After a six year break from features, director Lynne Ramsay (We Need to Talk About Kevin) is back with You Were Never Really Here, a film that looks to be a cross between Taken and Taxi Driver. This violent drama debuted at last year’s Cannes Film Festival and earned high praise from those who caught it, and it’s easy to see why: this movie looks like it rules. Check out a new UK trailer for the film below.
You Were Never Really Here trailer
Based on a 2013 novella from Bored to Death creator Jonathan Ames (side note: this movie could not look more different than Bored to Death), the story follows a veteran (Phoenix) who uses his own particular set of skills to find girls who have gone missing. As the violence and intensity ratchets up, things start to spin out of control for him.
If that stylish trailer – with its Taken-esque foray into the sex trade and an overt nod to Robert De Niro’s Travis Bickle during the mirror interaction at the end – isn’t enough to get you fully on board, maybe you’ll be interested to hear from those who have seen the full film already. The Guardian says it “teeters perpetually on the verge of hallucination, with hideous images and horrible moments looming suddenly through the fog,” Vulture says that “visually and stylistically, Ramsay has never been more assured,” and The Film Stage calls it “one of the most ferocious indictments of systematic abuse of power and gender violence ever projected on a screen.”
The movie’s score from Radiohead’s Jonny Greenwood is getting some high praise, too, with Birth.Movies.Death referring to it as “possibly [his] best score to date” and “a real scorcher.” That’s especially impressive, considering Greenwood provided the scores for movies like There Will Be Blood, The Master, and Phantom Thread. Ekaterina Samsonov, Alex Manette, John Doman, and Judith Roberts co-star.
And if all that somehow still isn’t enough to sway you, Ramsay won the Best Screenplay award and Phoenix won the Best Actor award at Cannes for his haunted, physical performance, so it seems like there’s actually some real meat to this movie beyond just a well-cut trailer.
You Were Never Really Here plays at the Sundance Film Festival later this month (where I’m hoping to catch a screening and report back to you all), and Amazon Studios will release it wider on April 6, 2018.
Nothing makes me cringe more when I see a question on a forum asking permission. “Is it okay to push the greens in my color grade?” “Is it okay to shoot shutter speed other than the 180?” Imagine if Alfred Hitchcock asked, “Is it okay to kill off my lead actress in the first act?” […]
Lynne Ramsay, the director of ‘Ratcatcher’ and ‘We Need to Talk About Kevin,’ teams with Joaquin Phoenix for a mysterious tale about a hitman trying to save a teenage prostitute in ‘You Were Never Really Here.’
This new software lets you match one, two, three, or even four different cameras in about six seconds.
The term game changer gets thrown around a lot these days, and there’s no better culprit than the hawkers in the halls of the Las Vegas Convention Center. It’s safe to say, however, that the small film emulation company FilmConvert is truly on the heels of something special.
Camera matching sucks. Anyone who’s ever edited anything can tell you that. Cinematch provides a solution. In the video above we see a demonstration of a piece of software that takes footage from a Panasonic GH5, a Fuji X-T2, a Sony A7s and an iPhone and match them in just about six seconds.
This type of automation could save editors and colorists hours of labor and is a very, very real possibility. At first, they’re looking to develop the software as a plug-in for Premiere. You’ll simply be able to click a button that says “match all” and continue editing from there.
As long as things continue to go smoothly, Cinematch is set to launch this November.
What does it take for VR to create the same comedy and drama as a traditional feature film?
Virtual reality storytelling innovators Felix & Paul Studios premiered a new narrative VR film at Sundance this year, and it’s unprecedented both in the sheer length (40 minutes) as well as the scope of the narrative. Situated in the headspace of a 1980s toy robot, Miyubi takes the viewer on a journey through sibling rivalry, teen angst, marital challenges, and aging—and it’s the closest VR has gotten to the feeling of a feature film so far. Sound ambitious? It is.
In this episode of the No Film School podcast, Miyubi directors Félix Lajeunesse and Paul Raphaël, as well as CTO Sebastian Sylvan, sit down with No Film School to talk about the VR storytelling tricks they’ve learned, the departure of this film from their previous work, and how they’ve attempted to overcome the biggest challenge of narrative storytelling in VR: the fact that viewers inside a headset can look anywhere at any time for the duration of the film.
Early Hammer Horror film Never Take Sweets From a Stranger is a dark, terrifying examination of the horrors pedophilia
Before their brand became synonymous with Gothic horror fantasies dripping with promises of Freudian sex and death, Hammer Films steadily pumped out a series of quality British melodramas, mysteries and Hitchcockian thrillers, most of them produced economically in black and white and exported internationally by major studios with little fanfare. But in circling back on these early curiosities – many of which were produced well into the early 1960s – one can find some remarkable motion pictures, many of which are bold, daring and way ahead of their time.
Among the most alarming of that lot is director Cyril Frankel’s Never Take Sweets From a Stranger (re-titled Never Take Candy From a Stranger for its U.S. release), a jet-black and shocking thriller (based on the play The Pony Trap by Roger Garis) and a film that, despite its vintage, nevertheless packs a wallop. It’s a movie whose dismal truths about how the powerful buy silence and how children must suffer the sins of their elders tragically and endlessly. And it doesn’t go down easy.
9 year old Jean (Janina Faye, from Hammer’s Horror of Dracula) has just moved to small town in Ontario, Canada with her parents Peter (Patrick Allen) and Sally (Gwen Watford), after dear Dad accepts a prominent position as the new Principal of the local school. One day while playing with her new friend Lucille, the pair wander off to the manor of the town’s most powerful family, the Olderberrys, when Lucille confides that the old man who lives there will give them free candy. When Jean comes home that night, she rather matter-of-factly tells her parents that the skeezy Mr. Olderberry (Felix Aylmer, who is chilling) did indeed ply them with sweets in exchange for the young girls to remove their clothes and dance naked for them. Peter and Sally are horrified and, later that night when Jean wakes up screaming from a nightmare, mom and dad decide to action.
But as they soon learn, the town is rather adept at keeping its secrets safe. After relaying the tale to some prominent school officials, Peter gleans that people are aware of Mr. Olderberry’s pedophiliac leaning and there have been previous “incidents” but everyone has turned a blind eye. Peter presses charges even though he’s warned of social isolation and worse if he proceeds. When the old man’s son, Clarence Olderberry Jr. (Bill Nagy) shows up to their home and urges them to drop the charges, Peter and Sally refuse and the younger man swears to decimate the little girl on the stands in the inevitable trial. Soon little Jean is ostracized from her peers, the family is persecuted and, when the old man is revoltingly cleared of his crimes by a crooked jury, they opt to leave the dour little hamlet. But they soon learn that the outrage they’ve endured is only the catalyst to the horror to come.
To call Never Take Sweets From a Stranger a horror film may seem like stretch, but it’s really not. There are no vampires, ghouls or werewolves running around this picture, rather the threat is fear and ignorance, the monster is power and privilege and the poison at its core is one human being’s psychotic addiction to sexually abusing and murdering children. The latter element? Well, I can think of few things more horrifying. As adults, we find novel ways to mess up our lives and the lives of others. But we keep making more of us in hopes of creating better versions of ourselves, successors who will hopefully learn from us, from our triumphs and errors. It’s a universal, biological law that we are here to protect children, to nurture them and show them the beauty in the world before adulthood begins to chip away at the perception of the purity of that beauty. And when an adult ends up willingly breaking that law, it’s unforgivable.
Director Frankel would later go on the helm Hammer’s supernatural drama The Witches and that’s a strong film. This one is stronger. Frankel allows the literacy of the stage play drive the film and fleshes out the dialogue-heavy drama with many nightmarish sequences of children in jeopardy. It’s like a British “social issues” version of Night of the Hunter in some respects, with children targeted by those they are told to trust and it’s a theme that marked many of these early Hammer thrillers, movies like the equally mesmerizing (if more conventional) evil parent shocker The Snorkel. And Hammer legend and Oscar-winning DP Freddie Francis brings an almost fairy tale beauty to much of the outdoor sequences, especially the scenes of the children fleeing for their lives.
Still toiling in relative obscurity, those who have experienced Never Take Sweets From a Stranger sing of its praises and with good reason. It’s a dark, uncompromising film, serious, smart and wildly upsetting. Seek it out…
“Still, I wanted to make a movie that addressed the fact that we were not in a post racial world,” said Peele during his Reddit AMA.
Made for a budget of $ 5 million, Get Out crossed over the $ 100 million mark over this weekend, making Jordan Peele the first African-American director to have a debut feature film reach this milestone. But when he wrote the script, he never thought he would be able to make the movie.
In this Reddit AMA video, Peele reveals his surprise at getting the chance to make Get Out, offers advice to writers and filmmakers trying to make their first films, and educates us all about the existence of a college football player named Kobe Buffalomeat.
“Write your favorite movie that you haven’t seen. Don’t worry about whether it’s going to get made. Write something for yourself.”
Wireless transmitters aren’t just for lav mics, you know.
There are obvious benefits to the lavalier microphone/wireless transmitter combo: it’s easily hidden, it’s unobtrusive for subjects to wear, and produces pretty decent sound. But what if you hooked a boom mic up to a wireless transmitter? In this video from Indy Mogul, Knoptop talks about various advantages the wireless boom audio setup can have in different phases of a film project. Check it out below:
If you’re one of those “if it ain’t broke don’t fix it” kind of people, I’m right there with you. I’ve never once considered connecting a boom mic to a wireless transmitter, but Knoptop brings up some intriguing points in the video that piqued my interest.
For one, using this kind of set up will take out the moderately frustrating task of synching sound in post, because it records it directly into your camera. Second, your talent can feel free to move around, touch their shirt, etc. without worrying about causing any noise issues. The third and probably most obvious benefit is that not having to deal with any super long audio cables is pretty damn convenient.