looked ethereal in a custom-made, strapless, lilac Rodarte dress. The Neon Demon actress opted for a neutral look and accessorized her evening wear with diamond earrings and a pearl-and-diamond necklace.
Getty Images
Watch:...
- 5/24/2017
- Entertainment Tonight
Cannon fire rumbles menacingly in the distance, but it’s human desire that might prove to be the greater threat after all in The Beguiled. Set to the backdrop of the American Civil War, Sofia Coppola‘s film is a sumptuous and often campy erotic horror, one that marks a confident debut genre outing for a director better-known for contemporary and often quite personal filmmaking (Lost in Translation, Somewhere, etc.). Although primarily based on the 1966 book by Thomas Cullinan, it appears, at first glance, to be a remake of Don Siegel’s 1971 film adaptation rather than any sort of new reading of the original text. Coppola, of course, is far too clever for that.
Colin Farrell portrays Corporal John McBurney, previously played by Clint Eastwood, a Union soldier who is found injured in a Mississippi forest by a young girl who decides to take him to her secluded Catholic presentation school to recover.
Colin Farrell portrays Corporal John McBurney, previously played by Clint Eastwood, a Union soldier who is found injured in a Mississippi forest by a young girl who decides to take him to her secluded Catholic presentation school to recover.
- 5/24/2017
- by Rory O'Connor
- The Film Stage
It’s so far so good for Sofia Coppola’s “The Beguiled” at Cannes, which played well for the press on Wednesday morning. The movie is a gorgeously shot battle of the sexes led by the formidable duo of Nicole Kidman and Colin Farrell (who both star in another competition entry, “The Killing of a Sacred Deer”) along with Coppola’s “Virgin Suicides” star Kirsten Dunst and “Somewhere” star Elle Fanning.
Read More: With ‘The Beguiled,’ Sofia Coppola Seeks Cannes Redemption with a Southern-Gothic Remake
Writer-director Coppola reenters the Cannes spotlight with her high-profile adaptation of Don Siegel’s 1971 Clint Eastwood Civil War drama, based on the 1966 Thomas Cullinan novel. About two years ago, Coppola’s production designer Anne Ross urged her to remake the movie, a well-reviewed flop when released. Audiences weren’t ready for Eastwood’s tall, dark, and handsome soldier to be manhandled by a school full of vengeful women.
Judging from the enthusiastic press reaction here, they’re more accepting now.
Here’s what we learned at the press conference (check out my interview with Coppola).
It’s about the women
“This story had to be directed by a woman,” Nicole Kidman told Canal Plus before the press conference. “The essence of it is feminine, it’s seen from a female point of view.”
At the press conference, she said that her schoolmistress is “is protecting these girls in a treacherous, difficult time, and they’re surviving. Her motivation is to guide them and protect them.”
“Any time a group of women is cut off from the world,” said Coppola, “different dynamics come out…I tried to put [the movie] out of my mind and imagine how I would tell this story and start again.”
Farrell added, “With repression, if there’s a blanket people find themselves beneath, there will be a heavy price to pay no matter the gender.”
“When you are dealing with people who are pent up together,” said Dunst, “no matter if male, female or mixture, something will come out. Aggressions and feelings are corseted up and get unleashed because this new dynamic comes in.”
“He comes in and ruins everything!” said Kidman, channeling the school marm originally played by Geraldine Page. “We were fine. All we couldn’t do was procreate. Good riddance to him!”
Coppola was also enthused to be reunited with her former stars, including Dunst and Fanning.
“I loved working with Kirsten and could see her as the teacher,” said Coppola of her casting process. “I always admired Nicole and imagined her as the headmistress as I was writing. I knew she would bring her twisted humor to the role.”
Fanning, now at 18, was old enough to play a young student. Coppola discovered her at age 11 with “Somewhere.”
“We were making the movie from a female point-of-view,” said Coppola, “that was part of the fun of it. The core of it is the power struggles between the male and female, which are relevant in a hopefully entertaining juicy story.”
Colin Farrell in “The Beguiled”
And one man
“I have a penis,” Farrell told Canal Plus of his role in “The Beguiled” as a wounded union soldier who a young student drags into a Virginia ladies school. “Treachery and hilarity ensues.”
“He was a good sport about being our object,” said Coppola.
“I didn’t have to worry about being the token male,” he added at the press conference. “I grew up with three very strong and brilliant and kind and smart women in my life, my mother and two sisters. To be surrounded by talented, decent, smart, insightful creative and serious women — I was spoiled by Sofia Coppola who set a particular mood of comfort, ease and trust. It allows you as an actor to play and explore.”
He added, “I have been doing this for 20 years, and it’s my favorite experience, my favorite shoot. She’s elegant and smart and has a gentility to her, which is not to say she doesn’t have an incredible creative edge inside. It’s nice to have that elegance and tenderness pervade the whole experience.”
Farrell never met with Clint Eastwood, who originated his role. “I had seen the film some years ago; I was deeply disturbed by the original film, it stayed with me. I said I was never doing a remake again, but when this came around it was an easy ‘yes.’ It’s a retelling or reinterpretation, which doesn’t mean it lacks originality. Sofia did something very original with it. Clint was extraordinary in the Siegel film. But I was able to retain my Irish accent, the character was an Irish soldier fighting from a mercenary perspective. It’s a bit of an immigrant story, he’s fresh off the boat, like so many of my countrymen who sailed to America to survive. That was unique to our experience of telling the film.”
“I wanted to contrast the very masculine exotic enemy soldier [who] comes onto this delicate feminine world,” said Coppola. “Colin is charming and charismatic, and I knew he would find a way to connect with each character differently. He’s connected to his dark side.”
Kidman rules Cannes
Coppola went to see Kidman in a play in London and had dinner with her afterwards. “She had this script,” said the actress. “You could give me the phone book and I’ll do it.”
Kidman wants to work with more women directors, she said, citing the grim Women in Film statistics for film and television (roughly 4 percent of major motion pictures were directed by women last year). “The important thing to say and keep saying is luckily we had Jane Campion here,” Kidman said. “We women have to support female directors, that’s a given. Now hopefully that will change over time. People keep saying it’s so different. It isn’t.”
Coppola made the film for the big screen
Coppola collaborated for the first time with Wong Kar Wai cinematographer Philippe Le Sourd with gorgeous results on “The Beguiled,” shooting in 35 mm. “He helped me to create the atmosphere and the world of the film,” she said. “With Le Sourd’s beautiful work, all of the work [in the film], I hope people will see the photography on the big screen.”
“Sofia Coppola was making this film for the big screen, in the way of framing, and all the things we do,” said Kidman. “At the same time, we need stories, opportunities and need things to be seen, the world is changing and we have to change with it. As an actor I get to work in all of the mediums. Jean-Marc Vallee directed ‘Big Little Lies’ for for the small screen. I have a foot in every area.”
She added, “I’m turning 50 this year. I’ve never had more work than right now, partly because I work in TV, and I work in films made for the small and the big screen.”
Read More: Before ‘The Beguiled,’ Sofia Coppola’s ‘Marie Antoinette’ Showed Her Genius for Crafting Characters Through Environments
You can see both versions of “The Beguiled”
A double feature of the two films will play Quentin Tarantino’s New Beverly theater in Los Angeles. “I’m excited to watch both of them,” Coppola said. “They’re two sides of the same story, flipping it on its head, I hope.”
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Read More: With ‘The Beguiled,’ Sofia Coppola Seeks Cannes Redemption with a Southern-Gothic Remake
Writer-director Coppola reenters the Cannes spotlight with her high-profile adaptation of Don Siegel’s 1971 Clint Eastwood Civil War drama, based on the 1966 Thomas Cullinan novel. About two years ago, Coppola’s production designer Anne Ross urged her to remake the movie, a well-reviewed flop when released. Audiences weren’t ready for Eastwood’s tall, dark, and handsome soldier to be manhandled by a school full of vengeful women.
Judging from the enthusiastic press reaction here, they’re more accepting now.
Here’s what we learned at the press conference (check out my interview with Coppola).
It’s about the women
“This story had to be directed by a woman,” Nicole Kidman told Canal Plus before the press conference. “The essence of it is feminine, it’s seen from a female point of view.”
At the press conference, she said that her schoolmistress is “is protecting these girls in a treacherous, difficult time, and they’re surviving. Her motivation is to guide them and protect them.”
“Any time a group of women is cut off from the world,” said Coppola, “different dynamics come out…I tried to put [the movie] out of my mind and imagine how I would tell this story and start again.”
Farrell added, “With repression, if there’s a blanket people find themselves beneath, there will be a heavy price to pay no matter the gender.”
“When you are dealing with people who are pent up together,” said Dunst, “no matter if male, female or mixture, something will come out. Aggressions and feelings are corseted up and get unleashed because this new dynamic comes in.”
“He comes in and ruins everything!” said Kidman, channeling the school marm originally played by Geraldine Page. “We were fine. All we couldn’t do was procreate. Good riddance to him!”
Coppola was also enthused to be reunited with her former stars, including Dunst and Fanning.
“I loved working with Kirsten and could see her as the teacher,” said Coppola of her casting process. “I always admired Nicole and imagined her as the headmistress as I was writing. I knew she would bring her twisted humor to the role.”
Fanning, now at 18, was old enough to play a young student. Coppola discovered her at age 11 with “Somewhere.”
“We were making the movie from a female point-of-view,” said Coppola, “that was part of the fun of it. The core of it is the power struggles between the male and female, which are relevant in a hopefully entertaining juicy story.”
Colin Farrell in “The Beguiled”
And one man
“I have a penis,” Farrell told Canal Plus of his role in “The Beguiled” as a wounded union soldier who a young student drags into a Virginia ladies school. “Treachery and hilarity ensues.”
“He was a good sport about being our object,” said Coppola.
“I didn’t have to worry about being the token male,” he added at the press conference. “I grew up with three very strong and brilliant and kind and smart women in my life, my mother and two sisters. To be surrounded by talented, decent, smart, insightful creative and serious women — I was spoiled by Sofia Coppola who set a particular mood of comfort, ease and trust. It allows you as an actor to play and explore.”
He added, “I have been doing this for 20 years, and it’s my favorite experience, my favorite shoot. She’s elegant and smart and has a gentility to her, which is not to say she doesn’t have an incredible creative edge inside. It’s nice to have that elegance and tenderness pervade the whole experience.”
Farrell never met with Clint Eastwood, who originated his role. “I had seen the film some years ago; I was deeply disturbed by the original film, it stayed with me. I said I was never doing a remake again, but when this came around it was an easy ‘yes.’ It’s a retelling or reinterpretation, which doesn’t mean it lacks originality. Sofia did something very original with it. Clint was extraordinary in the Siegel film. But I was able to retain my Irish accent, the character was an Irish soldier fighting from a mercenary perspective. It’s a bit of an immigrant story, he’s fresh off the boat, like so many of my countrymen who sailed to America to survive. That was unique to our experience of telling the film.”
“I wanted to contrast the very masculine exotic enemy soldier [who] comes onto this delicate feminine world,” said Coppola. “Colin is charming and charismatic, and I knew he would find a way to connect with each character differently. He’s connected to his dark side.”
Kidman rules Cannes
Coppola went to see Kidman in a play in London and had dinner with her afterwards. “She had this script,” said the actress. “You could give me the phone book and I’ll do it.”
Kidman wants to work with more women directors, she said, citing the grim Women in Film statistics for film and television (roughly 4 percent of major motion pictures were directed by women last year). “The important thing to say and keep saying is luckily we had Jane Campion here,” Kidman said. “We women have to support female directors, that’s a given. Now hopefully that will change over time. People keep saying it’s so different. It isn’t.”
Coppola made the film for the big screen
Coppola collaborated for the first time with Wong Kar Wai cinematographer Philippe Le Sourd with gorgeous results on “The Beguiled,” shooting in 35 mm. “He helped me to create the atmosphere and the world of the film,” she said. “With Le Sourd’s beautiful work, all of the work [in the film], I hope people will see the photography on the big screen.”
“Sofia Coppola was making this film for the big screen, in the way of framing, and all the things we do,” said Kidman. “At the same time, we need stories, opportunities and need things to be seen, the world is changing and we have to change with it. As an actor I get to work in all of the mediums. Jean-Marc Vallee directed ‘Big Little Lies’ for for the small screen. I have a foot in every area.”
She added, “I’m turning 50 this year. I’ve never had more work than right now, partly because I work in TV, and I work in films made for the small and the big screen.”
Read More: Before ‘The Beguiled,’ Sofia Coppola’s ‘Marie Antoinette’ Showed Her Genius for Crafting Characters Through Environments
You can see both versions of “The Beguiled”
A double feature of the two films will play Quentin Tarantino’s New Beverly theater in Los Angeles. “I’m excited to watch both of them,” Coppola said. “They’re two sides of the same story, flipping it on its head, I hope.”
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- 5/24/2017
- by Anne Thompson
- Thompson on Hollywood
It’s so far so good for Sofia Coppola’s “The Beguiled” at Cannes, which played well for the press on Wednesday morning. The movie is a gorgeously shot battle of the sexes led by the formidable duo of Nicole Kidman and Colin Farrell (who both star in another competition entry, “The Killing of a Sacred Deer”) along with Coppola’s “Virgin Suicides” star Kirsten Dunst and “Somewhere” star Elle Fanning.
Read More: With ‘The Beguiled,’ Sofia Coppola Seeks Cannes Redemption with a Southern-Gothic Remake
Writer-director Coppola reenters the Cannes spotlight with her high-profile adaptation of Don Siegel’s 1971 Clint Eastwood Civil War drama, based on the 1966 Thomas Cullinan novel. About two years ago, Coppola’s production designer Anne Ross urged her to remake the movie, a well-reviewed flop when released. Audiences weren’t ready for Eastwood’s tall, dark, and handsome soldier to be manhandled by a school full of vengeful women.
Read More: With ‘The Beguiled,’ Sofia Coppola Seeks Cannes Redemption with a Southern-Gothic Remake
Writer-director Coppola reenters the Cannes spotlight with her high-profile adaptation of Don Siegel’s 1971 Clint Eastwood Civil War drama, based on the 1966 Thomas Cullinan novel. About two years ago, Coppola’s production designer Anne Ross urged her to remake the movie, a well-reviewed flop when released. Audiences weren’t ready for Eastwood’s tall, dark, and handsome soldier to be manhandled by a school full of vengeful women.
- 5/24/2017
- by Anne Thompson
- Indiewire
With her sixth feature, “The Beguiled,” Sofia Coppola returns to Cannes in the main Competition. It’s her first time since 2006, when the reception for royal costume drama “Marie Antoinette” evolved from a scattering of boos to become a reported misfire. That’s the power of the Cannes echo chamber. Her visually sumptuous and witty $40 million studio movie earned a standing ovation at the public screening and a range of reviews, but only made $60.8 million worldwide — not nearly enough to make it profitable.
Coppola had better Cannes luck with her smaller-scaled first feature, the dreamy literary adaptation “The Virgin Suicides” ($10.6 million worldwide). It starred Kirsten Dunst and broke out of Director’s Fortnight with critics’ raves. Her Tokyo-set Bill Murray-Scarlett Johansson two-hander “Lost in Translation” ($117 million worldwide) debuted in Venice on its way to Coppola’s Original Screenplay Oscar.
Back on the indie side were Chateau Marmont Hollywood-slice...
Coppola had better Cannes luck with her smaller-scaled first feature, the dreamy literary adaptation “The Virgin Suicides” ($10.6 million worldwide). It starred Kirsten Dunst and broke out of Director’s Fortnight with critics’ raves. Her Tokyo-set Bill Murray-Scarlett Johansson two-hander “Lost in Translation” ($117 million worldwide) debuted in Venice on its way to Coppola’s Original Screenplay Oscar.
Back on the indie side were Chateau Marmont Hollywood-slice...
- 5/23/2017
- by Anne Thompson
- Thompson on Hollywood
With her sixth feature, “The Beguiled,” Sofia Coppola returns to Cannes in the main Competition. It’s her first time since 2006, when the reception for royal costume drama “Marie Antoinette” evolved from a scattering of boos to became a reported misfire. That’s the power of the Cannes echo chamber. Her visually sumptuous and witty $40 million studio movie earned a standing ovation at the public screening and a range of reviews, but only made $60.8 million worldwide — not nearly enough to make it profitable.
Coppola had better Cannes luck with her smaller-scaled first feature, the dreamy literary adaptation “The Virgin Suicides” ($10.6 million worldwide). It starred Kirsten Dunst and broke out of Director’s Fortnight with critics’ raves. Her Tokyo-set Bill Murray-Scarlett Johansson two-hander “Lost in Translation” ($117 million worldwide) debuted in Venice on its way to Coppola’s Original Screenplay Oscar.
Back on the indie side were Chateau Marmont Hollywood-slice...
Coppola had better Cannes luck with her smaller-scaled first feature, the dreamy literary adaptation “The Virgin Suicides” ($10.6 million worldwide). It starred Kirsten Dunst and broke out of Director’s Fortnight with critics’ raves. Her Tokyo-set Bill Murray-Scarlett Johansson two-hander “Lost in Translation” ($117 million worldwide) debuted in Venice on its way to Coppola’s Original Screenplay Oscar.
Back on the indie side were Chateau Marmont Hollywood-slice...
- 5/23/2017
- by Anne Thompson
- Indiewire
Sofia Coppola's new version of The Beguiled will debut at the Cannes Film Festival next week, ahead of its theatrical release in the U.S. on June 23, which makes this is an opportune time to consider Don Siegel's 1971 version starring Clint Eastwood. Both movies are based on a novel by Thomas Cullinan, first published in 1966, that follows a badly wounded Union soldier who is given refuge in a Southern girls' academy, where "his presence sets in motion a tragedy of jealousy, hate and lust." (At least, according to Goodreads). As adapted by Albert Maltz and Irene Kamp (writing under their pseudonyms John B. Sherry and Grimes Grice), the film dramatizes that premise. Clint Eastwood portrays John McBurney, the aforementioned Union soldier who is...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 5/18/2017
- Screen Anarchy
“Spider-Man: Homecoming” opens in theaters July 7, but don’t expect Kirsten Dunst to go see Sony’s second reboot of the “Spider-Man” franchise. As a matter of fact, she did not see the last installment either. “I don’t care,” the actress told Variety about the reboots. “Everyone likes our ‘Spider-Man.’ C’mon, am I right or what? Listen, I’d rather be in the first ones than the new ones.”
Read More: ‘Spider-Man: Homecoming’ Trailer: Tom Holland Fights Michael Keaton in Upcoming Marvel Film
Dunst played Mary Jane Watson in Sam Raimi’s original trilogy. “I wanted to be in that movie so badly,” she told the magazine. “I loved it, and I wish we could have made a fourth.” However, Dunst revealed that her male co-stars got paid more than her. “Because I was young, I thought, ‘Oh wow, I’m getting paid a lot of money for the “Spider-Man” movies.
Read More: ‘Spider-Man: Homecoming’ Trailer: Tom Holland Fights Michael Keaton in Upcoming Marvel Film
Dunst played Mary Jane Watson in Sam Raimi’s original trilogy. “I wanted to be in that movie so badly,” she told the magazine. “I loved it, and I wish we could have made a fourth.” However, Dunst revealed that her male co-stars got paid more than her. “Because I was young, I thought, ‘Oh wow, I’m getting paid a lot of money for the “Spider-Man” movies.
- 5/16/2017
- by Yoselin Acevedo
- Indiewire
From fanning a rock to fanning “The Rock,” Elle Fanning fans everything you can think of in a new short film for Vogue Magazine, titled “Fan Fantasy.” The beautiful and hilarious film was helmed by the “Nerve” and “Viral” directing duo Ariel Schulman and Henry Joost. The short celebrates the actress’ first-ever Vogue cover.
Read More: ‘The Beguiled’ Trailer: Sofia Coppola’s Palme d’Or Contender Is A Dark and Sexy Southern Revenge Tale
Up next for the young actress is playing one of the lead roles in Sofia Coppola’s Palme d’Or contender, “The Beguiled.” In the gothic revenge drama, based on the 1966 Thomas Cullinan novel, Fanning plays one of the young women living in secluded girls’ school in 1864 Virginia. Their lifestyle is disrupted after the arrival of a wounded Union Army solider, who seduces both the students and the teachers and causes tension and jealousy. The film...
Read More: ‘The Beguiled’ Trailer: Sofia Coppola’s Palme d’Or Contender Is A Dark and Sexy Southern Revenge Tale
Up next for the young actress is playing one of the lead roles in Sofia Coppola’s Palme d’Or contender, “The Beguiled.” In the gothic revenge drama, based on the 1966 Thomas Cullinan novel, Fanning plays one of the young women living in secluded girls’ school in 1864 Virginia. Their lifestyle is disrupted after the arrival of a wounded Union Army solider, who seduces both the students and the teachers and causes tension and jealousy. The film...
- 5/12/2017
- by Yoselin Acevedo
- Indiewire
A girl's boarding school takes in an enemy soldier
The Beguiled unfolds during the Civil War, at a Southern girls’ boarding school. Its sheltered young women take in an injured enemy soldier. As they provide refuge and tend to his wounds, the house is taken over with sexual tension and dangerous rivalries, and taboos are broken in an unexpected turn of events.
The Beguiled is Sofia Coppola’s screenplay adaptation of Thomas Cullinan’s novel of the same name, which will screen in competition at the 2017 Cannes Film Festival. Colin Farrell, Nicole Kidman, Kirsten Dunst and Elle Fanning lead the cast.
The Beguiled will be released in UK cinemas on 14 July 2017.
The Beguiled unfolds during the Civil War, at a Southern girls’ boarding school. Its sheltered young women take in an injured enemy soldier. As they provide refuge and tend to his wounds, the house is taken over with sexual tension and dangerous rivalries, and taboos are broken in an unexpected turn of events.
The Beguiled is Sofia Coppola’s screenplay adaptation of Thomas Cullinan’s novel of the same name, which will screen in competition at the 2017 Cannes Film Festival. Colin Farrell, Nicole Kidman, Kirsten Dunst and Elle Fanning lead the cast.
The Beguiled will be released in UK cinemas on 14 July 2017.
- 5/11/2017
- by admin
- Pure Movies
Thomas Cullinan's 1966 novel "The Beguiled" has long been out of print but in the decades since its original release, it has continued to capture the attention of filmmakers. The first go at the material reunited director Don Siegel with Clint Eastwood for an adaptation that takes the basic themes and plot of the story and turns them up to 11. That movie still plays very well and is one I highly recommend searching out.
When it was announced that Sofia Coppola was putting her own spin on the project, I was excited. It's not often one gets to see the same material handled by both a male and female director and with the story at play here, the female gaze is sure to have some impact on the themes.
Colin Farrell stars as Corporal John McBurney, a wounded Union soldier injured in Vir [Continued ...]...
When it was announced that Sofia Coppola was putting her own spin on the project, I was excited. It's not often one gets to see the same material handled by both a male and female director and with the story at play here, the female gaze is sure to have some impact on the themes.
Colin Farrell stars as Corporal John McBurney, a wounded Union soldier injured in Vir [Continued ...]...
- 4/20/2017
- QuietEarth.us
As I've never read the Thomas Cullinan novel nor seen the 1971 film starring Clint Eastwood, I wasn't entirely prepared for what the recently released trailer for Sofia Coppola's The Beguiled had in store for me; in fact, I almost wished that I hadn't watched it in order to preserve the suspense. When a wounded enemy soldier (Colin Farrell) arrives at a Southern boarding... Read More...
- 4/20/2017
- by Kevin Fraser
- JoBlo.com
"He seems to be a sensitive person." "Does he?" Focus Features has debuted a new full-length trailer for Sofia Coppola's latest film, titled The Beguiled, adapted from Thomas Cullinan's Southern Gothic novel. Set during the Civil War, an injured Union soldier ends up being nursed back to life at an all-girls' boarding school in the Confederate south. Soon the girls begin to turn on him, making this into more than it seems at first glance. Colin Farrell plays the soldier, and the cast includes Nicole Kidman, Kirsten Dunst, Elle Fanning, and Oona Laurence. This looks like a rather twisted, wicked, seductive film from Coppola. The Beguiled will premiere at the Cannes Film Festival this May. Expect to hear plenty of buzz about this soon. Here's the second official trailer for Sofia Coppola's The Beguiled, direct from Focus' YouTube: You can still see the first teaser trailer for Coppola's The Beguiled here,...
- 4/20/2017
- by Alex Billington
- firstshowing.net
World-premiering at the 2017 Cannes International Film Festival, watch the mesmerizing new trailer for Focus Features’ upcoming film from director Sofia Coppola (“Lost in Translation,” “Somewhere”), The Beguiled.
Stars Colin Farrell, Nicole Kidman, Kirsten Dunst, Elle Fanning, Oona Laurence, Angourie Rice, Emma Howard, Addison Riecke.
We can’t wait for this one – Kidman, Dunst and Fanning could prove to be a winning trifecta come awards season.
The Beguiled is an atmospheric thriller from acclaimed writer/director Sofia Coppola.
The story unfolds during the Civil War, at a Southern girls’ boarding school. Its sheltered young women take in an injured enemy soldier. As they provide refuge and tend to his wounds, the house is taken over with sexual tension and dangerous rivalries, and taboos are broken in an unexpected turn of events.
Written by Sofia Coppola, based on the novel by Thomas Cullinan, Focus Features will release The Beguiled in select cities...
Stars Colin Farrell, Nicole Kidman, Kirsten Dunst, Elle Fanning, Oona Laurence, Angourie Rice, Emma Howard, Addison Riecke.
We can’t wait for this one – Kidman, Dunst and Fanning could prove to be a winning trifecta come awards season.
The Beguiled is an atmospheric thriller from acclaimed writer/director Sofia Coppola.
The story unfolds during the Civil War, at a Southern girls’ boarding school. Its sheltered young women take in an injured enemy soldier. As they provide refuge and tend to his wounds, the house is taken over with sexual tension and dangerous rivalries, and taboos are broken in an unexpected turn of events.
Written by Sofia Coppola, based on the novel by Thomas Cullinan, Focus Features will release The Beguiled in select cities...
- 4/19/2017
- by Michelle McCue
- WeAreMovieGeeks.com
Watch out, Cannes. Sofia Coppola is coming for you.
On the heels of “The Beguiled’s” entry into the official competition at Cannes 2017, Focus Features has released the new trailer for the Southern Gothic revenge movie. Let’s just say it’s a dark and twisted ride that suggests Coppola might just have the indie hit of the summer on her hands. Having Nicole Kidman, Elle Fanning, Kirsten Dunst and Colin Farrell front and center doesn’t hurt either.
Read More: How Sofia Coppola Helped Kirsten Dunst Film an Intense Sex Scene in ‘The Beguiled’
“The Beguiled” is based on the 1966 Thomas Cullinan novel, which was previously adapted into a 1971 film starring Clint Eastwood. Coppola’s version will be told from the perspective of the story’s female characters. Nicole Kidman plays the headmistress of a secluded school for girls in 1864 Virginia. Their lifestyle is disrupted by the discovery of...
On the heels of “The Beguiled’s” entry into the official competition at Cannes 2017, Focus Features has released the new trailer for the Southern Gothic revenge movie. Let’s just say it’s a dark and twisted ride that suggests Coppola might just have the indie hit of the summer on her hands. Having Nicole Kidman, Elle Fanning, Kirsten Dunst and Colin Farrell front and center doesn’t hurt either.
Read More: How Sofia Coppola Helped Kirsten Dunst Film an Intense Sex Scene in ‘The Beguiled’
“The Beguiled” is based on the 1966 Thomas Cullinan novel, which was previously adapted into a 1971 film starring Clint Eastwood. Coppola’s version will be told from the perspective of the story’s female characters. Nicole Kidman plays the headmistress of a secluded school for girls in 1864 Virginia. Their lifestyle is disrupted by the discovery of...
- 4/19/2017
- by Zack Sharf
- Indiewire
The official trailer for Sofia Coppola’s upcoming period thriller The Beguiled, which is based on the novel by Thomas Cullinan, has been released; and it can be seen here. Now, I don’t know if anyone else is getting this from… Continue Reading →
The post The Beguiled Trailer Is Intense and Hints at Some Rather Twisted Events appeared first on Dread Central.
The post The Beguiled Trailer Is Intense and Hints at Some Rather Twisted Events appeared first on Dread Central.
- 4/19/2017
- by Jonathan Barkan
- DreadCentral.com
Sofia Coppola returns behind the camera in The Beguiled, a remake of Don Siegel's 1971 movie starring Clint Eastwood and Geraldine Page. The drama was recently selected to compete for the Palme d’Or in the main competition section at this year's Cannes Film Festival. Ahead of its world premiere at the Croisette, Focus Features has released the official trailer. Based on the 1966 novel by Thomas Cullinan A Painted Devil, The Beguiled is set during the Civil War at a…...
- 4/19/2017
- Deadline
Author: Jon Lyus
A new film from Sofia Coppola will always attract interest. Her dizzying Tokyo-bound tale of isolation, Lost in Translation, was a high water mark for the director, with the impenetrable Somewhere and The Bling Ring following a theme of dysfunction in the Hollywood bubble. Her new film, The Beguiled, is why we’re here today. A new trailer for the film has arrived, bringing with it a deeper look at the mystery within.
The film has been selected to play in the Official Selection at Cannes next month, taking Coppola back to the festival she debuted 2006’s Marie Antoinette and 2013’s The Bling Ring. The film is her adaptation of Thomas Cullinan 1966’s novel A Painted Devil, the second after Don Siegel’s 1971 film which shares the name The Beguiled.
Colin Farrell appears as an injured Civil War solider who is brought, close to death, to the...
A new film from Sofia Coppola will always attract interest. Her dizzying Tokyo-bound tale of isolation, Lost in Translation, was a high water mark for the director, with the impenetrable Somewhere and The Bling Ring following a theme of dysfunction in the Hollywood bubble. Her new film, The Beguiled, is why we’re here today. A new trailer for the film has arrived, bringing with it a deeper look at the mystery within.
The film has been selected to play in the Official Selection at Cannes next month, taking Coppola back to the festival she debuted 2006’s Marie Antoinette and 2013’s The Bling Ring. The film is her adaptation of Thomas Cullinan 1966’s novel A Painted Devil, the second after Don Siegel’s 1971 film which shares the name The Beguiled.
Colin Farrell appears as an injured Civil War solider who is brought, close to death, to the...
- 4/19/2017
- by Jon Lyus
- HeyUGuys.co.uk
For such a highly anticipated event, the Cannes Film Festival tends to contain a fairly predictable lineup: The Official Selection focuses on established auteurs whose work lands a coveted slot at the flashy gathering on autopilot. That was certainly the case last year, when the 2016 edition opened with a Woody Allen movie and featured new work from the likes of Pedro Almodovar, Nicolas Winding Refn, the Dardennes brothers and Olivier Assayas.
But we live in unpredictable times, and judging by today’s announcement of the Official Selection for Cannes 2017, even the world’s most powerful festival isn’t impervious to change. This year’s Cannes is filled with surprises: television and virtual reality, some intriguing non-fiction selections, and a whole lot of unknown quantities that push the festival in fresh directions.
That’s not to say that there aren’t a few familiar names that stand out. Todd Haynes is...
But we live in unpredictable times, and judging by today’s announcement of the Official Selection for Cannes 2017, even the world’s most powerful festival isn’t impervious to change. This year’s Cannes is filled with surprises: television and virtual reality, some intriguing non-fiction selections, and a whole lot of unknown quantities that push the festival in fresh directions.
That’s not to say that there aren’t a few familiar names that stand out. Todd Haynes is...
- 4/13/2017
- by Eric Kohn
- Indiewire
Sofia Coppola fans who pay close attention to the trailer for her upcoming film, “The Beguiled” may notice a quick shot of Colin Farrell and Kirsten Dunst in an intense sex scene, one that Dunst recently said was uncomfortable to shoot.
Read More: ‘The Beguiled’: Sofia Coppola’s Feminist Revenge Trailer Stuns CinemaCon 2017 With New Footage
“I am on the floor and my clothes are being ripped,” Dunst told E! News at CinemaCon. “I don’t like it. To be honest, I’m like, ‘Let’s get this over with as fast as possible.’” Coppola was also intent on shooting the scene very quickly and moving on. “Sofia [said], ‘We’re going to get this done quick. We’re just gonna shoot it here, we’ll do three takes, be done,’” Dunst added.
Farrell also told stressed that, when shooting sex scenes, he always makes his co-star’s comfort the number one priority.
Read More: ‘The Beguiled’: Sofia Coppola’s Feminist Revenge Trailer Stuns CinemaCon 2017 With New Footage
“I am on the floor and my clothes are being ripped,” Dunst told E! News at CinemaCon. “I don’t like it. To be honest, I’m like, ‘Let’s get this over with as fast as possible.’” Coppola was also intent on shooting the scene very quickly and moving on. “Sofia [said], ‘We’re going to get this done quick. We’re just gonna shoot it here, we’ll do three takes, be done,’” Dunst added.
Farrell also told stressed that, when shooting sex scenes, he always makes his co-star’s comfort the number one priority.
- 4/7/2017
- by Graham Winfrey
- Indiewire
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