Things weren’t looking pretty for Ryan Gosling in our initial batch of behind-the-scenes stills for Only God Forgives, but now it’s only gotten worse for our star. In his re-team with Drive director Nicolas Winding Refn, below one can see a new look at a battered Gosling, with seemingly only one eye intact. The image below, sent in by a reader, is presumably out of the American Film Market and after word that M83 was part of a clip shown, we’ve also got confirmed the exact song was Sister (Part 2), which we’ve embedded after the image.
We also recently got word that the film is set to be finished by December for a 2013 release, but a concrete date still has yet to be confirmed for the Bangkok-set thriller also starring Kristen Scott Thomas. However, the cinematographer of the project, Larry Smith, is keeping busy as he sets up his directorial debut. Although he didn’t work on Drive (shot by Newton Thomas Sigel), he has also collaborated with Refn on Bronson and Fear X, as well as Stanley Kubrick‘s Eyes Wide Shut. According to Deadline, Smith will shoot a film titled Trafficker, which chronicles the Vietnamese drug trade in Australia. Refn, along with his producer Lene Børglum, will be backing the project scripted by Singapore’s Ken Kwek. While we await casting and plot details, a location scout is underway and one can check out some of his work in a video reel below.
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 […]
With a seemingly endless amount of streaming options — not only the titles at our disposal, but services themselves — we believe it’s our duty to highlight the recent, recommended titles that have recently hit the interwebs. Every week, one will be able to see the cream of the crop (or perhaps some simply interesting picks) of […]
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