red velvet ( film )
wears a velvet smoking suit with velvet slippers and dangling gold earrings while out in venice .
with the headline: screen: musty scandal;' girl in red velvet swing' is at roxy .
john douglas thompson stars as actor ira aldridge (right, with joe tapper) in shakespeare & company’s “red velvet. ”
jury member for the 70th cannes international film festival fan bingbing wang luodan poses on the red carpet at the opening of the 70th cannes international film festival. photo: xinhua
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there is the old adage “to the victor go the spoils. ” find out who is ultimately victorious in “the red velvet cake war. ”
any way you slice it, lines have been drawn and this friday the “the red velvet cake war” commences at the historic texas theater in downtown palestine .
the cast of lolita chakrabarti’s red velvet, directed by stafford arima, running march 25 – april 30, 2017 at the old globe. photo by jim cox .
wears an violet midi - length roberto cavalli dress with metallic foil accents and high - heels with a dark red velour platform at the ambi dinner honoring her film the bleeder .
the girl in the red velvet swing is the true story of evelyn nesbit shaw, a beautiful showgirl caught in a love triangle with elderly architect stanford white and eccentric young millionaire harry k. thaw .
two former best friends who have not spoken in five years meet in a cafe, share a piece of red velvet cheesecake and confront each other about a crime they committed in college that was never found out .
red velvet cake is a modern day love story between a man named jake and his girlfriend blair, and how the two navigate a world together while jake lives with aspergers syndrome. blair is... see full summary »
wears a chartreuse and black flared mini with a gold chainstrap clutch and burgundy velvet platforms for a miu miu event .
multilayered magic! ira aldridge is one of those' hidden figures' too long ignored. red velvet is a revealing story of pursuing and achieving a dream, reminding that in spite of onstacles, talent triumphs .
— voice & vewpoint
gerry goodwin, as “newt blaylock, ” comforts “gaynelle verdeen bodeen, ” played by dixie dorsett, during a recent rehearsal of the palestine community’s theatre’s upcoming production of “red velvet cake war. ” the production opens at the texas theater this friday .
for some observers the war may be over red velvet cakes, but others may argue that the bet is merely frosting on the proverbial cake. consider the underlying ingredients: is the gamble simply a skirmish in that age - old battle between the sexes ?
ackerman was offered all those parts that makes him a figure of critical importance to science fiction film. of critical importance, because ackerman was the first and most enthusiastic science fiction film critic .
susan sarandon wore a deep plunging black velvet gown with oversized sunglasses, while julianne moore was resplendent in red feathers. chinese actress fan bingbing, who is also on the jury, wore a sweeping duck - egg blue dress with a built - in cloak .
wears a pumpkin - spice ruffled tea - length dress with stacked red lace platforms and a gold watch to the bad batch photocall .
little more than a competently acted and shot costume drama, it is neither a film of the ages or for the ages; it is a film that has, however, aged, and poorly .
back to one podcast: keith poulson on developing as an actor in the ny indie film scene .
almodovar took a tough line, telling reporters he could not imagine “the palme d’or nor any other prize being given to a film, and then not being able to see that film on a large screen” .
since its launch in 2008, bicoastal / international station film has quickly established itself as one of the industry’s top creative shops. its roster of award - winning directors excels at cross - platform storytelling - from film, television, and music videos to vr / ar and digital creation. station film' s partners are stephen orent and caroline gibney .
“there is a reverence on set when the camera is spitting film through its gate. ”: dp darran tiernan on
where we would be literally watching through laurie’s eyes as we had been watching through michael’s for so much of the film .
ford ties the two narratives together by cutting between susan and tony as the story goes on, in similar basic postures, in bed, in the bath, in the shower. there are textural continuities too — a deep - red velvet plays its part in what sometimes are deliberate tableaux. but however highly worked, almost operatic, this film may be (and it is exquisitely photographed by seamus mcgarvey), that doesn’t diminish the emotional ferocity .
twentieth century - fox has resurrected the musty scandal of evelyn nesbit, stanford white and harry k. thaw to give itself the inspiration for another run - through of
bertha, the sewing - machine girl
in its latest cinemascope romance ,
the girl in the red velvet swing .
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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 .
... and red velvet funnel cake
is an episode of four weddings starring alana aldridge, tracy allessendro, and yana bludova. rachele enters her reception to the beat of performing japanese taiko drummers while nicolle' s husband' s college mascot helps cut their cake. travia celebrates her wedding and her 30th... see full summary »
filmmaker: finally, describe the finishing of the film. how much of your look was “baked in” versus realized in the di ?
to lump this film in with horror comedies is doing it a disservice, as i think it' s so much better than that. personally, i don' t care for horror comedies and thought this film was way too smart, clever and enjoyable to be deemed just another horror / comedy genre film. i can' t wait to watch it with the commentary to see what i missed .
was 20th century - fox' s original choice for the role of evelyn nesbit. she turned down this film and a forthcoming remake of
“red velvet” is one wacky ride, both in terms of content and experience, and it broke ground as the first scripted comedy put into a vr setting. as director brendan gibbons says, “there’s a huge desire for content, so we’re showing this is possible. ” the play - like theatrical experience was filmed on a h3pro7 gopro rig with seven hero4 black 4k cameras .
witness, therefore, the curious rewriting of film history that has now occurred in the public imagination. the cheap old films with karloff and bela
bab briefly interviewed byron hurt by phone, while he was attending the american black film festival in miami where soul food junkies won best documentary .
wears a complete philosophy di lorenzo serafini outfit, from her ruffled denim jumpsuit to her pale pink bag, while out at the film festival .
alberto (miguel ángel silvestre) has been left to run a store called velvet, one of the most prestigious fashion stores in spain, by his late father. velvet is a spanish television series (english subtitles available on netflix). it takes place in the 50' s / 60' s and displays the beautiful clothing and cars from that era. the main storyline of the show is the business decisions surrounding the continuation of the fashion store and the steamy love story of alberto, heir of galerías velvet, and ana (paula echevarría), who works as a seamstress there .
red velvet cake is a modern day love story between a man named jake and his girlfriend blair, and how the two navigate a world together while jake lives with aspergers syndrome. blair is constantly battling her family to meet him, and jake is constantly battling within himself to attend. it is a glimpse into the world of loving someone with aspergers syndrome, and being loved by someone who does not .
the glendale international film festival is a private non - profit organization whose mission is to show quality films which tell a story by using outstanding dialogue free from the common expletive ridden fare and honoring women film makers and screenwriters from around the world with the emphasis upon the local glendale film maker and screenwriter. the theme of the festival is ‘all creatures great and small from the animal kingdom (especially cats, dogs and horses !). ’ now in its 4th year, giff will be contributing 20% of the proceeds from the festival to glendale / la canada / la crescenta public schools and glendale community college for film making and screenwriting programs .
the narrative of “red velvet” gives enough context to guide the viewer’s experience, but each trip into the world yields different results. you may at first notice the person clawing at the glass to your left, but another viewing reveals a large man stripping on the table behind you. “the challenge was to build a narrative around specific comedic beats that would fit together as a linear story but would also make people laugh no matter where they chose to look, ” brendan says. the replayability and immersion of the film is an excellent taste of the unique power of a well - crafted narrative vr piece .
the pairing of actor and role could not be more fortuitous. lolita chakrabarti’s bio - play “red velvet” (alluding to the lure of theaters’ lush interiors) provides a perfect showcase for thompson’s formidable gifts. under daniela varon’s inspired direction, thompson brings out resonances in the script that somehow failed to surface during the play’s first us production, by a british company, at st. ann’s warehouse in brooklyn, n. y. , last year .
, i would urge you to skip any synopsis of the film, as it spoils something that doesn’t really occur until the film’s final 15 minutes. and since this plot point makes up half of the ending, and the other half sucks, it sort of deflated my enjoyment of the film as a whole. what was intended to be a surprise instead comes off as “yeah, i knew that going in”, and what is a surprise comes off as “what the fuck just happened? ” .
the story focuses on the latest trials and tribulations of the three verdeen cousins living in the fictional small town of sweetgum, texas. for a number of reasons, peaches and jimmie wyvette valiantly attempt to help gaynelle host a family reunion on what unfortunately turns out to be the hottest day in july with not only a tornado looming on the horizon, but the outcome of a jaw - dropping high - stakes wager on who bakes the best red velvet cake hanging in the balance .
in the psychotronic encyclopedia of film, michael weldon asks ,
aren' t you tired of movie books beginning with abbott and costello ?
yes, which is exactly why i would prefer to omit them and instead begin with ackerman, a lesser - known but more significant contributor to science fiction film. the fact that i am completing a biographical encyclopedia of science fiction film with reasonable expectations of reaching a wide audience is due in large part to ackerman' s herculean efforts on behalf of this field, so it would only be appropriate to grant him the honor of being its very first entry .
will smith and jessica chastain – who are both on the jury charged with awarding the coveted palme d’or top prize – were among the a - listers gracing the red carpet at a glittering ceremony to launch the 12 - day festival in the palm - fringed french resort .
click here to read our summer 2018 issue, featuring interviews with madeline' s madeline director josephine decker, david leitner on the new cameras of 2018, our overview of film schools and more ...
my background in indie film, working at a fast pace with limited resources, made me a good fit for the project. additionally, the film was to be shot entirely on location in utah, and because of tax incentives i was only allowed to bring one person from my la team. luckily, location shooting is something i’ve done multiple times, so the producers were confident i could find an excellent local crew .
6: 00 to 7: 30 pm – pre - screening reception is your chance to mix and mingle with the many screenwriters, filmmakers and vips participating in this year’s film festival. 7: 45 pm – presentation of certificates. 8: 00 pm – screening of the godfather. post - screening, attendees will get a chance to be a part of a q & a about the film followed by a short cocktail reception in the alex theatre forecourt .
three performers for six roles: this is the game of the film. a melodrama about two love triangles. in the first, hagalin is killed by his mistress and her lover. in the second, attorney... see full summary »
like i said though, i just didn’t care much for the ending, which seemed to involve “was it all real or just a dream” type nonsense mixed with over - stylized camerawork that felt out of place. supposedly if i “watch it again” it will make more sense, but alas i don’t have time to rewatch a film simply to get a point that should have been clear on a single viewing. there’s a big difference between re - watching a film and being rewarded for it (such as
yet, in the face of staggering statistics of diabetes, high blood pressure, and certain types of cancer rampant the african american community, food experts in the film comment on the urgent need to increase awareness and make changes now, before it’s too late .
when people say african american cuisine, they think it’s synonymous with soul food, the deep - fried fatty meats like fried chicken and sugary desserts like red velvet cake - - which used to be just for holidays and celebrations. i’m not necessarily trying to discard those completely but get people to recognize these are only a part of our food ways. things have changed over the past 40 - 50 years. my grandparents had an urban farm. they grew vegetables, fruits and nuts. any dietician would tell you we should all be eating more fruit and vegetables. somehow growing food has taken on the meaning of being backward and just country folk. but it is vital to our society .
goes beachy and boho in a blue - and - white tie - dye prabal gurung dress with a drawstring waist, plus a low - key ponytail, delfina delettrez earring and double - strap mansur gavriel slides at the photocall for her film the light between oceans .
velvet is a tv series starring paula echevarría, miguel ángel silvestre, and aitana sánchez - gijón. a feel - good, compelling spanish story of a fashion house in madrid in the late 50' s, which is scene to money, fashion, drama, entanglements, love, jealousies, plots, counter - plots involving its owners, customers and residential employees .
the true story of the murder of prominent architect stanford white is the inspiration for this highly fictionalized drama, set in manhattan just after the turn of the century. the film speculates on the motivation of white' s murderer, placing the blame on jealousy over a woman .
the streaming giant’s two films are among 19 vying for the palme d’or, which also include happy end, a film set against the backdrop of europe’s migrant crisis by amour director michael haneke, and sofia coppola’s american civil war thriller the beguiled starring nicole kidman and colin farrell .
others interviewed in the film, however, are still very attached to soul food (the term was first coined in the' 60s) and find creative rationalizations to keep eating it, such as, “eve was made out of adam’s rib, so ribs must be good. ”
hurt' s personal story is flanked throughout the film by commentary from a range of historians, scholars, soul food chefs, doctors, and everyday folk who illuminate the cultural complexities in the african american relationship to food. “soul food is a repository for our history, ” says one .
was an extra in the film. she was a member of the audience to one of the shows. on the dvd she can be seen as such on the menu screen, and in the beginning of the movie when the credit
based on the novel by sarah waters
is shown .
john cale has spent the last four decades of his career producing music for a number of successful recording artists, including barbra streisand, patti smith, andy warhol, lcd sound system and the stooges, and composing multiple film and video scores. best known for founding the velvet underground with lou reed and sterling morrison, cale developed a reputation for bringing the sensibilities of the avant - garde to rock music and helping to define the nature of punk in the early to mid - 1970s. his sonic fearlessness is perhaps best understood through the array of musical styles he has been known to use, everything from classical orchestra and noise to modern pop and heavy rock. nothing in the musical lexicon is too taboo, and cale has used it all .
a pair of teenage sisters resort to train robbery to raise bail money for their mother in deidra & laney rob a train, a new comedy from director sydney freeland. freeland returns to sundance with her second feature after 2014’s drunktown’s finest, which debuted in utah before earning a number of festival awards. below, the film’s dp quyen tran (pali road) discusses the influence of the coen brothers, filming on a moving train at night without any lighting and grounding an absurd story in naturalistic visuals. deidra & laney rob a train premiered at the 2017 sundance film festival and will be released by netflix on march 17, 2017 .
hurt’s last film, hip - hop: beyond beats and rhymes, an award - winning documentary, was also selected for independent lens. it examines
masculinity and manhood in rap and hip - hop, where creative genius collides with misogyny, violence and homophobia, exposing the complex intersections of culture and commerce. ”
in a restaurant scene near the beginning of the film, architect stanford white castigates a magazine editor for not including in an article about him the boston public library, which he calls
the best thing i ever did .
white' s partner, charles follen mckim designed the boston public library, not white .
( 1969). having become a regular and well - received visitor to science fiction film sets, ackerman was consequently invited to appear in many of those films as well; but his public activities on behalf of the genre were more influential, as his proselytizing encouraged many other people to acknowledge, or discover, that they loved those films too .
tran: when i got the script for deidra & laney, i had just returned from shooting a film in italy and was hoping to find a project in los angeles. but i fell in love with the story and decided to interview, and ended up really liking the creative and producing team. so when i got the offer i had to say yes .
the three - minute film stars trained improv actors in a job - interview - gone - wrong scenario: the employee being replaced spikes a coworker’s birthday cake with bath salts as vengeance, setting off comedically violent chaos. brendan strategically created audio and verbal cues to attract the viewer’s attention to different parts of the 360 degree set while also giving subtle directorial hints to his actors .
tran: i’ve shot most of my feature work on the alexa, but it wasn’t a netflix - approved camera system. therefore, i ended up choosing the red epic dragon for its 4k capability. since i knew we would see light sources in many of the shots at night, i shot flare tests with a multitude of lenses available in utah. the director and i both liked the look of the cooke s4s, which i’ve used dozens of times, and since they open up to a t2 i knew that would be sufficient for night work .
in his occasional, and usually brief, film appearances, forrest j. ackerman always seemed like an amiable amateur, content to do exactly what the director told him to do as best he could while striving to stay out of the way of the other, more capable performers. and, while sometimes given larger roles in cheap, terrible films, he was virtually invisible while making brief, uncredited appearances in major films like
eco - chef, food activist and author of several vegan soul food cookbooks, bryant terry spoke eloquently both as a commenter in hurt’s film as well as a panelist. the problem, says terry, is not soul food per se, but the industrialization of our food supply. the industrial food complex spends billions of dollars trying to convince people to eat food that’s the worst for them: highest in fat and sugar .
soul food junkies makes clear that hope for the future rests with the children. one of the last shots in the film is a group of african american elementary school children from st. philips academy in newark, new jersey. the school’s “family - style lunch program, rooftop garden, teaching kitchen and science lab encourage an understanding of sustainability from seed to table. ” we see the children yell happily, “vegetables are soul food! ”
since he first started exhibiting work when he was 19, lawrence weiner has been regarded as one of the key figures in establishing conceptual art. weiner came to attention in the 60s and 70s for his investigation into forms of display and distribution. he' s known for pioneering text - based installations that have uniformly challenged traditional assumptions about the nature of the art object. weiner has also authored a number of books over his career, including green as well as blue as well as red and displacement; he' s also produced a number of films. solo exhibitions of his work have toured around the world in museums like the tate modern and the deutsche guggenheim in berlin .
tran: sydney and i talked extensively about how to sell the outrageous premise of the film – two high school girls who rob trains to bail their mom out of jail. we used raising arizona as one of our influences, both tonally and visually, because the coen brothers are masters at grounding characters no matter how outlandish their situation. it was a balancing act, to be sure, but by keeping the visuals realistic, we created a world where the audience could actually believe these two girls could pull off robbing trains .
tran: my general approach is to light the environment, as opposed to lighting faces. i like to see a character walk in and out of darkness. since we shot in very tight locations, this approach became a necessity. since i wanted to shoot 360 in many scenes, i would light through the windows and sneak a light or bounce just off camera. all our actors are gorgeous, but because of the wide range of skin tones i sometimes had to boost my fill light or create negative fill, which was tricky because of the wide lenses and framing i used for this film .
at a time when their creators regarded horror and science fiction movies as ephemeral junk to be rushed to theaters for a quick profit and then thrown away, forrest j. ackerman loved all of those movies; and, since other science fiction fans of his time were mostly devoted to the written literature, ackerman made the celebration of those films his special mission. his activities on their behalf took many forms: he collected science fiction film props and memorabilia that might otherwise have been discarded; he sought out and talked to the actors, directors, and technicians who made those films, obtaining invaluable information and insights; he launched a magazine ,
food justice, food deserts, lack of access to healthy food and the proliferation of fast food all play a critical role in this discussion. as one food scholar puts it, “in america, there is a class - based apartheid in the food system. ” hurt realizes that traditions, especially those that speak to times of family togetherness and comfort, are resistant to change. instead of quitting classic soul food dishes cold turkey, some cooks in the film choose to tweak traditional recipes, like making oven - baked, skinless chicken instead of deep - fried. “we have to make it a part of popular culture. we have the power to change and if we don’t, we’ll be sick and die. ”
in this documentary film, selected by kqed’s independent lens series to air in the upcoming 2012 - 13 season, hurt uses his own family’s story as a through - line, centering on his father’s unflagging devotion to the artery - clogging classic dishes in the soul food repertoire. hurt recalls that growing up he wanted to be just like his “pops” and copied his sunday breakfast ritual of grits and eggs, smothered with cheese, salt pork and bacon. after college, hurt, (as well as his sister and mother) altered their diets. but, his father continued to gain weight, refusing to change his eating habits, even in the face of the pancreatic cancer that ultimately took his life at an early age .
ford has relocated the whole thriller section, set in the woodlands of maine originally, into the dusty and unforgiving badlands of west texas, saying that he needed it to be somewhere where there could be no cellphone reception (so many great plots of the past would be stumped by a single text !) but it is also the region where he grew up and he has strong feelings about its rough conceptions of gender (“as a boy growing up in texas i was anything but what was considered classically masculine, and i suffered for it” .) this texas section, a film in itself, is worthy of the coen brothers at their best, its night - driving scenes reminiscent of, say, blood simple, while its rough injustice rivals that of no country for old men .
tran: the director and i discussed each character and their story arcs – how they grow and become stronger women throughout the film. working closely with the production and costume designers was integral in achieving the right palette for every character. deidra’s life is always in motion, going from taking care of family to tutoring students whilst maintaining her own status as valedictorian, so i used steadicam to navigate her through very tight, practical spaces. i credit my operator, chad persons, in helping pull off moving masters in tricky locations, as there was no stage work. laney’s character, on the other hand, is always overlooked, until she eventually finds her spotlight (literally). so until she discovers a true sense of herself, we framed her to become part of the background, blending her wardrobe and even her hair and skin with the set design, whenever possible .
tran: when i found out the budget and the limitations of our train locations, my jaw dropped. we had to film on a moving train at night without any lighting, which seemed impossible. we considered drones and balloon lights, but the budget couldn’t support them. after shooting some day - for - night tests, we ruled out that option as well. finally, i thought we could use headlamps and flashlights held by our actors as our key light sources to overpower any ambient moonlight i could muster. and even though we couldn’t light the passing landscape, we searched for distant points of light along the train route, so we could have some frame of reference that we were actually on a moving train. for the closeups, i framed the dark night sky in the background and used a fan to simulate wind. hopefully, you can’t tell what we shot practically and what we shot poor man’s process !
ackerman, forrest j (1916–2008). american science fiction fan and actor .
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lakeith stanfield and his sorry to bother you director boots riley discuss the stress of filming sex scenes .
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the complex love story of a jake, a man with aspergers syndrome and his girlfriend blair and how the two navigate their not always perfect love affair .
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but until that point, it’s a wonderfully odd and fairly original slasher. henry thomas plays a guy with obvious problems who goes out of his way to “meet cute” with a girl (kelli garner) and then spends the next half hour berating her and generally being a huge dick. normally this would make a movie unwatchable (not to mention entirely implausible), but the script establishes that the girl has a real asshole for a boyfriend, which means she likes assholes, and is thus conceivably interested in at least talking to thomas despite his behavior. and she’s just as bitter toward him, so you get all of these traditional scenes (they meet in a laundromat, go out for thai food, etc) but they’re endlessly insulting each other in wholly loathsome ways .
the slasher stuff comes in from a party that she was supposed to attend. it’s the usual sort of
( where a peeping tom is offed instead of the two fornicating youths). but the difference is that our killer has a voice box and is sort of inept (when a victim kicks him in the balls, he mutters “ah, no fair! ”), and he’s into using oddball elements such as a tree saw. he also knocks two folks in a pit, and then tosses down a rope. since they think it’s just one of their friends playing a gag, they begin to climb the rope, unaware that the other end is tied to an alligator. hahahaha, awesome .
and it’s obvious that the writers know their slasher movies. in addition to the
( this might be wishful thinking on my part). i also dug a pov shot from the heroine’s perspective - pretty rare, might even be the first instance. imagine if there was a shot in
speaking of the writers, this movie has the strangest writing credit i' ve ever seen .
written and story by anthony burns
, followed by
screenplay by anthony burns and joe moe
. so it' s moe' s screenplay, but he didn' t write it ?
), and having to do so in order to understand key plot points. shit, i still haven’t even re - watched
the dvd just hit stores, and contains a commentary and some other stuff. my screener was just the movie (and was squeezed into a full frame aspect ratio; i had to futz with my settings to get it to look right), so i cannot comment on their worth. but if the movie is cheap enough and you enjoy slashers that do something pretty original and intriguing while still delivering the slasher moments you expect (i. e .
hmad - ing is actually somewhat expensive! if you can, help bc pay for his various movie - getting services (netflix, amazon, buying used dvds, etc .)! thank you! ! !
through this method, he was able to capture spot - on performances in a piece that unfolds in one single take .
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movies and tv shows are certified fresh with a steady tomatometer of 75% or higher after a set amount of reviews (80 for wide - release movies, 40 for limited - release movies, 20 for tv shows), including 5 reviews from top critics .
it never caught my interest despite the juicy sensationalist story it promised to tell .
“i wish you 12 days full of enthusiasm, ” oscar - winning iranian director asghar farhadi said as he declared the festival officially open alongside french - american actress lily - rose depp, daughter of hollywood star johnny depp .
“twelve days to discover films that make you think about the human condition today. welcome to the 70th cannes festival. ”
the festival got off to a rocky start earlier wednesday as spanish director pedro almodovar, head of the jury, fired a warning shot at netflix – declaring that the movie taking home the palm d’or should be shown in cinemas .
netflix has refused to release its two movies in the running for the prize in french cinemas due to strict rules that mean subscription services cannot offer films for streaming until three years after their box - office release. the row has divided the cinema industry and sparked soul - searching over its future .
many read his comments as indicating that neither of netflix’s highly - touted films – okja starring tilda swinton and jake gyllenhaal, nor the meyerowitz stories with adam sandler and ben stiller – would win anything at cannes .
actor smith, who was nominated for an oscar for his portrayal of boxer muhammad ali, launched a spirited defence of netflix, saying it “broadens my children’s cinematic global comprehension” .
“in my house netflix has been nothing but an absolute benefit because they get to watch films that they never would have even seen, ” he added .
he had told french tv earlier he was “looking for the opportunity to slam my hand on the table and disagree with pedro – i’m looking forward to a good jury scandal” .
cannes organisers last week announced a rule change that could effectively ban netflix in future, insisting that movies in competition must be shown on the big screen in france .
the move sparked a bitter response from netflix, with boss reed hastings claiming “the establishment is closing ranks against us” .
kidman is the undisputed queen of this year’s cannes, starring in three movies as well as the tv series top of the lake, which is getting a special screening .
stars are arriving under tighter security than in previous years, 10 months after the truck attack in nearby nice that killed 86 people .
concrete barriers – in the form of giant flower pots – have been set up to try to block a similar assault, and snipers have been positioned above sensitive sites .
patrick mairesse, a top regional security official, said the goal was to be as “invisible as possible, to cause as little nuisance as possible – so the party can stay a party” .
in 1984, british journalist arthur stuart investigates the career of 1970s glam superstar brian slade, who was heavily influenced in his early years by hard - living and rebellious american singer curt wild .
jermaine fowler and omari hardwick of sorry to bother you take us back in time to the worst jobs of their careers .
three stories, each in a different genre, articulate todd haynes' idea of a queer cinema .
ruminations on the life of bob dylan, where six characters embody a different aspect of the musician' s life and work .
in 1950s connecticut, a housewife faces a marital crisis and mounting racial tensions in the outside world .
a transgender punk - rock girl from east berlin tours the u. s. with her band as she tells her life story and follows the former lover / band - mate who stole her songs .
karen carpenter' s battle with anorexia nervosa and the cultural influence of the carpenters in the 70s .
1971: glamrock explodes all over the world and challenges the seriousness within the flower power generation by means of glitter and brutal music. brian slade, a young rock star, inspires numerous teenage boys and girls to paint their nails and explore their own sexuality. in the end slade destroys himself. unable to escape the character role of
maxwell demon
that he created, he plots his own murder. when fans discover the murder is not real, his star falls abruptly and he is quickly forgotten about. 1984: arthur, a journalist working for a new york newspaper, gets assigned the tenth anniversary story about the fake murder of brian slade. when arthur was young and growing up in manchester, he was more than a fan of slade. reluctantly he accepts the assignment and starts to investigate what happened to his old glamrock hero .
was only due to moon the disgruntled crowd. but inspired by the antics of
, he improvised, and ended up gesticulating wildly while flashing the audience, leaping about with his trousers around his ankles .
when brian is onstage at the sombrero club and the members of the audience are clapping along with him to the music, the motions of their hands do not match the rhythm in the music .
: for the first time in brian' s life, he was simply telling it like it was. did he realize what he' d actually done? how could he have? i mean, today there' d be fighting in the streets, but in 1972, it was more like dancing .
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with jurassic world: fallen kingdom now in cinemas, we take a look at how imdb users rated the films of the franchise. plus, browse exclusive lego® jurassic world playsets, presented by lego .
, test screenings, filming guns in washington d. c. and the trump administration
tran: the trickiest scene was the finale where deidra climbs atop a boxcar to escape tim blake nelson’s character, who sprints after her across the roof and down a ladder. this was a night exterior with stunt doubles, so i wanted to make sure the actors had enough light to safely perform, but also make it feel perilous. to embrace the production value of the location, we lit the entire train yard with two maxi brutes on a condor, and designed a shot with a 25 foot jib arm and steadicam. working closely with the stunt coordinator and our awesome stunt team, we shot first team with a running steadicam beginning the ascent up the boxcar, then cut to the stunt performers running across the roof using the jib arm from behind. then, we shot first team again descending from the boxcar for the final jump. it took a lot of coordination between many departments, but it pays off in the final edit .
tran: since you never know whether you’re going to be available for the di, i always try to bake in the look as much as time permits. that way, i have more time to make finer adjustments in the coloring suite as opposed to the broader strokes. i am also a stickler when it comes to preserving highlights, so i maintain as much latitude as possible in my exposures so i can have the option in the di if i decide to push the curve .
lenox — if pioneering african - american shakespearean actor ira aldridge (1807 - 67) hadn’t existed, admirers of john douglas thompson’s award - winning stage portrayals might have been tempted to invent him .
we first encounter aldridge during the poignant twilight of his career. on tour in poland, he’s interrogated by an ambitious but inept young woman reporter (christianna nelson), occasioning a flashback to what was surely his finest hour. for two nights, in 1833, aldridge stepped in for an ailing edmund kean during a london run of “othello. ” not only did he thereby break a color barrier which, unbelievably, persists to this day (the metropolitan opera’s decision to forgo blackface for an upcoming production recently made headlines), but also aldridge is credited — at least in this fictionalized rendering — with trying to nudge his fellow practitioners toward a more naturalistic acting style .
varon establishes the norms of the day brilliantly, starting with a stylized company salute (en déshabille) and continuing with balletic scene changes set to piano adagios. these interludes, replacing the usual rushed, apologetic shuffle, suggest an era of greater leisure and formality. and yes, the company, once assembled, proves hilariously grandiose in both word and gesture — especially young charles kean (ben chase), who naturally assumes that, in his famous father’s absence, he’ll be promoted to the title role. every good drama needs a powerful villain, and chase’s charles — the embodiment of unbridled racist animus, as well as a big, spoiled baby — ably shoulders the task .
one premise of the play is that aldridge’s more realistic, less robotically physicalized portrayal proved too intense for the times: audiences apparently loved him (attendance spiked), but the critics were merciless. their objections — relayed verbatim — constitute a time capsule of odious stereotype. these passages are shocking to hear, and it’s tempting to relegate such slurs to the distant past — yet one has only to think back to new york theater critic john simon’s racist commentary from the 1970s, when color - blind casting was just coming to the fore .
in chakrabarti’s retelling, another touchpoint arousing public censure in london (the production shut down after only two performances) was aldridge’s apparent success in getting his desdemona — here, the luminous kelley curran — to appear more responsive. one problem with the british cast (which featured a rather mature desdemona — true to the standards of the day, but distracting) is that they never fully shed their stiffness. in curran’s sensitive rendition, a staid, formulaic actress gradually softens, professionally and personally. the upshot is that desdemona’s reaction to the moor’s murderous embrace ends up so rapturous, slanderous insinuations are certain to ensue .
even under varon’s enlivening hand, the play starts on a bumpy note: why allot so much stage time to the polish reporter’s interrogation, except to stuff it with clumsy exposition? but there’s another reason, revealed only when the framing device is picked up again at play’s end. prepare to discover your heart lurching into your throat. thompson, having masterfully portrayed a young man at the height of his furious, insistent powers, retains an ember of that passion as an old, not entirely defeated trouper still dedicated to his craft, whatever the cost .
cassandra clark' s book is a cheat – but it cheats in the way that most authoritative historical crime fiction must. after all, any attempt to recreate the speech (and thought processes) of characters living in the 14th century has to be a conjuring trick that convinces us we' re in the distant past, but doesn' t render the language so archaic that it' s impossible to relate to the characters .
clark is one of the most sure - footed practitioners of this difficult genre. she treads a careful line between current language and persuasive - sounding period speech which reads as if it might have been spoken in 1383, when england is ruled by john of gaunt .
this linguistic balancing act is only one of clark' s accomplishments; like c j sansom in his tudor series, she boasts the most precious skill a historical writer can possess: the ability to transport the reader into a distant era, corralling all the sights, sounds and smells of the past. some may regret that her heroine, the nun hildegard, is yet one more in the overcrowded ranks of ecclesiastical sleuths, but clark makes the best possible case for her verisimilitude .
hildegard is a widow, wealthy, educated and independent, but choosing to live as a nun. at a time when travel is a dangerous enterprise, she is sent from her base in yorkshire in search of a priceless relic, the cross of constantine. political turmoil is the order of the day in england, with the crown at stake. many would like to see hildegard fail in her mission .
since ellis peters and umberto eco started the medieval ball rolling, a slew of historical novelists have mastered such techniques. what distinguishes clark in this sprawling, peripatetic narrative is the characterisation of her heroine. again, clark might be said to be cheating: a rich, tough and resourceful woman who survives much danger in the 14th century, and, what' s more, is a nun? but such is clark' s dexterity that we are willing to accept the premise .
portrait of john cale by craig mcdean / art + commerce. all images courtesy of the kitchen .
the making of lawrence weiner' s do you believe in water at the kitchen in 1976, photo © daniel buren .
the kitchen' s spring gala will take place on monday, april 17 at the hammerstein ballroom in manhattan. learn more about the event on the kitchen' s website .
the met gala was lit... by one dress | insta of the week
red velvet is a 2008 american independent horror film directed by bruce dickson and written by anthony burns and joe moe . the film stars henry thomas and kelli garner and is the final film of forrest j ackerman . 
red velvet is a 2008 american independent horror film directed by bruce dickson and written by anthony burns and joe moe. the film stars henry thomas and kelli garner and is the final film of forrest j ackerman.
red velvet is a 2008 american independent horror film directed by bruce dickson and written by anthony burns and joe moe. the film stars henry thomas and kelli garner and is the final film of forrest j ackerman.