joanna is a 2013 polish documentary film by aneta kopacz about joanna salyga , a young woman with cancer with only three months to live , and her efforts to make the most of her time with her husband and young son .

kopacz came to know salyga 's story through her blog chustka .

salyga 's readers sponsored a crowdfunding campaign to produce this film .

joanna was nominated for the academy award for best documentary ( short subject ) at the 87th academy awards .

i do n’t feel disappointed and a loser in any way .

i made a film which moves people all over the world as a significant experience and event in their lives .

a film which won numerous awards and was nominated for an oscar ! and finally , a film which allows the memory of joanna to survive and which will show her son jaś what a simple day with his mom looked like .

nothing is lost here ! — aneta kopacz said in a press release after the oscar ceremony .

joanna ( 2013 film )

joanna ( 2013 film ) <EOT> reviewed at curzon soho , london , aug . 7 , 2013 . ( in locarno film festival — competing . ) running time : 104 min .

joanna hogg ' s exquisite , chilly third feature teeters between very boring and completely fascinating .

the new joanna hogg film is a tinder - dry meditation on the uneasy commingling of our public and private selves : just the ticket for sunday afternoon if the kids have already seen spider - man .

for those not in the los angeles area , you can also find joanna internationally on itunes and on vimeo .

dir : joanna hogg ; starring : viv albertine , liam gillick , tom hiddleston , harry kershaw . 15 cert , 105 min .

the story unfolds in a very tender and metered way , with information slowly revealed about each of your characters . how much time did you spend with joanna and her family ? knowing how ill joanna was , did you feel a sense of urgency when filming her story ?

“joanna” flips the equation , centering on a mother with only three months to live who’s determined to maximize the time she has left with her young son and husband . in this case , director aneta kopacz didn’t know her subject personally , but was touched by joanna salyga’s blog , “chustka , ” in which she shared her experiences with readers , a number of whom stepped up to sponsor the crowd - funded short . almost none of this information comes across in the film itself , which serves as an artsy portrait her son can use to remember her by in the future , shot in shallow focus ; cobbled together with jumpy , impressionistic cuts ; and composed of seemingly mundane moments between joanna and her family . “joanna” is melancholy in the extreme , but reminds how much we take for granted , from seeing rainbows to teaching our kids to ride a bike .

you can catch joanna at docuday la , the ida ' s annual celebration of the feature and short documentary films nominated for oscar® . the film will screen at 3 : 35pm on saturday , febrary 21 at the writer ' s guild of america theater as part of shorts program ii with fellow nominee la parka ( the reaper ) .

achievement in film editing american sniper joel cox and gary d . roach boyhood sandra adair the grand budapest hotel barney pilling the imitation game william goldenberg whiplash tom cross

shot in a vérité style over the course of just a few months , joanna remains primarily inside the rooms of the family’s home and in the surrounding woods , where joanna seems to be insuring that many a sun - kissed memory is literally planted for her son and his future self . neither joanna nor her family ever directly addresses the camera , and we never linger on a sit - down interview between filmmaker and subject . instead life plays out in its small yet important moments , with stunning cinematography reminding us of the beauty found in life ' s everyday simplicity .

joanna hogg is an artist and film - maker who entrances and enrages . after the first wave of praise from fans ( such as me ) , her movies tend to get a backlash of incredulity and scorn from those who would prefer the envelope unpushed and unmolested . in the runup to its release , this latest film has already provoked some giggles and putdowns online . some of the tweets i ' ve been getting have felt like seat - bangs from some derisive digital walkout . it only makes me love her more .

in 40 short minutes , aneta kopacz ' s oscar® - nominated short documentary joanna invites us in , embraces us unconditionally , and reveals a brief portrait of a woman facing the realities of a terminal illness . the titular joanna , a woman slight of stature but substantial in wisdom , copes with the reality of her condition by sharing as much as she can with her brilliant son janek , a boy of roughly 8 years of age who asks questions as deep and important as any learned philosopher . she publishes her thoughts and succinct life lessons on her blog , where thousands of readers join her in the legacy of her final days . the times spent with her son are interspersed with tender moments between joanna and her adoring husband , whose patience and calming presence adds to the film’s deep warmth .

the look of joanna is very impressionistic , which somewhat belies her straightforward writing style on her blog and the way she raises her child . what helped you decide on the final visual aesthetic for this project ?

best documentary short subject crisis hotline : veterans press 1 ellen goosenberg kent and dana perry joanna aneta kopacz our curse tomasz sliwinski and maciej slesicki the reaper ( la parka ) gabriel serra arguello white earth j . christian jensen

how was it working with joanna’s son janek ? neither he nor the rest of the family ever seemed to notice the camera in the room . was it just you and cinematographer łucasz żal with the family at all times ?

where joanna seems hyper - sensitized to every moment that she has left , efrain jimenez garcia — the slaughterhouse worker profiled in gabriel serra’s “the reaper” — seems totally desensitized to life . according to an info card flashed at the end of the film , efrain has been killing 500 bulls a day , six days a week for the past 25 years . such a job must take it toll on someone , and sure enough , the man we see appears virtually numb to the world around him — though it might just be the way the film presents him , following efrain into the abattoir , staring unflinchingly at the cattle’s faces as they are led into the pen and killed . characterized by its stark , high - impact imagery , yet far from objective in its portrayal , the film displays a photographer’s eye , a sociologist’s curiosity and a vegetarian’s agenda .

it was a long and hardworking road . for nearly the past two years i traveled the world at festivals and have promoted joanna . i was constantly on my way . my life partner , tomasz sredniawa , who is cowriter for the movie often travels with me , sometimes we take our little daughter . now she is also with us in los angeles . so the film is present in our life all the time . being honest , our whole life revolves around the film ; there is nothing else . i am really tired and i am missing such a relaxing and carefree time with my daughter . i am really looking forward to it after oscars . can ' t wait !

we reached out to director aneta kopacz via email to ask her how she came to the film ' s visual style , about crowdfunding in poland , and how she will spend her time after the oscars® are over .

your film is very lyrical , shot in a true vérité style . i appreciate that you get such intimacy without ever interviewing your subjects , but just by allowing them to live their lives . do you always work this way ?

exhibition is her third feature — her last , archipelago , was released in 2010 , to near - blanket critical acclaim — and it establishes her as our preeminent pryer into the affairs of the english haute - bourgeoisie . the film is set almost entirely in a modernist des - res in west london , where its married owners are reluctantly preparing to move out . ( tom hiddleston , who made his film debut in unrelated and starred in archipelago , has a fun cameo as their gloopy estate agent . )

i went to the bookseller club , where a radio reportage about joanna was going to be presented . i knew she would be a special guest there . during the reportage emission , when her son ' s voice appeared , joanna couldn ' t control her emotions and left . after a while , i went for her . barely visible , she was standing with her back to me in a dark , empty room . a thought came to my mind that she is very petite . i walked over to her and introduced myself . for a moment we just looked at each other in silence and tears came to our eyes . i felt the incredible mutual intimacy then , like we knew each other forever . i told her that i wanted to make a film about her . she looked at me and said , " no , that would interfere with my privacy . "

then i learned that she had film proposals from well - known film directors and she refused to all of them . i asked her for just a minute to express how i would like to keep her story in the image . i said that if after this one minute she would say " no " , i will never bother her any more . she actually never said " yes " , but after this one minute , she didn ' t say " no " . so two days later , we had the first shooting day .

the english director joanna hogg has a knack for making us squirm . her new film , ‘exhibition’ , is an experimental at - home - with drama about two london artists , d ( viv albertine ) and h ( liam gillick ) who have lived together in a modernist house for 18 years . now – for reasons unclear – they’re about to move . in some ways this is a departure from hogg’s previous films , ‘unrelated’ and ‘archipelago’ , both of which were portraits of unhappy , posh families on holiday . it’s urban . it’s less talky . it offers a hint of the surreal . it even has a whisper of horror about it .

with acute sensitivity , brit writer - helmer joanna hogg’s third feature , “exhibition , ” explores the difficulty of telling inside from outside , intimacy from estrangement , and revelation from concealment . it seems entirely appropriate , then , that the whole thing teeters between very boring and completely fascinating , like being stuck on a plane in business - class seats next to a bickering couple [ … ]

mostly you need to apply to polish film institute for money for your project . if you are accepted , then you start ; if not , you need to find another way , which is not easy . polish public tv produces documentaries as well , so this is also an option . i didn ' t have time to apply my project and wait for the decision . i had to start immediately . so i went to wajda studio , that i had known before as i graduated from wajda school . they gave me a small amount of money for the start . during the whole time of making joanna i was constantly looking for more funding . i found the co - producer , [ then a ] sponsor , and at the end i used crowdfunding . joanna was pretty popular among internet users , due to her blog . people wanted a movie about her very much . so as soon as they found out about the initiative of collecting money , we didn ' t have to persuade them to help . the needed amount of money we collected in just three weeks , even though the expected time was two months .

( u . k . ) an artificial eye release of a bfi , bbc presentation in association with rooks nest entertainment of a wild horses film co . production . ( international sales : visit films , brooklyn . ) produced by gayle griffiths . executive producers , lizzie francke , christine langan , ed wethered , michael sackler , julia godzinskaya .

joanna told me that since she learned that she was [ terminally ill ] , all seemed to simplify . that means she needed less time to accept or reject what life gives to her . she did not need to wonder long ; decisions were made faster . she felt harder , and experienced more intensely . i am the same . it also probably helped us to establish a close relationship more quickly .

we had to start immediately , before we got to know each other . in this case , time was uncompromising and running so fast . it was an unusual method of creating a documentary , but i had to face it . i had no choice . the most important thing in any relationship with another human being , regardless of the circumstances , is trust . however , it takes time , time that i didn ' t have before the shooting . i tried hard to gain the trust of joanna . i spent time with her privately outside the film , telling her about myself . we [ shared ] our views [ and ] observations , discussing for hours . we were able to spend time together for only 5 months . these were her last months .

directed , written by joanna hogg . camera ( color , hd ) , ed rutherford ; editor , helle le fevre ; production designer , stephane collonge ; art director , pedro moura ; sound ( dolby digital ) , howard peryer ; supervising sound designer , jovan ajder ; supervising sound editor , ajder ; re - recording mixer , ajder ; assistant director , paolo guglielmotti ; casting , olivia scott - webb .

i was recently a new mom , so i was staying at home taking care of my little daughter . one day i came across an article about joanna on the internet , from which i learned she was leading a blog . it was the only blog on the internet i ever read . it completely consumed me . i was absolutely delighted with the way she described her daily life . she reached the point , in one remarkable , slightly ironic sentence , where she could capture everything . i was fascinated . i decided to make a movie about joanna because she was unusual , beautiful , intelligent and wise , with an interesting point of view . because she loved life and she could touch it , derive from the ordinary everyday life and relationships with other people . for me there is nothing more precious . i am very much interested in such people and such films .

thanks to her blog , for many people joanna has become an icon of a thoughtful and joyful life . the blog describes her daily life honestly and accurately : her goals are as simple as a family trip to the polish lake district ; her planning as short - term as witnessing her son ' s first successful bike ride without training wheels . she starts the blog when she finds out she has cancer and is given three months to live . then she promises her 5 - year - old son , jas , that she will do her best to survive for as long as possible . and she starts writing for him . the documentary shows the everyday existence of joanna , her husband piotr , and little jas . it is as discreet as it is moving . through few well - chosen words and observations it manages to be both essential and sensuous . a story of thoughtfulness in death , life and love .

truly one of the best documentaries i ' ve seen . ultimate ending . i have no idea how can you make such a sad film with an optimistic feeling . . . scenes are cut short , to never fully let you soak in the depth of her condition until the end , and even then the future has been created already with her presence via the messages . i guess everyone is aware of the cancer , what it does physically and mentally , in this film , we can also see what it does to the family , the son and the ultimate aftermath . your own problems will not seem the same once you will watch this . prepare yourself for some crying , even you think you are a tough cookie . life and a movie has never been this close , or this real . masterpiece , worth an oscar .

the selection of two polish docus , both about people coping with fatal conditions , comes as pure coincidence , but a compelling one given the country’s frontrunner status in the foreign language race with “ida . ” made in film school , tomasz sliwinski’s autobiographical “our curse” depicts how the helmer and his wife magda struggle to raise their newborn son , leo , who has been diagnosed with congenital central hypoventilation syndrome , or ondine’s curse , an extremely rare disorder in which the body ceases to regulate breathing during sleep and therefore requires the support of an elaborate machine . there aren’t many sounds more heartbreaking than a child’s cries distorted through the tracheotomy incision in his throat , and one can only begin to imagine what the parents must be going through — which is precisely what sliwinski aims to capture , turning the camera on himself and magda , in what proves to be an uncomfortably personal film .

there is something disturbing in the way these feelings and alienated emotions have been displaced outwards . the house could be their prison , or their refuge , or their private exhibition space for emotional pain . as for d ' s mental state , is she losing it – or gaining it ? it could be that , in her impossibly rarefied way , this contorted figure is absorbing the unspoken distress and is evolving into a butterfly of creativity . exhibition is challenging , sensual , brilliant film - making .

with acute sensitivity , brit writer - helmer joanna hogg ’s third feature , “ exhibition , ” explores the difficulty of telling inside from outside , intimacy from estrangement , and revelation from concealment . it seems entirely appropriate , then , that the whole thing teeters between very boring and completely fascinating , like being stuck on a plane in business - class seats next to a bickering couple you can’t stop eavesdropping on . formally more ambitious but even more spare , brooding and oblique than her uncompromisingly rarefied previous pics , “unrelated” and “archipelago , ” “ exhibition ” could divide hogg’s small but loyal pool of fans .

given how deeply embedded hogg’s previous films felt in a particular kind of english , well - bred , urban - sophisticate world , it almost comes as a shock to realize this is her first film to be set in london itself . it was so palpably obvious — to british ears , based on accent alone — that blighty’s capital was where those characters from “unrelated” and “archipelago” lived most of the time , even if the films themselves were set in vacation homes in , respectively , tuscany and tresco , one of the isles of scilly .

another big difference between ‘exhibition’ and hogg’s earlier films is that here she’s more comfortable exploring the gaps between conversations and interactions . talk recedes , and instead we’re asked to concentrate on other noises – the roadworks outside or the internal sliding doors opening and shutting . for a lot of the film , we’re observing these characters , alone or together , not necessarily engaging . it’s a compelling study of a relationship , but one that demands patience . it’s curious and mysterious , as if we don’t have enough information to make a judgement call on them .

it’s a bit of a shame , then , that viewers aren’t allowed a bit more emotional access due to the pic’s fundamental lack of drama . some will feel there’s just too much time spent watching these characters do hardly anything at all , and at times we can’t even see them directly , just their reflections in windows , precisely aligned and framed by ed rutherford’s painstaking lensing . all in all , it’s an exquisite , chilly film about an exquisite , chilly couple with a very acute set of first world problems , like a richard curtis movie filmed by andrei tarkovsky , without the one - liners .

judged on artistic merits alone , “white earth” would be the category’s winner , but it has stiff competition in ellen goosenberg kent’s “crisis hotline : veterans press 1 , ” which grips us from the get - go with its opening statistic — “america’s veterans are killing themselves at a rate of 22 a day , nearly one every hour” — and never lets go . like a white - knuckle tv procedural , the docu takes us behind the scenes of the veterans crisis line center in canandaigua , n . y . , where trained pros team up to talk post - traumatic stress cases off the ledge . on the other end , troubled vets sit with loaded guns in hand or razor blades within reach , having taken the trouble to call the number before taking drastic action — or , in one case , while waiting for the pills to take effect ( a chilling real - world version of the scenario dramatized in live - action short nom “the phone call” with a far different outcome ) . clearly , something must be done to help vets cope with their experience , an idea the film addresses obliquely , emphasizing the call center’s day - to - day struggle to keep these survivors alive . for patriots and anti - war objectors alike , the film demonstrates the consequences of military service and brings the abstract idea of war back home in a powerful way , recognizing those who protect the men and women who fought to protect us .

it’s annoying , especially to women viewers , that every time a female actor over the age of 40 takes her clothes off in a film she’s called brave , but albertine’s willingness to expose herself here , physically and emotionally , is nevertheless impressive , especially since she’s not a professional thesp . a scene in which d masturbates in bed beside a sleeping h is astonishing , simultaneously quietly erotic , stridently sad and brutally honest about femme sexuality , exactly the opposite of pornographic convention . albertine deserves kudos , as does gillick and above all hogg , whose skill at coaxing spontaneous performances from semi - improvised dialogue has never been better showcased than it is here . audiences will never be in doubt that she and her cast members know these people from the inside out .

d and h aren’t on vacation , but it might look that way to anyone who’s not a self - employed creative type who works from home . she’s a performance artist , and he also does something in the arts — maybe architecture — although , like so much here , it’s not explained what exactly . they spend most of their time and the movie padding from their individual home offices to the bedroom to the living room of their lushly glazed modernist house ( designed by architect james melvin , to whom the film is dedicated ) , somewhere in the borough of uber - wealthy kensington and chelsea , and they . once in a while , he calls her on the phone’s intercom system , indirectly proposing a bout of sex to break up the day . mostly , she declines .

exhibition is a superbly glacial and composed experiment in fictional cine - portraiture ; a refrigerated study in domesticity and sophistication , mysterious and preposterous – a movie that might claim its lineage from rachel whiteread ' s cast sculpture house , or david hockney ' s painting mr and mrs clark and percy . hogg uses her characteristic long takes from fixed camera positions ; she uses available light , and a kind of middle - distance sound design ; it ' s a film - making technique that makes you expect people on screen to start speaking not english but austrian - accented german . this is a movie quite uninterested in the structural conventions of narrative , though there is a story – of a sort . it is also uninterested in the conventional tonal imperative of irony , though there is comedy , and tragedy – of a sort .

meanwhile , in the snowy north dakota depicted in “white earth , ” director j . christian jensen chronicles the influx of opportunity seekers to a quiet oil - drilling town , ignoring the laborers in favor of their families . terrence malick would love the kid jensen finds wiling away his days in a crowded trailer park — a still - innocent witness to this grim , impermanent living arrangement , where oil - field workers have extended their rvs via makeshift plywood walls , suggesting a ramshackle 21st - century version of the california gold rush . it’s obvious why the men have come , so the film wisely privileges their kids , who sometimes go weeks without seeing their parents , describing the pungent gas smell that permeates their clothes when they come home . this year , all five noms are chasing some ineffable sense of poetry , but only jensen achieves it with this stanford master’s thesis project , collecting and arranging details in a way that makes it feel as if we’re experiencing the scene in person , fending off the cold and chasing the dream .

the leads are non - professionals . the former lead singer of the slits , viv albertine , and the turner - nominated artist liam gillick play a childless couple , identified as d and h , both contemporary artists and evidently of considerable private means , able to follow their vocations without worrying about money . they live in a handsome modernist house in london , with huge rectilinear spaces and its own eccentric lift . it was once home to its real - life architect , the late james melvin , to whom the film is dedicated . there is some tension between them : h is considerably more successful than d , whose performance art has not yet found acclaim . they have tense conversations about her work ; their sex life is stalled and , in fact , the whole house seems to exist in a miasma of thwarted , introverted eroticism . when on her own , d does a great deal of masturbatory squirming and fantasising ; she dictates her dreams into a machine on waking and often falls asleep hunched against walls or on window sills , like a cat . her behaviour becomes progressively more disturbed and we are gradually introduced to her inner life ; the scenes hogg conjures have a mesmeric , hallucinatory quality .

thought the entire category is must - see viewing for oscar completists , two shorts — ‘white earth’ and ‘crisis hotline’ — are strong enough to make everyone’s to - watch list .

no doubt the least - watched of any oscar category , the documentary short films are the great beneficiaries of the academy’s magnanimity , both in continuing to recognize an outdated format and in directing attention toward worthy causes . in the early days , the prizes typically went to propaganda films made by the u . s . army , navy and marine corps . now , it’s one way ampas demonstrates its engagement with various social issues , nearly always celebrating subject matter over cinematic achievement , as evidenced by its selection of two polish - made terminal - illness portraits , two serious - minded employment impact studies and a pressing look at the veteran suicide epidemic .

fortunately , a couple of these noms — specifically , “white earth” and “crisis hotline : veterans press 1” — are truly exceptional films in their own right , treasures you almost certainly wouldn’t see if not for their nominated status ( the former debuted at slamdance but never ventured far from the festival circuit , the latter can be seen on hbo ) . thanks to the efforts of shorts international , however , they are also available in theaters , split across two hefty programs ; individually on vimeo and other online platforms ; or on - demand via select cable providers .

reviewed online , feb . 20 , 2015 , paris . running time : 164 min .

no doubt the least - watched of any oscar category , the documentary short films are the great beneficiaries of the academy’s magnanimity , both in continuing to recognize an outdated format and in directing attention toward worthy causes . in the early days , the prizes typically went to propaganda films made by the u . s . army , navy and marine corps . now , [ … ]

© copyright 2018 variety media , llc , a subsidiary of penske business media , llc . variety and the flying v logos are trademarks of variety media , llc . powered by urltoken vip

updated with more details : fox searchlight’s the grand budapest hotel and birdman led the way this morning with nine mentions apiece as nominations were announced for the 87th oscars , with the weinstein company’s the imitation game following with eight . all three were included in the best picture race in a category that featured only eight of a possible 10 nominees , joining warner bros’ american sniper , early awards - season frontrunner boyhood from ifc films , focus feature’ the theory of everything , sony pictures classics’ whiplash and paramount’s selma .

selma , which had been left off of several awards lists before today , finally scored with a best pic nom , but director ava duvernay and lead actor david oyelowo were left off in their respective categories . among the late bloomers to score this morning was american sniper , which landed six noms overall including best pic , best actor for bradley cooper and best adapted screenplay for jason hall but not a best director nom for clint eastwood .

the best actor list features steve carell for foxcatcher , benedict cumberbatch for imitation game , michael keaton for birdman , and eddie redmayne for theory of everything . the best director noms are alejandro g . inarritu for birdman ( he also shared an original screenplay nom ) , bennett miller for foxcatcher , wes anderson for budapest , morten tyldum for imitation game and golden globe’s winner richard linklater for boyhood , which had six total noms today .

despite the success in the individual categories , foxcatcher also did not make the marquee best picture list . neither did fox searchlight’s wild . still , that studio dominated the morning with 21 total nominations .

frontrunner julianne moore led the best actress noms for sony classics’ still alice , joining marion cotillard for ifc’s two days , one night , felicity jones for theory of everything , rosamund pike for gone girl and reese witherspoon for wild .

the academy of motion picture arts & sciences unveiled nominations this morning at the samuel goldwyn theater in beverly hills in a special two - part announcement of all 24 categories .

best motion picture of the year american sniper clint eastwood , robert lorenz , andrew lazar , bradley cooper and peter morgan , producers birdman or ( the unexpected virtue of ignorance ) alejandro g . iñárritu , john lesher and james w . skotchdopole , producers boyhood richard linklater and cathleen sutherland , producers the grand budapest hotel wes anderson , scott rudin , steven rales and jeremy dawson , producers the imitation game nora grossman , ido ostrowsky and teddy schwarzman , producers selma christian colson , oprah winfrey , dede gardner and jeremy kleiner , producers the theory of everything tim bevan , eric fellner , lisa bruce and anthony mccarten , producers whiplash jason blum , helen estabrook and david lancaster , producers

performance by an actor in a supporting role robert duvall in the judge ethan hawke in boyhood edward norton in birdman or ( the unexpected virtue of ignorance ) mark ruffalo in foxcatcher j . k . simmons in whiplash

achievement in directing alejandro g . iñárritu , birdman or ( the unexpected virtue of ignorance ) richard linklater , boyhood bennett miller , foxcatcher wes anderson , the grand budapest hotel morten tyldum , the imitation game

original screenplay birdman or ( the unexpected virtue of ignorance ) written by alejandro g . iñárritu , nicolás giacobone , alexander dinelaris , jr . & armando bo boyhood written by richard linklater foxcatcher written by e . max frye and dan futterman the grand budapest hotel screenplay by wes anderson ; story by wes anderson & hugo guinness nightcrawler written by dan gilroy

achievement in cinematography birdman or ( the unexpected virtue of ignorance ) emmanuel lubezki the grand budapest hotel robert yeoman ida lukasz zal and ryszard lenczewski mr . turner dick pope unbroken roger deakins

achievement in costume design the grand budapest hotel milena canonero inherent vice mark bridges into the woods colleen atwood maleficent anna b . sheppard and jane clive mr . turner jacqueline durran

achievement in music written for motion pictures ( original score ) the grand budapest hotel alexandre desplat the imitation game alexandre desplat interstellar hans zimmer mr . turner gary yershon the theory of everything jóhann jóhannsson

achievement in production design the grand budapest hotel production design : adam stockhausen ; set decoration : anna pinnock the imitation game production design : maria djurkovic ; set decoration : tatiana macdonald interstellar production design : nathan crowley ; set decoration : gary fettis into the woods production design : dennis gassner ; set decoration : anna pinnock mr . turner production design : suzie davies ; set decoration : charlotte watts

achievement in sound mixing american sniper john reitz , gregg rudloff and walt martin birdman or ( the unexpected virtue of ignorance ) jon taylor , frank a . montaño and thomas varga interstellar gary a . rizzo , gregg landaker and mark weingarten unbroken jon taylor , frank a . montaño and david lee whiplash craig mann , ben wilkins and thomas curley

copyright © 2018 penske business media , llc . all rights reserved . hollywood™ & design © 2018 hollywood chamber of commerce . the hollywood sign is a trademark and intellectual property of hollywood chamber of commerce . all rights reserved .

some parts of this page won ' t work property . please reload or try later .

go behind the scenes of the mission : impossible movies , check out the latest videos and trailers , and see which spy movies topped the box office in our mission : impossible guide .

want to share imdb ' s rating on your own site ? use the html below .

5 of 7 people found this review helpful . was this review helpful to you ? yes no | report this

enjoy a night in with these popular movies available to stream now with prime video .

daft punk - get lucky ( official audio ) ft . pharrell williams , nile rodgers

we were kind of similar to each other : [ of ] the same age , with a similar sense of humor , similar way of perceiving the world , loving life in the simplest things of its manifestations , tasting life with great sensibility . it certainly helped to get closer to each other and gain confidence , which then translated into a movie .

i try to work in this way . i prefer to find out about people from their behavior and relationships and build the story on that . there is nothing more interesting than to be able to get into somebody ' s life , stay there for a while and have a chance to watch their daily life . i need to have the honest picture that later on the audience could believe ; would really feel and would be emotionally connected . i am really fascinated in that kind of movie . i am fascinated by the human being . their emotions , relationships , weaknesses , strengths , temptations they cannot resist , masks they put on , hidden and revealed aspects of their conscious and subconscious . i love to absorb , to watch and to see , to listen and to hear .

there were three of us : the cinematographer , the sound man and me . when the scenes were very intimate , only łucasz was with the family .

the crew had to be invisible as much as possible . therefore we were often shooting while hiding behind the trees , behind the house . we shot through a window , a mirror , a reflection . we used long lenses to reduce the distance and achieve the feeling of closeness and intimacy . we did not want to destroy the intimacy and privacy of the family in the time spent together . we had to behave with extraordinary sensitivity and discretion .

day after day we all became more and more friends , and my protagonists familiarized themselves with the crew and the camera so that they behaved normally . but of course , at the beginning of shooting janek was constantly looking in to the camera . every time i asked - " janek , please take care of what you do and do not look in to the camera " - he looked even more . so one day i ran into a simple but such a brilliant idea ! i asked him to keep looking directly into the camera . so he stopped .

i knew it from the very beginning . i just felt it like that . while reading a blog i imagined the movie to be exactly impressionistic . the only difficulty was to find the right cinematographer and explain my vision to him . it wasn ' t easy to find the one who really felt what i was talking about . fortunately łucasz żal understood what the movie is about and how i [ wanted ] it to look . we were talking for hours about the visual aesthetic . and finally i had no doubt , and during the the whole process of shooting i was comforted in the belief that łucasz was the perfect choice . i was so lucky .

our next project will be the feature - length documentary , also very intimate and emotional . we are also in the process of writing a feature fiction screenplay based on a true story .

katharine relth is the digital communications manager for the ida . she has interviewed dozens of documentary filmmakers and written extensively about contemporary documentary and independent filmmaking for documentary . org , documentary magazine , indiewire and urltoken

the strange fact is that d and h want to move out of this extraordinary house , in which they have spent most of their adult lives , and on which they have lavished such care . they have presumably already found somewhere new ; where they are moving is never mentioned , and neither is the asking price of the current place . tom hiddleston has a cameo as a sleek , courtier - like estate agent . why are they moving ? because , as artists , they feel in some sense that they have outgrown the house and need to develop further , in a new context ? or is it because something terrible has happened to them there , something they can never mention ? this could be at the root of their dysfunction , somehow fused with the eerily calm house itself ; something that can only be expressed or reclaimed by being tacitly transformed – into art .

it is an enigma manipulated and maintained with mastery . hogg ' s approach is something that might be called asatirical : the anxieties of the bohemian classes are held up for stringent inspection , but not ridicule . d and h are a world away from , say , alan bennett ' s stringalongs , and they are also subtly different from daniel auteuil and juliette binoche as the troubled couple in michael haneke ' s 2005 drama hidden , who like d and h live high - status lives almost barricaded inside a gorgeous modern home in the middle of a capital city .

d and h ' s comfortable existence is not there to be tortured and lacerated , although at one point there is a very hanekerian confrontation with a man who has had the bad taste to park in h ' s private slot . this clash is not the point . these are tremors and after - shocks to something that has already happened .

© 2018 guardian news and media limited or its affiliated companies . all rights reserved .

viv albertine , liam gillick , tom hiddleston , harry kershaw , mary roscoe , christopher mcwatters .

the two protagonists of “exhibition” are known only by their initials , d ( musician viv albertine , guitarist for femme punk band the slits ) and h ( conceptual artist liam gillick , a contemporary of the now - not - so - young british artists who came to prominence in the 1990s ) . they could easily be friends , relatives or , at the very least , neighbors of the characters in hogg’s other films . indeed , d and h’s unnamed neighbor ( mary roscoe ) , a barrister’s wife who’s in a permanent fret about her children , could be virtually the same character roscoe played in “unrelated . ”

with its crisp right angles and clanging spiral staircase , its complex system of sliding doors and whispering garden of wind - ruffled foliage , the house is a third protagonist in the story , the pampered and adored child substitute for d and h . for reasons also never explained , they have decided to sell up and move out after 18 years ( perhaps the house is going off to college ) . in negotiations with the real - estate agents ( one of whom is played by tom hiddleston , who made his bigscreen debut in “unrelated” ) , d and h try to ensure that no one buys the house planning to tear it down or even change it .

clearly , the thought of moving has disturbed the couple’s equilibrium , and a great weight of resentment and ennui is discernible beneath their testy verbal exchanges . d is possibly the one who’s more attached to their home ; the striped shirts she frequently wears echo the horizontal lines of the venetian blinds . she’s imprisoned herself there , and seems frightened of going out for an evening stroll with h , who comes and goes more easily . the house is her stage , and she literally makes an exhibition of herself , like one of those lingerie - clad prostitutes who sit in cozy amsterdam windows , as she plays erotically with her semi - naked body ; at one point she wraps herself in fluorescent tape in front of her office’s open window . there’s no dire consequence to this , as there might be in a more melodramatically minded movie , but the superbly crafted soundtrack of source noises makes it clear that the outside world — of passing pedestrians and cars and , at one point , a screaming ambulance — is just beyond the glass .

html public " - / / w3c / / dtd xhtml 1 . 0 transitional / / en " " urltoken "

hogg’s films are so fearlessly intelligent , and are built with such steel - enforced formal precision , that you feel as if you should check twice to see if she’s really british , although she grew up in a village near tunbridge wells , was mentored by derek jarman in her twenties , and directed episodes of casualty and eastenders before her debut feature , unrelated , was released in 2007 , which pretty much settles it 50 times over .

d , played by the former punk singer viv albertine , is in love with the place : when we first see her she’s curled up against the window , like a caterpillar who’s found somewhere to pupate . h , her husband , is played by the conceptual artist liam gillick , and is trying to remain frostily practical .

both are artists , although d is suffering from creative block brought on by some unspecified past trauma . whatever happened has made her fearful of the outside world , particularly at night , and as she pads around her home we hear the city pressing in on all sides , in sirens , shouts and engine noise . she tries to plan a performance piece in her studio , and its huge windows , partly obscured by wooden blinds , turn the house into a queasy hybrid of fish tank and peep show .

hogg plays games with glassy surfaces , nesting reflections inside reflections to the point at which we can no longer tell if the camera is indoors or out . later the theme of inside and outside , public and private , is made fun of in some ripplingly funny skits about a parking space and an awful dinner party , from which d stages an inspired escape .

the couple have no children . is this significant , or connected to d’s unspoken upset ? hogg withholds the specifics , and lets you decode things for yourself . her camera rarely moves , but every shot is composed with total artistry , building to a final image that’s somehow both joyful and devastating . this is work from the forefront of our new national cinema , and it rattles your nerves like stones in a tin .

in pictures - the story of love and romance : from adam and eve to tinder and chemsex . compiled by martin chilton

the ibm strategic repository for digital assets such as images and videos is located at urltoken . this repository is populated with tens of thousands of assets and should be your first stop for asset selection .

but like those films , ‘exhibition’ succeeds in making us feel deeply uncomfortable for peering into other people’s lives . there are times here – when d is rehearsing some strange art performance , or when d and h are going through the motions of sex – that you’re not sure where to look . there’s something about the way hogg casts non - actors ( albertine is a former punk star ; gillick is an artist ) that only increases the discomfort .

that’s not to say ‘exhibition’ is inaccessible or aloof . there’s sly humour to it , and some of the bursts of talk – especially meetings with the neighbours – are spiky and funny . certainly , there’s something very particular about d and h being artists that makes their lives feel distant from most of us . yet ‘exhibition’ also reminds us that behind closed doors , all families , relationships and affairs look very odd when you put them under the microscope .

© 2018 time out england limited and affiliated companies owned by time out group plc . all rights reserved . time out is a registered trademark of time out digital limited .

our site uses cookies . by continuing to use this site you are agreeing to our cookie policy .


into the night is a 1985 american comedy-thriller film directed by john landis , starring jeff goldblum and michelle pfeiffer .

the film is notable for a large number of cameo appearances made by various filmmakers and directors , including landis himself .

the soundtrack features the songs " into the night " , " in the midnight hour " and " lucille " , performed by b.b. king .

into the night ( film )

into the night ( film ) <EOT> usa . film production : " long day ' s journey into night . " 1961 .

film : long day ' s journey into night . 1961 . usa . sidney lumet on the set of " a long days journey into night " . 1961 .

erich hartmann - usa . film production : " long day ' s journey into night . " 1961 .

you get a private link to “into the night” and all of the above rewards .

syfy - slice into these new plot details for m . night shyamalan ' s glass | slice into these new plot details for m . night shyamalan ' s glass

you get your name in the credits of the film and a digital pack of wallpapers featuring “into the night” . and all of the above rewards .

usa . new york city . 1961 . katherine hepburn on the set of the film , " long day ' s journey into night . "

usa . sidney lumet on the set of " a long days journey into night " . 1961 .

having a bit more time on your hands on your last day ? you get a printed script of “into the night” that includes all the original scenes , a printed copy of the original short story “into the night” that the film is based on , both available in english , german and romanian , and a coffee cup coaster featuring “into the night” , all signed by the director and the writers , including all of the above rewards .

we will literally send good thoughts your way . and a pack of digital wallpapers of " into the night " .

because of all the cameos and in - jokes , this gimmicky weightless film should appeal to mostly film buffs .

usa . new york . 1961 . katherine hepburn during the filming of " long day ' s journey into night . "

michelle pfeiffer is great in this film . i love her early work . films like ladyhawke , into the night , and even grease 2 . these flicks showed a more likeable side of her , whereas she became more jaded in her later work . into the night is a well made film with landis dark sense of humor . i especially loved david bowie as the assasin . i’d love to see the film on bluray .

usa . hollywood . 1961 . american actors dean stockwell and katharine hepburn , on the set of " long day ' s journey into night " , a film by sydney lumet .

the irony is that " into the night " opens so promisingly . goldblum plays an aerospace engineer who is unhappily married , unhappily employed , depressed and restless . when he finds out his wife is having an affair , he gets up in the middle of the night and drives his car to the airport planning to fly off into the night .

in addition to reviewing films , agee was also a groundbreaking screenwriter , adapting davis grubb’s novel the night of the hunter into the vividly creepy 1955 movie of the same name , and also helping to adapt c . s . forester’s novel the african queen into the 1951 film classic .

this entry was posted in film noir , hollywood , john landis , tuesday ' s overlooked film . bookmark the permalink .

usa . city island , ny . 1961 . katherine hepburn on the set , " long day ' s journey into night . "

here is a trailer for split , before we jump into the game - changing revelation that’s stitched brilliantly onto the film’s very last scene .

usa . new york city . 1961 . katherine hepburn on the city island set of " long day ' s journey into night . "

" into the night " features cameo appearances by 11 directors , none of whom had the sense to get behind the camera and help the 12th , john landis .

into the night ( 1985 ) : in the same john landis film in which jim henson makes a cameo , oz ' s name ( as frank oznowicz ) can be heard announced over the loud speaker in an airport .

" live by night " is a failed attempt that tries to write itself into the history of gangster films . [ full review in spanish ]

timur magomedgadzhiev and ms . cotillard in " two days , one night , " a film by jean - pierre and luc dardenne .

usa . new york city . 1961 . katherine hepburn during makeup and costume tests for " long day ' s journey into night . "

there was a brief glimpse of american actress meghan markle as prince harry drove her into the middleton family home for pippa’s wedding reception on saturday night .

so now hypothetically this seems like a perfect segue into a third film . that elusive unbreakable sequel . yeah . i agree with that .

you get a blu - ray of the film signed by the director and the writers and a signed poster of the film , but following the main aesthetics of the project , it will be hand made into a paper boat , including all of the above rewards .

you could argue that into the night is actually part of an even smaller subset of the yuppie nightmare cycle of films : the long , crazy night in hell . there’s blind date , and there’s also martin scorsese’s after hours ( 1985 ) .

usa . new york city . 1961 . katherine hepburn and sir ralph richardson during camera tests for " long day ' s journey into night . "

alfred molina and jane kaczmarek in eugene o ' neill ' s " long day ' s journey into night " at the geffen playhouse . ( chris whitaker )

the actual film probably dips into the well of having king sing the chorus of “into the night” in - between scenes one too many times . however , such an unrelenting march into night must have been how landis felt at the time . he was still dealing with the legal fallout of the deaths of three actors on the 1982 set of twilight zone : the movie . vic morrow and two child actors , aged 6 and 7 , died when a helicopter stunt went very , very wrong . landis was charged with manslaughter , but the only guilt he acknowledged was knowingly hiring the child actors in violation of california law which prohibited them from working at night or in proximity to explosions . he was acquitted of all charges , but not until 1987 . as such , in 1985 making a film about a man suffering through insomnia and plunging headlong into an endless , increasingly hostile night , seemed to mirror landis’ own state of mind , a reflection of his dark night of the soul .

marion cotillard , right , in the belgian drama " two days , one night . "

that’s the question jeff goldblum asks himself throughout into the night . it was also the thought running through my head around 2 am on a random weeknight a couple of months ago . i was going through a weird , mild bout of insomnia in which i kept waking up every night around 2 or 3 am and could not get back to sleep . as a pop culture obsessive , my initial instinct was to simply turn on the tv and flip through the channels in search of something to watch . one night i stumbled on the opening credits sequence of 1985’s into the night . i had no idea what the film was about or who was in it . i just knew i’d never heard the bb king song ( the appropriately titled “into the night” ) playing over the soundtrack as a car dashboard camera depicted the nocturnal happenings of mid - 80s los angeles .

you get the short film limited edition “into the night - the graphic novel” , that includes a different take on the story of the film and two other stories based in the same pre - apocalyptic world : a story about a middle age clown that decides to help his “family” , the circus folk and a story about a group of teenagers on a trip to burn down a cabin .

you get the short film deluxe edition “into the night - the graphic novel” , that includes a different take on the story of the film and two other stories based in the same pre - apocalyptic world : a story about a middle age clown that decides to help his “family” , the circus folk and a story about a group of teenagers on a trip to burn down a cabin .

the tone , despite the frequent bloodletting , is light , and the film works better than the script would indicate .

america ' s widespread opioid crisis has sadly made a crucial part of eugene o ' neill ' s " long day ' s journey into night " more relatable .

live by night is not an out - and - out gangster film . if you don ' t go in expecting the same , you ' ll enjoy watching it .

beautifully strange , feels like you ' ve been up all night with these characters .

live by night is a solid , interesting but sprawling and often overwrought gangster picture .

the film itself tries sometimes too hard for laughs and at other times strains for shock .

that ' s a wrap for m . night shyamalan ' s glass , now the wait begins

also a list / scenes with all the cameos in the film , from directors such as david cronenberg , roger vadim , paul bartel , jonathan demme ( all of whom are criterion alumni ) , don siegel and many others , would be a fun extra that people who bought the film and wanted to make sure they knew who each of these people played in the film . plenty of other people , such as dan akroyd , could do an interview for the film ( just don’t ask him about the next ghostbusters film or aliens and we’ll be fine ) and maybe getting a few of the critics who gave the film negative reviews look back at the film and see if they’ve changed their outlook on the film or if it has stayed primarily the same .

while she didn’t attend the ceremony , the suits actress reportedly joined boyfriend prince harry at the reception to dance the night away .

o ' neill , staring into the abyss of his own photo album , plunged into the paradox of family relationships , the push and pull of these untenable , inescapable , irreplaceable bonds . " long day ' s journey into night " is a harrowing and often grueling journey into the elusive myth of home , the broken promise that hope keeps eternally alive . this geffen revival , while patchy in places , reminds us why actors and audiences keep returning to o ' neill ' s haunted house .

wonder how flattered salt was by the great waldo pepper the title , if not its film so much .

“two days , one night” is rated pg - 13 . hard times , hard feelings .

as is now expected with this kind of film , the protagonist is a flustered , bewildered civilian with special expertise , brusquely pressed into service by the military , which has got the spacecraft surrounded in the short term .

she is said to have changed into an elegant , white floor - length gown for the reception .

this edition will feature a unique cover , on which our artist will stylize ( in the tone of the graphic novel ) a picture of you or anyone you’d like . it will also include the blu - ray of the short film inside the cover , the original short story “into the night“ , the uncut film script , your personal poem or short story that we’ll write for you and photos from the set ( all of them printed in the book ) .

among his other minor accomplishments in ' ' into the night , ' ' mr . landis demonstrates that a director takes a certain risk when he includes scenes from other films in his own . in one sequence he includes clips from ' ' abbott and costello meet frankenstein , ' ' which may not be as pretty as ' ' into the night ' ' but it does sound funnier .

you get to come on the set of “into the night” , meet the team and take part of the whole process with us , plus an invitation to our wrap - up party . be sure to check the timeline infographic for the filming period .

a short film set on the last day before the apocalypse , where death , life , beauty and the grotesque coexist .

robert mitchum in the night of the hunter , 1955 , based on a novel davis grubb and adapted by agee .

bi’s debut feature kaili blues won best emerging director at locarno film festival and best new director and the fipresci prize at the golden horse awards in 2015 , among a slew of other awards . shen yang , who executive produced kaili blues , is also an executive producer on long day’s journey into night .

" into the night " ( 1985 ) wears us out , worrying about the central character ed ( jeff goldblum ) and his lack of sleep . but at the same time , the film provides some great entertainment as ed inadvertently finds diana ( michelle pfeiffer ) , a damsel in distress and on the run from a quartet of incompetent iranian hit men .

i love this film . jeff goldblum plays an insomniac , and is suitably bemused for most of the film , mostly just tagging along with not - entirely - good girl michelle pfeiffer because . . .

meanwhile , the dogged sasagaki is in the background , still trying to solve the case into retirement , while keeping tabs on its players .

death , heavy as the fog that surrounds the tyrone family home and somber as the low sea - monster cry of the foghorn echoing across the water , hangs over “long day’s journey into night . ” eugene o’neill’s soul - baring masterwork played broadway last season in a revival that won jessica lange a tony , and now haunts the geffen playhouse in a separate production . but alas , the west coast version , starring jane kaczmarek and alfred molina , goes rather too gently into that good night .

i got an opportunity to work with my idol and mentor , jack lemmon , in a 1986 production of eugene o ' neill ' s “long day ' s journey into night” as jamie , the eldest tyrone son .

entire site about that one time . . . agents of shield arrow batman 75 books box office box office top 10 broadway classic tv episodes you need to see comic books 101 debates doctor who film film news film reviews film trailers gotham i loathe that scene i love that scene infographics izombie jessica jones legends of tomorrow lists marvel rewatch music musical theatre 101 news notable women in film history oral histories reviews scream scream queens special features star wars television the biz the flash the great christopher nolan film re - watch tribute trivia : friday the 13th trivia : nightmare on elm street tv news tv reviews unbreakable kimmy schmidt x - files you gotta read this

however , he has no money to pay for train fare home . every woman he meets seems to be into him before turning on him . and eventually , a vigilante mob wants him dead , blaming him for the neighborhood thefts perpetrated by the cameoing cheech & chong ( oddly , into the night also has cameos , in the form of countless notable la filmmakers of the era ) .

but it reportedly didn’t go down well , with the room - complete with star guests and royalty - falling into silence .

the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans . it represents the percentage of professional critic reviews that are positive for a given film or television show .

you get a skype conversation with the director and the writers ( not dependent on the shipping date ) . we can talk about whatever you like and we won’t shy away from discussing future projects related to " into the night " or any philosophical themes , including all of the above rewards .

guests were apparently encouraged to get stuck into the cheese and take as much or little as they liked while tasting their champagne .

meghan markle may have missed out on pippa middleton ‘s wedding ceremony but she reportedly joined prince harry to dance the night away at the reception .

chinese director bi gan has attracted a top - flight cast for his second feature , long day’s journey into night , including tang wei ( lust , caution ) , sylvia chang ( mountains may depart ) and huang jue ( the final master ) .

a little bit of into the night is funny , a lot of it is grotesque and all of it has the insidey manner of a movie made not for the rest of us but for moviemakers on the bel air circuit who watch each other ' s films in their own screening rooms .

based on a best - selling novel by keigo higashino , yoshihiro fukagawa’s “byakuyako ( into the white night ) ” is a japanese mystery movie with a difference : two of its principals are only children when the murder that sets the plot in motion occurs — one , the daughter of the prime suspect , the other , the son of the victim .

i remember a time when john landis was heralded as a visionary , a director , an auteur who people were excited when a new film would be coming out by him . then something happened . most people mistakenly think the twilight zone : the movie incident / horrific accident was the nail in his film making coffin , but as we all know , that is complete bull because even though he was being sued for the situation , he followed up that film with the huge hit trading places and possibly the biggest music video of all time , michael jackson’s ‘thriller’ . i’ll get into where i think he lost his step , but following ‘thriller’ , he made his hitchcock inspired homage into the night , which would fit in perfectly in a double feature with martin scorsese’s underrated comedic classic after hours .

thanks . it’s not the normal comic book related type of thing i write about . so , i am glad you dug it . i randomly encountered these two movies within days of each other a couple of months ago and had been thinking about writing about them ever since . sadly , it was bb king’s death that finally kicked me into action . if i had to choose between the two , i would watch into the night just because bb king is all over the soundtrack , the entire film is just so weird , and it interesting seeing young goldblum and pfeiffer . however , if none of that holds sway then after hours is the obvious choice because it is the much better film .

when library of america published a collection of pauline kael’s film writing last year , many of kael’s admirers fondly recalled her as the first writer to elevate film criticism to literature . but that distinction actually belongs to an earlier loa author , james agee .

date night is a movie starring steve carell , tina fey , and mark wahlberg . in new york city , a case of mistaken identity turns a bored married couple ' s attempt at a glamorous and romantic evening into something more thrilling and dangerous .

i remember being at a film convention where landis was giving a talk . if remember correctly he was disappointed that this movie had more or less faded from view . he said that he intended to give a rather dream - like quality to the story , the irony being that the insomniac hero is drawn ever deeper into a real - life version of a dream from which he struggles to wake up as the events shade into nightmare .

jackson added , “night’s still around . bruce is still around . i’m still around . and i’d love to break out of the asylum . ”

a little bit of ' ' into the night ' ' is funny , a lot of it is grotesque and all of it has the insidey manner of a movie made not for the rest of us but for moviemakers on the bel air circuit who watch each other ' s films in their own screening rooms . it may say something about the priorities of ' ' into the night ' ' that its production notes carry more biographical material about deborah nadoolman , who designed the ' ' red napa calf jacket ' ' miss pfeiffer wears much of the time , than about ron koslow , who wrote the screenplay . the screenplay is not great but it ' s longer than the jacket .

film was boring and poorly made . i was interested as part of it was filmed in my friend’s house in california .

the hit show’s latest celebrity cameo arrived during last night’s episode , with sheeran appearing in a brief scene with maisie williams , who plays arya stark .

goldblum plays ed okin , an aerospace engineer who is overcome by some sort of existential malaise that he can’t really define , but which peaks when he catches his wife in bed with another man . heading off into the night without really knowing why , he gets caught up in the complex life of diana ( pfeiffer ) , a jewel smuggler with connections to the movie industry who gets into deadly trouble when she transports jewels that once belonged to the shah of iran .

death , heavy as the fog that surrounds the tyrone family home and somber as the low sea - monster cry of the foghorn echoing across the water , hangs over “long day’s journey into night . ” eugene o’neill’s soul - baring masterwork played broadway last season in a revival that won jessica lange a tony , and now haunts the geffen playhouse in a [ … ]

in the case of into the night , it’s definitely a “ wrong place at the wrong time” comedy . it takes place mostly over one very long night as ed is drawn into a convoluted plot involving drug mules and wealthy middle - eastern princes . with diane by his side , he encounters various facets of the la nightlife , such as 24 / 7 diners , elvis impersonators , nighttime shoots for hollywood movies , and raging parties at glitzy hotels . david bowie even shows up as a delightfully menacing antagonist , catching me so off guard i said aloud , “holy shit ! david bowie’s in this ? ”

this is pretty much the beginning of john landis ' s ' ' into the night , ' ' a supposedly light - hearted caper comedy in which throats are slit , chests are stabbed , stomachs are shot , and artificial blood flows like beer at a fraternity house homecoming weekend . the movie opens today at the new york twin theater .

spoiler alert : get out of here — right now — if you don’t want to know anything about the final revelation of m . night shyamalan’s split .

it costs a staggering £3 , 000 a night to stay in a thatched beachside lodge – complete with their own personal swimming pool - on the island .

after hours is probably the better movie on a technical and plot construction level , but into the night is ultimately the one i enjoyed more . after all , it’s not every day you turn on a random old movie that begins with an opening line that seems to speak directly to your situation . thankfully , my insomnia has passed . sadly , it did not lead me into a wacky adventure in which i got the girl , fought the mob , and met david bowie . i’m the poorer for it .

grew up obsessing over movies and tv shows . worked in a video store . minored in film at college because my college didn ' t offer a film major . worked in academia for a while . have been freelance writing and running this blog since 2013 .

you get two tickets for the premiere of the film in an intimate setting in a cinema in cluj - napoca , the heart of transylvania . we hope to see you there .

you get to be an extra in the actual film . you’ll get to do ( almost ) whatever you want . be sure to check the timeline infographic for the filming period .

too literary and far too long , yoshihiro fukugawa’s “into the white night” depicts a detective’s lifelong obsession with a seemingly insolvable crime . perfs are solid , particularly from eiichiro funakoshi as the lead protagonist , but fukugawa seems overwhelmed by the narrative’s sprawl . skedded january domestic release will fare well thanks to the popularity of young co - stars [ … ]

* please note that this edition will only be available through our crowdfunding campaign for the short film . you will not be able to purchase it in the future .

a vote has already been held among the 16 members of sandra’s work team , but her boss agrees to a second ballot . this gives sandra a weekend — two days and one night , as the film’s title says — to persuade a majority of her colleagues to make a painful sacrifice on her behalf .

thanks very much for that – i think landis mostly achieves this , especially in the night sequences early on , like the encounters with bowie , which don’t really feel real .

when i first heard that bb king had died , at the grand old age of 89 and much too soon , the first thing i did was re - watch into the night – not just because i’m a movie nut but because , at age 16 , this was when i first heard his music and i was of course knocked out by it . his playing is an integral part to this film , one certainly adorned with more than its fair share of stars .

" the ballad of narayama " is a japanese film of great beauty and elegant artifice , telling a story of startling cruelty . what a space it opens…

another tagline : ed okin used to have trouble sleeping . then , one night , he met diana . now , ed’s having trouble staying alive .

that’s just a tip of the iceberg to this wild and crazy film and one that received plenty of negative feedback , one of my favorites coming from roger ebert himself commenting on the endless parade of landis’ friends who make cameo appearances ( like he does as well ) , calling it ‘cinema auto - eroticism’ . while that is a bit of an in - joke from a filmmaker who loves the world of film itself ( if you’ve ever seen the dozens of trailers from hell episodes john landis presents , you’ll know the man loves film in general ) , i don’t find it truly distracting . instead i find it endearing , a filmmaker who just wants to have a good time with his filmmaker buddies while making an interesting and funny film about one man’s journey to finally getting a good night’s sleep .

wow , been ages since i saw the wrong box – i thought it an odd film as i recall , though i remember loving the cast and the score by john barry , especially for the extended chase at the end .

by coolly switching focus to political intrigue and betrayal within the human ranks , villeneuve keeps a grip on his story and creates ballast for its departure into the realms of the visionary and supernatural . and he also prepares us for the film’s sense that language itself , freed of our usual sense of its linear form , might be more important than anyone thought . ( i wonder if villeneuve has seen the 2010 documentary into eternity , by danish film - maker michael madsen , about attempts to devise a new universal language to label underground repositories of nuclear waste – labels whose warnings have to be understood by future humans whose language has evolved away from what we know now . )

i bought the region 1 dvd and i ' m very happy with the picture quality . i regard this film as part of a loose trilogy of yuppie nightmare movies made around the same time .

sadly , bb king died yesterday , passing away peacefully in his sleep at the ripe old age of 89 . he had been on a seemingly endless concert tour until falling ill during a show last october , subsequently canceling any remaining dates . he was the , as thr said , the “last of the southern - born blues musicians who defined modern electric blues in the 1950s and would influence scores of rock and blues guitarists . ” but back in the 80s , kings recording career had slowed down . at the time of into the night , he had not yet recorded “when loves comes to town” with u2 and made his appearance with them on the rattle & hum tour . as such , his appearance on the into the night soundtrack was quite notable , and john landis even made a 27 - minute documentary about the recording process .

elegant in its simplicity yet limitless in its scope , long day’s journey into night is the tale of an ordinary summer’s day with extraordinary consequences . drawing so heavily from the author’s personal history that it could only be produced posthumously , the story of the tyrone family and their battle to unearth—and conceal—a lifetime of secrets continues to reveal itself to audiences as one of the most profound and powerful plays ever brought to the stage .

it will feature a limited edition cover , will include ( printed in the book ) the uncut film script and your personal poem or short story that we ' ll write for you .

screen international is the essential resource for the international film industry . subscribe now for monthly editions , awards season weeklies , access to the screen international archive and supplements including stars of tomorrow and world of locations .

subscribe : urltoken a new horror film from acclaimed filmmaker trey edward shults . joel edgerton , riley keough , and christopher abbott star in it comes at night – now playing . release date : june 9 , 2017 writer / director : trey edward shults cast : joel edgerton , riley keough , christopher abbott , and carmen ejogo visit it comes at night website : urltoken like it comes at night on facebook : urltoken follow it comes at night on twitter : urltoken follow it comes at night on instagram : urltoken now available for rent or purchase ! rent or buy it on itunes : urltoken rent or buy it on amazon : urltoken buy it on dvd / blu - ray : urltoken - - - - - - about a24 : official channel for a24 , the people behind moonlight , the lobster , the witch , ex machina , amy , spring breakers & more coming soon : a ghost story , how to talk to girls at parties , it comes at night , woodshock , slice , good time subscribe to a24 ' s newsletter : urltoken visit a24 website : urltoken like a24 on facebook : urltoken follow a24 on twitter : urltoken follow a24 on instagram : urltoken

one of the film ' s final set pieces is so wonderfully staged that it reminds you what skill affleck has with the camera . next time , he should perhaps confine himself behind it .

it’s very effective where it comes in the film — all the way at the very end , after just the film’s title has been flashed on the screen . but did you toy with when to do it ? it was always at the end . but there was a question whether it would be one scene from the end , like within the pocket of the movie , and then have james’ scene in the mirror ? or run credits and put it at the end of the end credits ? i tried all those variations but this was the best version .

random movie encounters are extremely hit and miss so it is always refreshing when you find you actually enjoy them , or at least take something positive away from them . i’m a sucker for a good soundtrack and into the night does sound interesting so i think i’ll give both of them a go when i have a little time , maybe back to back

and now this extremely long , one - set drama has been placed on film . why ? among the praised plays of this century , is there one less suitable for filming ? the project seems to be the work of what can be called the tv mind . one of the chief " serious " functions of television has been the adaptation of plays of merit , lopping and cramming them into fixed time and limited space , for which the carpenters expect gratitude because tv has brought something good to a vast public . ely landau and sidney lumet , producer and director of this picture , who are well known for their " good works " in television , have now brought something good to films ; and in the transposition have converted a viable play with tedious stretches into a turgid film with affecting episodes .

work , for sandra and her fellow citizens of the dardenne republic , is an irreplaceable source of meaning , identity and happiness . “two days , one night” is about the erosion of all of those values , and also about the waning of solidarity in the modern economy . in the past , the quality of life that workers like sandra and manu enjoy might have been secured through collective struggle . now , the film suggests , it is maintained through individual competition among the workers themselves .

live by night ' s primary takeaway is how dull it is ; there are a lot of players and set - up , and what action does transpire is wholly expected .

decades after agee’s passing , the idea of film reviewing as something intellectually valuable seems thoroughly mainstream . but when agee was making his way as a journalist in the 1930s and 1940s , few editors were interested in devoting “think pieces” to something so seemingly transient as a hollywood flick . in fighting for film’s place in the pantheon of modern culture , agee was defying convention , even at the risk of stalling his career .

the library of america’s collection of agee’s work spans two volumes : agee : film writing and selected journalism and agee : let us now praise famous men , a death in the family , and shorter fiction .

i had for many months unsuccessfully tried to get an audition for “long day’s journey into night . ” when i saw that the play’s director , sir jonathan miller , was going to be giving a series of lectures on the afterlife of plays at the alice tully hall in new york , i immediately got tickets to a lecture . i went without a plan , but intent on introducing myself to this great director .

the seventh season of the long - running hbo fantasy show got under way in the us last night ( july 16 ) , with the season premiere also being broadcast in the uk at the same time on sky atlantic at 2am earlier this morning ( july 17 ) . a repeat of the premiere will air on the channel tonight at 9pm .

production : a gaga corp . release of an " into the white night " film partners production . ( international sales : gaga corp . , tokyo . ) produced by satoka kojima , hiromi honoki , ryuta inoue , kazunari hashiguchi . executive producers , nobuya wazaki , tom yoda , masahiko mizuguchi , koichi inaba , yoshitaka hori , kazuhiko torishima , tomoko machida , hiro ishigaki , satomi odake , atsushi sugai , hiroyuki akune . directed by yoshihiro fukagawa . screenplay , fukagawa , shingo irie , akari yamamoto , based on the novel " byakuyako " by keigo higashino .

john landis tries for a laid - back surrealism in his romantic thriller into the night . jeff goldblum plays an exhausted and unhappily married aerospace engineer named ed okin . he goes to la international airport to get some sleep in the parking garage . instead , a scatterbrained blonde beauty , diana ( michelle pfeiffer ) falls on his car , being chased by a bunch of sharpshooters . it seems that diana has smuggled six iranian jewels into the united states and a group of assassins want them back at any price . ed and diana take to the freeway , looking for a place to rest , but the chase never ends and the duo keep running from the pack of iranian zanies .

the graphic novel will be signed by the director , the writers and the artist .

also , subsidiary characters kazunari and eriko take over the film for long stretches at a time , but given that their only crime is falling under the spell of bad - faith lovers , they do not deepen the mystery , and simply diffuse the focus .

coming to america ( 1988 ) : in another landis film , frank oznowicz is called to the white courtesy phone over the loudspeaker as akeem ( eddie murphy ) and semmi ( arsenio hall ) arrive in the airport in new york .

a representative from blumhouse productions , the studio run by jason blum that’s produced shyamalan’s last two movies , told ew , “we love supporting night and hope to be able to do it again soon . ”

like into the night , it depicts a meek white guy with a boring job who impulsively travels to a different area of town where he meets a beguiling young woman as the precursor for a night he can’t get out of . in this case , griffin dunne plays a word processor ( yes , that was a job then ) who travels to manhattan’s soho district where he hits it off with gorgeous , but clearly unbalanced marcy ( rosanna arquette ) . after their coffee shop encounter , he calls her from his home to set up a date and rushes back to soho to meet her . there , he meets her bohemian artist roommate ( linda fiorentino ) , who puts him to work on her person - shaped paper mache model in the center of the loft . once marcy arrives , something is clearly off about her , running hot one minute , cold the next , leading dunne to work through in his head just how much work he wants to put into his chances for a one - night stand .

entertainment weekly : when did you strike upon the idea to set split in the same story universe as david dunn ( bruce willis ) and elijah price ( samuel l . jackson ) and unbreakable ? m . night shyamalan : oh , it was always there . always . this character , kevin from split , was in the original script of unbreakable . the original draft of unbreakable focused on david dunn and elijah as his mentor . elijah tells him , “you’re a comic book character , go try it . ” and instead of bumping into the orange suit man , david bumps into one of kevin’s personalities and goes to save the girls . so you’d have been watching the girls side of it the whole time . that was the outline .

inevitably , these “contact” moments are where the film’s real impact and atmosphere have to be . and villeneuve doesn’t disappoint in sequences of eerie and claustrophobic strangeness – though i concede the film is most effective before the physical form of the aliens is revealed . there are also touches of comedy : ian and louise decide , for convenience’s sake , to nickname two aliens abbott and costello – maybe in homage to the linguistic misunderstanding in the duo’s famous routine about a baseball team’s positions .

every aspect of twin peaks , from its fashion sensibilities to its typeface will be forever etched into american culture until the end of time . but the most poignant element by itself will probably forever be the soundtrack written by david lynch and angelo badalementi . xiu xiu is keenly aware of this , which is why they ' re releasing an entire album of covers of the twin peaks soundtrack . today , they ' re premiering their cover of julee cruise ' s " into the night , " originally a dreamy piece of music that brought to mind the feeling of laura palmer ' s spirit watching over the sleepy town . now , jamie stewart and co . have added a different kind of sadness and longing into the music . stewart ' s inflection is pained and haunted , in tandem with a line of chaotic guitars that creates a unique kind of sorrow , fear , and beauty in the track that wasn ' t there before .

and that raises the question : what’s next ? will there finally be a sequel to unbreakable ? in ew’s 2015 oral history of that film , the follow - up fantasies were discussed with aplomb by shyamalan and jackson .

following the film every step of the way , though , is bb king’s instantly recognizable guitar licks , punctuating the quieter moments and underscoring transitional scenes . in addition to performing the title song , bb king also performed “my lucille” and “in the midnight hour” for the soundtrack , although all of the songs were composed by ira newborn .

screenplay by fukagawa , shingo irie and akari yamamoto may reward those who persevere , but ultimately , the resolution feels empty , and the film is undone by its clash of storytelling styles , flawed perfs from the younger thesps and overlong running time .

ben affleck writes , produces , and stars in this adaptation of dennis lehane ' s sprawling crime novel centering on the prodigal son of a prominent police chief , and his gradual descent into the criminal underworld . ~ jason buchanan , rovi

no baby can be as dead sexy as pfeiffer in this film / 1983 - 4 . “i’m not as young as i look . ” that’s ok , even though she was .

after watching both i have to say into the night is my favourite of the two , maybe i’m just a sucker for traditional narrative as well ! after hours was intriguing but i found dunne’s exasperation exhausting , the bizarre circumstances too ludicrous to fathom and the loft scenes a little too surreal for my liking , almost like a bad trip . i suppose in that sense , technically after hours is better but i still prefer watching a young sleep deprived goldblum bumble around l . a .

charles laughton ' s " the night of the hunter” ( 1955 ) is one of the greatest of all american films , but has never received the attention it deserves because of its lack of the proper trappings . many “great movies” are by great directors , but laughton directed only this one film , which was a critical and commercial failure long overshadowed by his acting career . many great movies use actors who come draped in respectability and prestige , but robert mitchum has always been a raffish outsider . and many great movies are realistic , but “night of the hunter” is an expressionistic oddity , telling its chilling story through visual fantasy . people don ' t know how to categorize it , so they leave it off their lists .

it is an ambitious period piece , clearly intended to be affleck ' s once upon a time in america . . . yet somehow , the pacing feels off , the characters seem bland , and live by night never quite lives up to the sum of its parts .

and that begins what leighton grist once described as the “yuppie nightmare cycle” sub - genre , a president reagan - era combination of screwball comedy with film noir . it always involves a white yuppie being pulled into a world unknown to them , usually a white male by a mysterious white female . examples include blue velvet ( 1986 ) , something wild ( ‘86 ) and the bruce willis / kim basinger comedy blind date ( ’87 ) .

m . night shyamalan ' s compelling fantasy film unbreakable was a bit ahead of its time in 2000 . it focused on the superhero origin story of bruce willis ' david dunn and the birth of samuel l . jackson ' s fragile supervillain elijah price , aka mr . glass , creating its own little super - world . the marvel cinematic universe was still eight years away from engulfing the world in cowls and capes , and the comic book world was still emerging from a long period of contraction after the explosion of interest in the mid - ' 90s .

charles laughton showed here that he had an original eye , and a taste for material that stretched the conventions of the movies . it is risky to combine horror and humor , and foolhardy to approach them through expressionism . for his first film , laughton made a film like no other before or since , and with such confidence it seemed to draw on a lifetime of work . critics were baffled by it , the public rejected it , and the studio had a much more expensive mitchum picture ( “not as a stranger” ) it wanted to promote instead . but nobody who has seen " the night of the hunter” has forgotten it , or mitchum ' s voice coiling down those basement stairs : " chillll . . . dren ? ”

unlike most examples of the neo - noir genre from that decade – and here i’m thinking especially of against all odds , jagged edge , body heat , no way out , sharky’s machine , doa – which all have very strong ties to the genre’s prototypes of the 1940s , into the night is truly sui generis . if anything what it demonstrates is a genuine screwball sensibility , one that belongs perhaps to the 30s rather than the 40s . i have always felt that the two genres have a lot more in common that one night think and here we don’t have a jazzy score to evoke smoke - filled rooms and femme fatales . instead this is a tale of urban paranoia laced with jet black comedy in which 80s acquisitiveness and the new international reality of reaganomics are matched against hollywood fakery and found wanting .

mitchum is uncannily right for the role , with his long face , his gravel voice , and the silky tones of a snake - oil salesman . and shelly winters , all jitters and repressed sexual hysteria , is somehow convincing as she falls so prematurely into , and out of , his arms . the supporting actors are like a chattering gallery of norman rockwell archetypes , their lives centered on bake sales , soda fountains and gossip . the children , especially the little girl , look more odd than lovable , which helps the film move away from realism and into stylized nightmare . and lillian gish and stanley cortez quite deliberately , i think , composed that great shot of her which looks like nothing so much as whistler ' s mother holding a shotgun .

of course , into the night is more or less a screwball comedy about a mismatched pair falling in love while enduring extreme circumstances , making it the more traditional narrative , while after hours is about a yuppie who heads to soho to get laid but instead gets chased by an angry mob . the differing tones of the two films perfectly reflect the differing sensibilities of their directors . john landis looked at nocturnal los angeles as a potentially perilous , but also undeniably exciting place of adventure while the latter gazed at new york and saw imminent danger and deadly misunderstandings .