Millie Brady, known for the BBC/Netflix series “The Last Kingdom” and recently seen in Apple TV + offering “Surface,” will play the lead in Filip Jan Rymsza’s “Object Permanence,” Variety has learned exclusively.
The actor is cast as Brooke Brooks, a former supermodel who becomes a highly successful lifestyle mogul and the first person to ‘IPO’(Initial Public Offering) herself.
“Having commodified herself, Brooke is forced to confront her sense of self and the identity she has created,” said Rymsza, whose last film “Mosquito State” with Beau Knapp was shown at the Venice Film Festival, where it was noticed for Eric Koretz’s cinematography. He also produced acclaimed documentary “Hopper/Welles” and John Malkovich starrer “Valley of the Gods.”
“Millie is such a force: a transfixing union of vibrance, instinct and craft. I’m deeply inspired by the soulfulness of her interpretation,” Rymsza added.
Set in the near future, the...
The actor is cast as Brooke Brooks, a former supermodel who becomes a highly successful lifestyle mogul and the first person to ‘IPO’(Initial Public Offering) herself.
“Having commodified herself, Brooke is forced to confront her sense of self and the identity she has created,” said Rymsza, whose last film “Mosquito State” with Beau Knapp was shown at the Venice Film Festival, where it was noticed for Eric Koretz’s cinematography. He also produced acclaimed documentary “Hopper/Welles” and John Malkovich starrer “Valley of the Gods.”
“Millie is such a force: a transfixing union of vibrance, instinct and craft. I’m deeply inspired by the soulfulness of her interpretation,” Rymsza added.
Set in the near future, the...
- 8/10/2022
- by Marta Balaga
- Variety Film + TV
This review of “Mosquito State” was first published in September 2020 after the film’s premiere at the Venice Film Festival.
On the film-festival circuit, Polish-American filmmaker Filip Jan Rymsza is best known for shepherding the unfinished, long-neglected Orson Welles movie “The Other Side of the Wind” to completion in 2018, and for producing two accompanying documentaries, Morgan Neville’s “They’ll Love Me When I’m Dead” and Ryan Suffern’s short “A Final Cut for Orson.”
“The Other Side of the Wind” and “They’ll Love Me When I’m Dead” both premiered two years ago at the Venice International Film Festival, so it makes sense that Rymsza’s debut as a feature director, “Mosquito State,” debuted at that same festival in 2020, alongside another Rymsza-produced Welles project, the documentary “Hopper/Welles.” The creepy, cerebral thriller is bold and weird and wildly unlike anything Welles might have done, though you could probably call it the “Citizen...
On the film-festival circuit, Polish-American filmmaker Filip Jan Rymsza is best known for shepherding the unfinished, long-neglected Orson Welles movie “The Other Side of the Wind” to completion in 2018, and for producing two accompanying documentaries, Morgan Neville’s “They’ll Love Me When I’m Dead” and Ryan Suffern’s short “A Final Cut for Orson.”
“The Other Side of the Wind” and “They’ll Love Me When I’m Dead” both premiered two years ago at the Venice International Film Festival, so it makes sense that Rymsza’s debut as a feature director, “Mosquito State,” debuted at that same festival in 2020, alongside another Rymsza-produced Welles project, the documentary “Hopper/Welles.” The creepy, cerebral thriller is bold and weird and wildly unlike anything Welles might have done, though you could probably call it the “Citizen...
- 8/26/2021
- by Steve Pond
- The Wrap
Whether a viewer in 1896 or 2020, cinema has always been a dynamic and variable experience. Cinema as an event—as a manifestation of a meeting point between the art of moving images and an audience, big or small—has never fit any one definition, and this last year, so severely disrupted by a global pandemic, has deeply underscored the versatility and resilience of our great love.Our viewing this year, like that of so many, has been strange: compromised, confrontational, escapist, euphoric, painful, revelatory—encompassing all of the reactions one can have to film. How we encountered our favorite movies and most meaningful cinematic experiences of the year was hardly new: A by-now-normal mix of festivals, theatres, various subscription and transactional streaming services, as well as private screener links and gems buried on over-stuffed hard drives. But for most of the year, the communal experience shrunk to living rooms and glowing screens.
- 12/23/2020
- MUBI
Mentoring emerging cinematographers has always been a key mission at the EnergaCamerimage International Film Festival and this year’s online version of the event features a score of streaming master classes and seminars that inform and offer insights from top filmmakers and technology experts.
Streaming through the end of 2020 (online.energacamerimage.pl), the talks and teach-ins are, with rare exceptions, accessible without a password or online Camerimage entry card – unlike the usual live format of master classes at the festival, which invariably sell out if you don’t find a seat at least 20 minutes before the start.
One of the buzziest events from the festival, which officially ran Nov. 13-20, is the virtual career masterclass with cinematographer Phedon Papamichael, in which he discusses his remarkable career, leading up to his latest feature, Aaron Sorkin’s “The Trial of the Chicago 7.”
The Netflix drama is built around the sensational political...
Streaming through the end of 2020 (online.energacamerimage.pl), the talks and teach-ins are, with rare exceptions, accessible without a password or online Camerimage entry card – unlike the usual live format of master classes at the festival, which invariably sell out if you don’t find a seat at least 20 minutes before the start.
One of the buzziest events from the festival, which officially ran Nov. 13-20, is the virtual career masterclass with cinematographer Phedon Papamichael, in which he discusses his remarkable career, leading up to his latest feature, Aaron Sorkin’s “The Trial of the Chicago 7.”
The Netflix drama is built around the sensational political...
- 12/18/2020
- by Will Tizard
- Variety Film + TV
Polish-born filmmaker Filip Jan Rymsza, the producer of Venice Film Festival entry “Hopper/Welles,” which he is presenting this week at Egypt’s El Gouna Film Festival, will follow his latest directorial outing “Mosquito State” – also a Venice premiere this year – with “Object Permanence,” Rymsza tells Variety. Partially set in Berlin and shot in English, it will be another Polish co-production, most likely with Germany.
“’Object permanence’ is something that people were aware of already, they just didn’t know how to define it: It’s the understanding that objects continue to exist even if you can’t see them or hear them, or otherwise sense them,” he says, adding that while “Mosquito State” looked at the recent past, this will look into the near future.
With another project, set in Japan, currently put on hold due to Covid-19 travel restrictions, Rymsza will once again try to focus on one protagonist.
“’Object permanence’ is something that people were aware of already, they just didn’t know how to define it: It’s the understanding that objects continue to exist even if you can’t see them or hear them, or otherwise sense them,” he says, adding that while “Mosquito State” looked at the recent past, this will look into the near future.
With another project, set in Japan, currently put on hold due to Covid-19 travel restrictions, Rymsza will once again try to focus on one protagonist.
- 10/23/2020
- by Marta Balaga
- Variety Film + TV
At the time, in November 1970, it must have seemed like an ideal match, a meeting of renegade titans: Orson Welles, the long-ago boy genius of theater and films who never got a job directing in Hollywood after 1958, and Dennis Hopper, whose out-of-nowhere smash with Easy Rider in 1969 made him the boy wonder of the hippie age and ostensible leader of a new wave of counterculture movies.
Just as Welles had cratered from a Hollywood-career perspective, Hopper hit the rocks with his second film — the hopelessly pretentious, financially ruinous The Last Movie, which the younger man was editing when he sat down with Welles one night to film five hours of chatty material that ended up as mere snippets in Welles’ The Other Side of the Wind, which was only finished and released in 2018 courtesy of Netflix.
Why Orson Welles’ ‘The Other Side Of The Wind’ Took Half A Century To...
Just as Welles had cratered from a Hollywood-career perspective, Hopper hit the rocks with his second film — the hopelessly pretentious, financially ruinous The Last Movie, which the younger man was editing when he sat down with Welles one night to film five hours of chatty material that ended up as mere snippets in Welles’ The Other Side of the Wind, which was only finished and released in 2018 courtesy of Netflix.
Why Orson Welles’ ‘The Other Side Of The Wind’ Took Half A Century To...
- 10/13/2020
- by Todd McCarthy
- Deadline Film + TV
The American Film Institute has unveiled its lineup of 124 films, adding notable titles including the documentaries “Belushi,” “Citizen Penn” and “Hopper/Welles” and the Albert and Allen Hughes thriller “Dead Presidents.”
AFI Fest, which is going virtual this year without the usual glitzy Hollywood premieres at the Tcl Chinese Theatre, had announced previously that Rachel Brosnahan’s crime drama “I’m Your Woman” had been selected as its opening night title on Oct. 15. The festival also announced last month that it would close Oct. 22 with “My Psychedelic Love Story,” and host the world premieres of Kelly Oxford’s “Pink Skies Ahead” and Angel Kristi Williams’ “Really Love,” in addition to special presentations of Florian Zeller’s “The Father,” Werner Herzog and Clive Oppenheimer’s “Fireball” and Mira Nair’s “A Suitable Boy.”
“Belushi” is directed by R.J. Cutler and features interviews with John Belushi, Jim Belushi, Chevy Chase, Carrie Fisher, Dan Aykroyd and Penny Marshall.
AFI Fest, which is going virtual this year without the usual glitzy Hollywood premieres at the Tcl Chinese Theatre, had announced previously that Rachel Brosnahan’s crime drama “I’m Your Woman” had been selected as its opening night title on Oct. 15. The festival also announced last month that it would close Oct. 22 with “My Psychedelic Love Story,” and host the world premieres of Kelly Oxford’s “Pink Skies Ahead” and Angel Kristi Williams’ “Really Love,” in addition to special presentations of Florian Zeller’s “The Father,” Werner Herzog and Clive Oppenheimer’s “Fireball” and Mira Nair’s “A Suitable Boy.”
“Belushi” is directed by R.J. Cutler and features interviews with John Belushi, Jim Belushi, Chevy Chase, Carrie Fisher, Dan Aykroyd and Penny Marshall.
- 10/6/2020
- by Dave McNary
- Variety Film + TV
The American Film Institute (AFI) has today announced the full lineup of this year’s AFI Fest, including the World Cinema, New Auteurs, and Documentary sections. These titles, including buzzy festival features like “I Carry You with Me,” “Shadow in the Cloud,” “Jumbo,” “Farewell Amor,” “Wander Darkly,” “Tragic Jungle,” “Sound of Metal,” “Wolfwalkers,” “New Order,” and “Hopper/Welles,” join previously announced films, including Julia Hart’s “I’m Your Woman,” which will open the festival, and Errol Morris’ “My Psychedelic Love Story,” which will close it.
This year’s complete AFI Fest program includes 124 titles of which 53 percent are directed by women, 39 percent are directed by Bipoc, and 17 percent are directed by Lbgtq+.
“AFI Fest is committed to supporting diverse perspectives and new voices in cinema and this year is no different,” said Sarah Harris, Director of Programming, AFI Festivals, in an official statement. “While we wish we were able to be together in Hollywood,...
This year’s complete AFI Fest program includes 124 titles of which 53 percent are directed by women, 39 percent are directed by Bipoc, and 17 percent are directed by Lbgtq+.
“AFI Fest is committed to supporting diverse perspectives and new voices in cinema and this year is no different,” said Sarah Harris, Director of Programming, AFI Festivals, in an official statement. “While we wish we were able to be together in Hollywood,...
- 10/6/2020
- by Kate Erbland
- Indiewire
As the New York Film Festival readies to roll out its 58th edition tomorrow (and running through October 11), IndieWire is pleased to share an exclusive look at the many festival-sponsored Talks which will roll out during this year’s event. HBO serves as the presenting sponsor of Talks, which supplement NYFF’s screenings with a series of free and live panel discussions and in-depth conversations with a wide range of guests.
As announced by festival brass earlier this summer, this year’s NYFF is going to operate differently than it has in previous incarnations. The event will combine a brand-new virtual presence with carefully designed outdoor screenings, including two drive-ins. The Talks are taking a new shape, too, and while they are not available as in-person events, as they have been in years past, the festival is hoping to turn them into “an essential live, online meeting place for audiences,...
As announced by festival brass earlier this summer, this year’s NYFF is going to operate differently than it has in previous incarnations. The event will combine a brand-new virtual presence with carefully designed outdoor screenings, including two drive-ins. The Talks are taking a new shape, too, and while they are not available as in-person events, as they have been in years past, the festival is hoping to turn them into “an essential live, online meeting place for audiences,...
- 9/16/2020
- by Kate Erbland
- Indiewire
Choose your fighter: Orson Welles, recently back in LA after a decade of European exile, and embarking on a project so meta he will emulate the film’s director-protagonist and die at 70 never having finished it; or Dennis Hopper, mere days after the end of an 8-day marriage, struggling to edit the metafiction that will kill his directorial career for nearly a decade? The documentary, “Hopper/Welles,” cutely credited to Welles as director, but put together by “The Other Side of the Wind” producer Filip Jan Rymsza, is a recording of a conversation between two (in)famous Hollywood game-changers at oddly analogous moments in their careers, despite their twenty-year age gap.
Continue reading ‘Hopper/Welles’: The Lost Conversation Between Two Fascinatingly Flawed Legends [Venice Review] at The Playlist.
Continue reading ‘Hopper/Welles’: The Lost Conversation Between Two Fascinatingly Flawed Legends [Venice Review] at The Playlist.
- 9/14/2020
- by Jessica Kiang
- The Playlist
NYFF 2020 Trailer Teases Looks At Steve McQueen’s ‘Small Axe,’ Sofia Coppola’s ‘On The Rocks’ & More
Yep, festival season is a little weird this year, but if the currently-ongoing Venice Film Festival and just-started Toronto International Film Festival are any indication, the 58th New York Film Festival is going to be just as good, albeit enjoyed from a safe distance. The festival has a terrific line-up that includes movies from Steve McQueen (three films from his “Small Axe” anthology, Chloe Zhao‘s “Nomadland” starring Frances McDormand, “David Byrne’s American Utopia” from director Spike Lee, “The Human Voice” from Pedro Almodóvar, Orson Welles’ doc “Hopper/Welles,” “On the Rocks” from Sofia Coppola,” and so much more.
Continue reading NYFF 2020 Trailer Teases Looks At Steve McQueen’s ‘Small Axe,’ Sofia Coppola’s ‘On The Rocks’ & More at The Playlist.
Continue reading NYFF 2020 Trailer Teases Looks At Steve McQueen’s ‘Small Axe,’ Sofia Coppola’s ‘On The Rocks’ & More at The Playlist.
- 9/11/2020
- by Rodrigo Perez
- The Playlist
Above: City HallIt was the first time this year I heard people clap before the film began, and the applause lived on with an energizing aftershock. The theatre was the Lido’s Sala Darsena, the time 19:45, and the film City Hall, Fredrick Wiseman’s new documentary, a foray into the workings of Boston’s city government that would keep us in the theatre for the following four and a half hours. City Hall, which premiered out of competition, follows Wiseman’s previous Venice entry, Monrovia, Indiana (2018), an anguished study of small-town America. But it feels closer in scope and tone to that film’s predecessor, the extraordinary Ex Libris: The New York Public Library (2017), a journey that shuttled you across the institution’s many branches as they sought to adjust to the digital age. Much of what made that film so stupefying to me was the way Wiseman...
- 9/10/2020
- MUBI
It doesn’t take long to explain a film like Hopper/Welles in relative detail. In 1970, Dennis Hopper took a break from editing The Last Movie and flew to Los Angeles to be interviewed by Orson Welles. Welles was working on what would later––much, much later––become The Other Side of the Wind. During a boozy candlelit dinner party, surrounded by a small group of friends, Welles’ cameras rolled on Hopper for a little over two hours as they discussed politics and filmmaking. This is exactly what we see.
The timing of the interview could hardly be more enticing. By 1970 Welles (who was only turning 55) had already begun to slip into the notorious talk show appearances and novelty roles that would define the late part of his career. Hot on the epoch-shifting success of Easy Rider, Hopper was at the peak of his career, but he was also just...
The timing of the interview could hardly be more enticing. By 1970 Welles (who was only turning 55) had already begun to slip into the notorious talk show appearances and novelty roles that would define the late part of his career. Hot on the epoch-shifting success of Easy Rider, Hopper was at the peak of his career, but he was also just...
- 9/10/2020
- by Rory O'Connor
- The Film Stage
Dennis Hopper meets Orson Welles: That sounds like an oil-and-water match-up of legendary filmmakers. Welles, for all his renegade gusto, was a defrocked classicist — maybe (or maybe not) the greatest film director who ever lived, and one who became the ultimate high-toned Hollywood dropout. Whereas Hopper, the scraggly counterculture bad boy, launched his career as a director with “Easy Rider,” at which point he had already, in essence, dropped out. (He made dropping out seem the aesthetic cutting edge of the New Hollywood.) Yet for one long, boozy rambling evening in November 1970, these two men who barely knew each other sat around the dingy brick-walled den of a rented home in Beverly Hills, lit by hurricane lamps and a flickering fire, shooting the breeze and sizing each other up as cross-generational kindred spirits.
“Hopper/Welles” is a fascinating curiosity. It’s two hours and 11 minutes long, and the entire...
“Hopper/Welles” is a fascinating curiosity. It’s two hours and 11 minutes long, and the entire...
- 9/10/2020
- by Owen Gleiberman
- Variety Film + TV
For almost 40 years, the 100 hours of surviving footage that Orson Welles shot in the early 1970s for the movie “The Other Side of the Wind” remained largely unseen. First the director struggled in vain to finish the film, then its rights were tied up after his death. But that four decades of frustration has turned into a flurry of activity: In the last two years, that footage has been used not only in the completed version of “The Other Side of the Wind” that finally premiered at the Venice Film Festival in 2018, but in two different documentaries about the film, Morgan Neville’s “They’ll Love Me When I’m Dead” and Ryan Suffern’s short doc “A Final Cut for Orson.”
And now it’s serving as the basis for yet another side of “The Other Side of the Wind,” and another posthumous film on which Welles is credited as director.
And now it’s serving as the basis for yet another side of “The Other Side of the Wind,” and another posthumous film on which Welles is credited as director.
- 9/8/2020
- by Steve Pond
- The Wrap
The sound design of “Mosquito State” takes the title as a mission statement. Across much of its running time, the sonic backdrop is a veritable chorus of mosquitoes whining in high, overbearing harmony, providing their own sinister vocal track to a more conventionally orchestrated score. You have to be confident in your film’s power to transfix its audience even as it’s liable to drive any anopheliphobics in the room to delirium, and Polish-American director Filip Jan Rymsza seems to be: His body horror-tinged allegory for the global financial crisis of 2007 swaggers with slick, nasty formal showmanship designed to get under the viewer’s skin. But it’s all in service of pretty thin ideas about capitalist decline and masculinity in crisis, played out by thinner characters still: The longer it needles, the more one is inclined to swat it away.
As it happens, “Mosquito State” is the first...
As it happens, “Mosquito State” is the first...
- 9/8/2020
- by Guy Lodge
- Variety Film + TV
The New York Film Festival, whose longer-than-usual 2020 edition will run from September 17 to October 11, has announced the lineup for its new Spotlight section.
On the Rocks, director Sofia Coppola’s re-teaming for Apple and A24 with Lost in Translation star Bill Murray, will have its world premiere in the Spotlight lineup. Other titles include Hopper/Welles, a cinephile’s delight featuring a 1970 conversation between Dennis Hopper and Orson Welles; American Utopia, Spike Lee’s filmed version of David Byrne’s Broadway musical; and Pedro Almodóvar’s The Human Voice. Tilda Swinton stars in Human Voice, which is Almodóvar’s first English-language film.
In addition to Hopper/Welles, documentaries include All In: The Fight for Democracy, a look at voter suppression directed by Liz Garbus and Lisa Cortés; and The Monopoly of Violence, from director David Dufresne, an examination of police brutality in France.
The Spotlight section is described by NYFF...
On the Rocks, director Sofia Coppola’s re-teaming for Apple and A24 with Lost in Translation star Bill Murray, will have its world premiere in the Spotlight lineup. Other titles include Hopper/Welles, a cinephile’s delight featuring a 1970 conversation between Dennis Hopper and Orson Welles; American Utopia, Spike Lee’s filmed version of David Byrne’s Broadway musical; and Pedro Almodóvar’s The Human Voice. Tilda Swinton stars in Human Voice, which is Almodóvar’s first English-language film.
In addition to Hopper/Welles, documentaries include All In: The Fight for Democracy, a look at voter suppression directed by Liz Garbus and Lisa Cortés; and The Monopoly of Violence, from director David Dufresne, an examination of police brutality in France.
The Spotlight section is described by NYFF...
- 8/27/2020
- by Dade Hayes
- Deadline Film + TV
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