A love story forged at the least romantic place in the world, a slaughterhouse, “On Body and Soul” is a testament to the grit of its writer-director, first-time Oscar nominee Ildikó Enyedi.
Born in Budapest, the 62-year-old emerged on the international film scene almost 30 years ago, winning the Cannes’ Camera d’Or for her feature debut, “My Twentieth Century” (among the top 10 films of 1989, according to The New York Times). Over the next decade, she made four more films; 1999’s “Simon the Magician” claimed the Special Jury Prize at the Locarno International Film Festival. Then she went 18 years without a release.
“Oh my God, I was constantly, constantly working on projects, and they nearly happened,” she told IndieWire at the Hollywood offices of Netflix, which began streaming “On Body and Soul” last week. Five of her original films were scratched, including a story set in 1930s New York, when scientists...
Born in Budapest, the 62-year-old emerged on the international film scene almost 30 years ago, winning the Cannes’ Camera d’Or for her feature debut, “My Twentieth Century” (among the top 10 films of 1989, according to The New York Times). Over the next decade, she made four more films; 1999’s “Simon the Magician” claimed the Special Jury Prize at the Locarno International Film Festival. Then she went 18 years without a release.
“Oh my God, I was constantly, constantly working on projects, and they nearly happened,” she told IndieWire at the Hollywood offices of Netflix, which began streaming “On Body and Soul” last week. Five of her original films were scratched, including a story set in 1930s New York, when scientists...
- 2/9/2018
- by Jenna Marotta
- Indiewire
It’s love at first sight for Ania and a young handsome stranger lurking in the woods. Animal magnetism finds a new meaning in Wild, an intriguing, passionate drama between a woman and a wolf that falters only in that it doesn’t go quite far enough with its bestialistic premise.
For Ania (Lilith Stangenberg, utterly committed), life is drab, living in a monstrous high-rise apartment in an unnamed German city and working for a faceless city firm where the most interesting part of the day is making coffee for her misogynist boss Boris (Georg Fridrich).
But she’s awoken from her slumber when she stumbles upon a set of eyes in a park one evening, the figure of a full-grown wolf. It’s an interest that engulfs her entire world, starting with her placing bits of uncooked steak in the forest before she plots a trap to capture her unrequited lover.
For Ania (Lilith Stangenberg, utterly committed), life is drab, living in a monstrous high-rise apartment in an unnamed German city and working for a faceless city firm where the most interesting part of the day is making coffee for her misogynist boss Boris (Georg Fridrich).
But she’s awoken from her slumber when she stumbles upon a set of eyes in a park one evening, the figure of a full-grown wolf. It’s an interest that engulfs her entire world, starting with her placing bits of uncooked steak in the forest before she plots a trap to capture her unrequited lover.
- 2/8/2016
- by Ed Frankl
- The Film Stage
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