Following this month’s House of Cards premiere / all-in-one release, At Close Range helmer James Foley is, that suddenly, no longer an obscure voice in modern American cinema. (Of course, so long as semi-obscureness doesn’t count for the precise same thing.) And so I can’t help but wonder if it’s such a coincidence that, with a few hours of new work having been watched by millions of people over ten days, a new film and big star are locking into step with some apparent smoothness. Not that I have a habit of reading into certain events too deeply, I mean.
To get to the point, Variety report that Ralph Fiennes is just about to sign for Foley‘s drama-fantasy-romance, Sands, which has been coming together at Berlin. As penned by novelist Renata Bovara, the narrative centers on a come-stricken woman whose spirit “travels to India where she is drawn to an imaginary man.” In this new state of passion that, due to personal idiocy, brings to mind that football player people paid too much (i.e., any) attention to last month, she’s asked to choose between the man and her own husband (Fiennes), who’s been busy trying to resuscitate her.
Male casting being the first to fall into place strikes this writer as a bit unusual, given how much more important the fairer sex appears to be in this case; either way, Ava Films and Phantom Colombia’s Richard Paraiso has promised that we’ll see “[a] prominent Hollywood thesp” in this role. (Well, if he says so…) That second sign may not happen for a bit, though: Foley isn’t expected to roll cameras on Sands until October at the earliest, December (ideally) at the latest, at which point Lionsgate could have domestic distribution rights. How we’ll hold on that long, not knowing what direction this goes in, is beyond me.
Does Sands sound like a proper outfit for Fiennes’ talents?
Since any New York City cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not […]
In the case of evaluating David Cronenberg, — or at least forming the sort of career narrative seemingly essential to auteurist analysis — it’s inevitable to propose something of a rupture within his oeuvre: the very evident graduation from grindhouse to arthouse, and, with it, an ascension from body to mind. What dictated these labels […]
Every week we dive into the cream of the crop when it comes to home releases, including Blu-ray and DVDs, as well as recommended deals of the week. If we were provided screener copies, we’ll have our own write-up, but if that’s not the case, one can find official descriptions from the distributors. Check out […]
Writing about the films of Robert Bresson usually begins by informing reader that his films must be discussed through a trance of hushed tones and quiet veneration. There is no room for rushed judgement or quick-witted observations; Bresson makes Serious Art, as opposed to Hollywood directors who do not. There are the key phrases to […]
Latest posts from Beats Per Minute