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Post by Leo_The_Last on Jan 30, 2019 21:41:26 GMT
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Post by Leo_The_Last on Jan 30, 2019 21:42:28 GMT
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Post by Leo_The_Last on Feb 11, 2019 4:08:06 GMT
Some new images (including one of the guy who plays Émile Zola). The production design and art direction look sumptuous, just beautiful. IMDB still hasn't updated the cast list, and besides Vincent Perez, there don't seem to be that many prominent faces involved with this, apart from those we already know about. At least not that well known outside of France. It's a little disappointing, to be honest. I was hoping for one or two of the big guns to join the project, a Depardieu or an Auteuil. But maybe it works in favor of the movie, heightening the sense of being trapped in a web of intrigue if you're not already that familiar with the actors embodying those characters. Second most anticipated of the year! (And certainly one of the most anticipated of the decade)
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Post by Leo_The_Last on Feb 11, 2019 4:11:00 GMT
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Post by Leo_The_Last on Feb 11, 2019 4:12:12 GMT
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Post by pacinoyes on Feb 11, 2019 16:13:00 GMT
It's sort of funny - this film, clearly the French equivalent of the Scorsese/QT US films (in that you expect a huge distinguished cast) is a bit like the Scorsese because there is a long tradition of this "type" film (in period) that deal with law and social issues in France - either historical or fictional - and Depardieu is famously in like all of them From Martin Guerre and Danton to Colonel Chabert (and that includes Germinal, The Count Of Monte Cristo, etc.) - you almost take him for granted in this genre. The film looks positively gorgeous nonetheless....
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Post by jimmalone on Mar 8, 2019 13:00:27 GMT
Jean Dujardin shared a few new images. I love the look of this movie already.
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Post by pacinoyes on Mar 8, 2019 13:17:57 GMT
One of the great Polanski trademarks - maybe THE greatest of his trademarks - is his uncommonly profound depth of shot - the way he plays with perspective and character to show action in the foreground and then a contradictory or counterpoint activity in the background. This is done even in intimate scenes (in Chinatown for example when Noah Cross is smiling in the foreground and then stops smiling when Gittes tells him he knows about the argument had recently with Hollis Mulwray. Gittes never sees this because he's behind him .........but we do)
This particular technique or style has been absent from much of his recent work but these stills look like a return to that trademark style that he was so brilliant at and the return of this style as a storytelling device too (ie maybe directing the court scenes big as opposed to all tight closeups).
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Post by wilcinema on Mar 8, 2019 13:53:43 GMT
What kind of camera/lenses is he using here? These stills look unusually unnatural for him.
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Post by Mattsby on Mar 27, 2019 21:13:07 GMT
What kind of camera/lenses is he using here? These stills look unusually unnatural for him. Some of the shots are from an on-set photographer, Dujardin has been tagging him in all his Instas, but a lot of the pics do look like 'official' stills too, maybe just without final color grading. I can't find details on J'accuse yet, but there's info on the lenses Polanski has used in the past (for those interested) - Rosemary’s Baby - 18mm and 25mm Chinatown - all on 40mm anamorphic The Pianist - 27mm and 32mm He uses the 27mm a lot especially recently (fun fact: the 27 also a fav with Coens, Fincher, Wes Anderson). I personally tend to like when wider lenses are used -- Welles always shot wide; btw you know what Polanski said about Welles - "He'll always be my master."
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Post by Mattsby on Mar 27, 2019 21:15:43 GMT
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Post by pacinoyes on Mar 27, 2019 21:47:42 GMT
That's interesting and I used to talk about the scene in Ghost Writer all the time where McGregor goes to visit Wilkinson at his home and that scene is one of the great Polanski scenes maybe ever and nothing happens - well something sort of does but it's all sinister undercurrent and menace and dread. If this film captures that vibe - and from that description it sort of implies it - it will be an amazingly delicate balancing act to behold.
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Post by jimmalone on Mar 27, 2019 22:01:12 GMT
Well, the tone of the novels The Ghost (Writer) and An Officer and a Spy is pretty similar, which makes sense since both are written by Robert Harris. Both are basically investigations, where only step by step in many clever scenes the reader learns how the puzzle looks and you don't only learn this, but much about the surroundings, the "society" and so on. An Officer and a Spy has the (even) much more intriguing story though, especially in the historic context it has. Ghost is a pretty good thriller, while J'Accuse is not only this, but much more of a moral and political story. As Goldman confirmed with his last sentence.
The only thing I don't like about that quote is the likening to Rosemary's Baby, a film I dislike heavily. But that's mostly because of the stupid occult theme in that film and if Goldman compares J'Accuse to it I hope it's just regarding the atmosphere.
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Post by Leo_The_Last on Mar 29, 2019 3:41:59 GMT
Sounds good, and as soon as I've read the Rosemary's Baby reference, it sounded even better! I normally also don't care much for occult themed stuff. Most of them are bullshit, because as soon as you leave the boundaries of the "real world", all options are on the table, dramatically, and 9 out of 10 times the filmmakers choose the most boring and easiest path possible, which leads to a lot of VFX, stupidity and even more VFX. But Rosemary is different, a brilliant and layered piece of work.
And Polanski using his unparalleled filmmaking skills to lift this project above its mere importance is exactly what I'm hoping for.
William Fraker describes it best in this short clip, that's the genius of Roman Polanski.
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Post by Mattsby on Apr 24, 2019 1:31:21 GMT
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Post by Leo_The_Last on Apr 24, 2019 10:50:53 GMT
I can't wait to hear/see more from this. If it wasn't for a certain epic by some Wise Guys, this one would easily be my Nr.1 most anticipated this year. Some more pictures from Dujardin's Instagram account. This one is especially great: Script girl/supervisor Sylvette Baudrot, born in 1928. Started her work on the set of Jean Cocteau's Orpheus in 1950, all the way to Polanski's J'accuse. In the meantime working on such insignificant projects like Jacques Tati's Monsieur Hulot's Holiday, Mon Oncle, Playtime, Alain Resnais' Hiroshima Mon Amour & Last Year at Marienbad, Malle's Zazie, Lacombe, Lucien, Costa-Gavras' State of Siege and Missing, starting her work with Polanski on The Tenant, Toback's Exposed, Raoul Ruiz, Besson's Léon...
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Post by Leo_The_Last on Apr 24, 2019 10:55:33 GMT
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Post by Mattsby on May 6, 2019 19:29:04 GMT
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Post by Mattsby on May 13, 2019 18:49:47 GMT
VarietyThis will be the official title it seems..... the big question now is who if anyone will release it in the US? I've mentioned before the producers have connections to Netflix, but maybe they don't want to risk a collateral stir to their other Oscar players, though I do think this if pushed could get easy tech noms maybe foreign film too.
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Post by Deleted on Jun 4, 2019 18:19:39 GMT
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Post by Leo_The_Last on Jun 13, 2019 1:35:08 GMT
Not unexpected, but a Venice premiere seems likely.
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Post by Mattsby on Aug 19, 2019 22:05:18 GMT
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Post by pacinoyes on Aug 19, 2019 22:24:24 GMT
Happy (belated) Birthday to the GOAT. One of the things that also links the case to this era - besides the anti-Semitic angle (Polanski wasn't of course a victim of that in his criminal case but in the way he was portrayed in the media there was clearly an "outsider" component) - is the "removing of the person from history". That's clear in Dreyfus and how he was treated but also with Polanski by continuing to make films - this film even alone - has to some extent been "erased" from his catalog of work. I mentioned that the anniversary DVD of Rosemary's Baby removed all mention of him which was just jaw-dropping. I don't know how much he has to draw these parallels without seeming like he's shoving it down peoples throats but the potential for incidents if he does any press for this film is pretty huge.
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Post by Mattsby on Oct 11, 2019 1:00:18 GMT
Trailer! No English subtitles yet....
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