Regal Cinema Art Film Guide, Winter 2011

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Pariah

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In Darkness

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A Dangerous Method

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A Separation

Writer & Director: Dee Rees

Director: Agnieszka Holland

Director: David Cronenberg

Director: Asghar Farhadi

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Carnage

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The Grey

Director: Roman Polanski

Director: Joe Carnahan

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Tinker Tailor Soldier Spy

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Film Previews

Director: Thomas Alfredson

A look at over 30 upcoming releases

Pariah

In Darkness

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Film Guide Senior Staff Editor

Jonathan Douglas Creative Director

Rodney Griffin Designer

Rona Moss Advertising and Promotions

email: jdouglas@ regalcinemas.com

A Dangerous Method

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Carnage

The Regal Cinema Art Film Guide is a free national publication courtesy of Regal Entertainment Group, 7132 Regal Lane, Knoxville, TN 37918. To have your film featured, email jdouglas@regalcinemas.com

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written & directed by Dee Rees

[puh-ray-uh] noun 1. A person without status 2.

A rejected member of society 3. An outast

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A critical and audience hit at its world premiere at the Sundance Film Festival, the contemporary drama Pariah is from writer/director Dee Rees and produced by Nekisa Cooper.

Adepero Oduye portrays Alike (pronounced ah-leekay), a 17-year-old African-American woman who lives with her parents, Audrey and Arthur (Kim Wayans and Charles Parnell), and younger sister, Sharonda (Sahra Mellesse), in Brooklyn’s Fort Greene neighborhood. She has a flair for poetry and is a good student at her local high school. Alike is quietly but firmly embracing her identity as a lesbian. With the sometimes boisterous support of her best friend, out lesbian Laura (Pernell Walker), Alike is especially eager to find a girlfriend. At home, her parents’ marriage is strained and there is further tension in the household whenever Alike’s development becomes a topic of discussion. Pressed by her mother into making the acquaintance of a colleague’s daughter Bina (Aasha Davis), Alike finds Bina to be unexpectedly refreshing.

Wondering how much she can confide in her family, Alike strives to get through adolescence with grace, humor and tenacity – sometimes succeeding, sometimes not, but always moving forward.

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Film Guide: Can you explain the meaning of the title?

Dee Rees: Well, each of the main characters is a “pariah.” They all have their fears, desires, strengths and weaknesses, and isolations. One thing I definitely worked on in the writing was showing the characters’ struggles to connect, and their worlds away from their families – where there are attitudes and expectations that they might not know how to handle.

FG: Does Pariah encapsulate your personal story?

DR: The characters are fictional, but some of the experiences and feelings that Alike is going through are the same. Much was coming from my own experience of this new world opening up to me.

Nekisa, in fact, took me to my first gay club and this explicit song was playing. I walked in and went, “Oh my God, I’m going to hell. This is it, my mom’s right.”

I was in awe of that type of space. I’d never been in a place like that before. So some of the awe and some of the anxiety the lead character feels were things I experienced when I was coming out, coming into this world. Parental conflict is something that I really went through, although it is dramatized differently for Alike.

FG: The music in Pariah is varied and plays an integral role in the storytelling.

Nekisa Cooper: We are so proud to feature a number of incredible independent music artists, from Sparlha Swa – whose music serves as the voice of Alike – and Tamar-kali to Honeychild Coleman – whose punk/rock music echoes Bina’s voice – to MBK Entertainment, who provided us with all of Laura’s hip-hop.

FG: What makes Adepero Oduye ideal to play Alike?

DR: When she showed up on the very first day of auditions for the short film, She came in wearing her little brother’s clothes and was completely focused.

It was like she had walked out of my pages.

She is brave and has these beautiful qualities of innocence and vulnerability. That’s all at Alike’s core.

Also, as a first-generation Nigerian immigrant who has grown up in New York City, Adepero has experienced being an outsider and the struggle to try to define her identity. Adepero is very specific in her craft.

damaged, it’s hard to get them back. Everyone has someone in their life that has gone through this. Just be more accepting of them. Love them unconditionally.

NC: In terms of changing hearts and minds, we joke about how it’s possible one-popcorn-bucketat-a-time. But we do want to open people’s minds and expose them to a world they haven’t seen before. Pariah might not change people’s minds, but it will at least get them talking.

Pariah in select theatres beginning December 28th.

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FG: Who do you hope to reach with Pariah?

DR: I think questioning and affirming your identity is a universal theme and I definitely want gay teens to connect with the film and see that it’s OK to be them.

FG: What about those close to these teens?

DR: I want parents and people who may not be open to better understand that they should allow their children to be who they are. Just think about how important relationships are. Once they’re fractured or

“ B r e a king i s f r e e i n g .

B r oke n i s f r e e d o m .

I am not br o k e n .

I am fr e e .”

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IN

DARKNESS

directed by Agnieszka Holland

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rom acclaimed director Agnieszka Holland, In Darkness is based on a true story.

Based in Nazi-occupied Lvov, Poland, 1943.

The weak prey upon the weaker, the poor steal from the less poor. No one can be trusted.

Leopold Socha, a sewer worker and petty thief, struggles to make ends meet for his wife and daughter. His friend Bortnik, a high-living Ukrainian officer, dangles the promise of a better life. All Socha has to do is find Jews hiding in the sewers.

After all, no one knows the system better than Socha, who uses it as a hiding place for his loot.

Soon enough Socha comes across a motley group of Jews trying to escape the upcoming liquidation of the Lvov ghetto by hiding in the sewers. They offer Socha money to protect them. Although he is aware that helping a Jew could mean immediate execution for him and his family, Socha sees this as easy cash and they strike a deal.

One of the group, Mundek Margulies, a con man who hides deep reserves of courage under a breezy manner, deeply distrusts Socha. Nevertheless when the Nazis strike, Socha helps the Jews, including two young children, escape into the sewers.

Socha’s challenges are just beginning as he tries to stay one step ahead of Bortnik’s growing suspicions that he is hiding a secret. Before long his fragile

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tightrope begins to fray. His charges start to crack under the immense strain of life underground.

Socha weighs the money he’s receiving against the threat of certain death to himself and his family.

Buckling under the pressure, he abandons them.

However, powerful circumstances intervene.

Socha saves Mundek’s life by helping him kill a German soldier. Then, stumbling upon the two children wandering lost and dazed in the sewers, he realizes that he cannot desert these people.

The trials for Socha and the group are relentless. In the sewer, a woman gives birth with tragic consequences.

Mundek falls desperately in love with feisty young Klara and decides on a foolhardy mission: entering into the very heart of darkness, the Janowska concentration camp, to rescue her sister. He persuades Socha to help him enter and then escape from the camp, compelling the sewer worker to take ever – greater risks.

Inevitably the Jews’ money runs out. But now there’s no turning back. Socha buys them food with his own money, moving them from one chamber to another, protecting them as the war grinds on and Bortnik gets ever closer to exposing him.

Then catastrophe – a devastating flash flood fills the sewers. Bortnik realizes that his friend has indeed betrayed him. And Socha is forced into one final, desperate act of courage.

, DIRECTOR S STATEMENT 2009 brought a number of new Holocaust stories in books and films. One may ask if everything has now been said on this subject. But in my opinion the main mystery hasn’t yet been resolved, or even fully explored. How was this crime (echoes of which continue in different places in the world from Rwanda to Bosnia) possible? Where was Man during this crisis? Where was God? Are these events and actions the exception in human history or do they reveal an inner, dark truth about our nature?

Exploring the many stories from this period uncovers the incredible variety of human destinies and adventures revealed in the richest texture of plots and dramas, with characters that face difficult moral and human choices, exercising both the best and the worst in human nature.

One of those stories is Leopold Socha and the group of Jews from Lvov’s ghetto, whom he hides in the city’s sewers. The main character is ambiguous: seemingly a good family man, yet a petty thief and a crook, religious and immoral at the same time, perhaps an ordinary man living in terrible times. During the story Socha grows in many ways as a human being. There is nothing easy or sentimental in his journey. This is why it’s fascinating. It’s why we can make this journey with him.

The group of Jews he saves is not made of angels. The fear, the terrible conditions, their own selfishness make them complex and difficult, sometimes unbearable human beings. But they are real and alive and their imperfections give them a stronger claim to their right to life than any idealized version of victims could.

I immediately liked the story, liked the potential of it, the characters and the script.

The biggest and the most exciting challenge for me as a filmmaker was the darkness itself. They live in the dark, stink, wet and isolation for over a year. We knew we had to express it, to explore this underground world in a very special, realistic, human and intimate way.

We wanted the audience to have the sensual feeling of being there and to maintain tension as the viewer slowly becomes attached to the story. The dynamic of the film is built on inter-cutting the worlds of the two leads, Socha and Mundek. These two worlds come together to be one, in which they must work together to survive.

— Agnieszka Holland Scan this tag to watch the official movie trailer.

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directed by David Cronenberg

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educed by the challenge of an impossible case, the driven Dr. Carl Jung (Michael Fassbender) takes the unbalanced yet beautiful Sabina Spielrein (Keira Knightley) as his patient. Jung collaborates with the renowned Sigmund Freud (Viggo Mortensen) as he attempts to cure Sabina with a new and dangerous treatment.

A Dangerous Method was directed by David Cronenberg (Eastern Promises, A History of Violence, Crash) from a screenplay

by Academy Award® -winning writer Christopher Hampton (Atonement, Dangerous Liaisons), who adapted his own stage play The Talking Cure for the screen.

JUNG, FREUD AND SPIELREIN: TRUE LIFE EVENTS A Dangerous Method portrays the true-life events of a decade long relationship between three pioneers of modern thought and founders of psychoanalysis: Carl Jung, Sigmund Freud and Sabina Spielrein Through the discovery of Spielrein’s diaries and correspondence with

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Freud and Jung, the film is able to reveal somewhat unknown aspects of these individuals’ lives.

Justice is accomplished in the meticulous care paid not only to the behaviors and intricacies of each character, but also to the individual and cultural views of human behavior as the pioneers explored varying thoughts about how to interpret these behaviors.

The accuracy of the film’s portrayal was enhanced not only by filming on location in Vienna at both the Burgholzli Hospital and Freud’s home, but also through the use of dialogue taken directly from the correspondence between Jung, Frued and Spielrein. Additionally, it is interesting to note that even the distinct images that explore the behaviors of a young, afflicted Spielrein are direct interpretations of the hospital records noting that the “patient laughs and cries in a strangely mixed, compulsive manner. Masses of tics, she rotates her head jerkily, sticks out her tongue, twitches her legs…

Cannot stand people or noise.”

When Spielrein arrived at Burgholzli Hospital at the age of eighteen,

she had been very protected from sexuality and sexual information.

She was assigned to Dr. Jung, the newly qualified doctor, as his first patient and records indicate that he diagnosed her as “hysteric”. Jung decides to attempt a new technique on Spielrein, one he had read about in a book by a Viennese neurologist, Sigmund Freud. The technique is psychoanalysis, later dubbed the “talking cure” – the dangerous method that inspired the film’s title. The audience quickly learns of Spielrein’s history of physical abuse and complex dysfunctional family relationships as well as her association between pain and love, with ultimately pain providing her sexual gratification. This intimate style of therapy is “dangerous” in that you are unsure of what it may uncover and it can lead to blurred boundaries between patient and doctor. This proved to be the case for Jung and Spielrein. However, it also proved to be a powerful healing process demonstrated by the fact that Spielrein’s behavior and mental clarity greatly improved in just a year.

Throughout this difficult and challenging case, Jung looked to Freud for advice and input, thus marking the commencement of the historic six-year partnership between the two men where

entry to the hospital in 1904 until the dissolving of the intricate partnership of Freud and Jung in 1912. Though Freud may be more of a celebrity, the film is clearly from Jung’s perspective, exploring

Jung is noted for his work on selfactualization, understanding the human psyche and his theories on personality. These concepts have become part of common language. Introverted, extraverted

they challenged, debated and explored many concepts in the search for the basic driving force behind human behavior and what led to episodes of mental illness.

his thoughts, beliefs and challenges when faced with succumbing to his sexual desires towards a patient, as well as going against the rigid ideas of his mentor. Jung had been a long admirer of Freud prior to their first meeting in Vienna in 1907 where they engaged in a thirteen-hour conversation. This initial meeting of such great minds marked Freud’s discovery of his heir. But Jung had never entirely accepted Freud’s theory. Their relationship began to cool in 1909 during a trip to America, where they were entertaining themselves by analyzing each others’ dreams.

Freud seemed to show resistance to Jung’s efforts and said that they would have to stop because he was afraid he would lose his authority. Jung was insulted and the relationship was never the same. Jung and Freud met faceto-face for the last time in 1913 for the International Psychoanalytical Congress in Munich, Germany.

Jung gave a talk on psychological types, the introverted and the extroverted, in analytical psychology. This constituted the introduction of some of the key concepts that came to distinguish Jung’s work from Freud’s in the next half-century.

and having a sense of self are all Jungian terms. Freud is most known for the concepts of id, ego and superego. Both Jung and Freud looked at the connection between the conscious and unconscious mind, but ultimately differed on theories of how they connected.

Additionally, though Spielrein is not often referenced in the history of the development of psychoanalysis, her theory of the sexual drive as being both an instinct of destruction and an instinct of transformation preceded both Freud’s “death drive” and Jung’s views on transformation. This illustrates how she inspired both men’s most creative ideas. Spielrein also brought psychoanalysis to Russia and was associated with works of renowned child-development theorist Jean Piaget, prior to being executed with her two daughters in the Holocaust. All three were brilliant in their own right, but their relationships with each other expanded their common drive to understand themselves as well as the behaviors of others.

Following Spielrein’s treatment, Jung continued an intellectual relationship with Spielrein as she began studying to become a psychoanalyst herself. At the same time, Jung began treating a new patient, fellow psychologist Otto Gross (played by Vincent Cassel) at the request of Freud.

Gross, who strongly believed in not repressing any desire, lived a life of excess and indulged in all things forbidden by society. Gross’ influence transformed Jung and Spielrein’s intellectual relationship into a sexual interlude as Jung was looking for validation and approval to act on a desire he knew to be against his better judgment.

However, this indulgence in a sexual relationship with Spielrein proved to be even more powerful and healing for her. Normalizing her “taboo” desires to experience pain via spankings and other submissive behaviors strengthened her mental health while the transgression may have weakened Jung’s.

A Dangerous Method explores their relationships from Spielrein’s

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directed by Asghar Farhadi

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et in contemporary Iran, A Separation is a compelling drama about the dissolution of a marriage. Simin wants to leave Iran with her husband Nader and daughter Termeh. Simin sues for divorce when Nader refuses to leave behind his Alzheimer-suffering father. Her request having failed, Simin returns to her parents’ home, but Termeh decides to stay with Nader.

When Nader hires a young woman to assist with his father in his wife’s absence, he hopes that his life will return to a normal state. However, when he discovers that the new maid has been lying to him, he realizes that there is more on the line than just his marriage.

INTERVIEW WITH THE DIRECTOR Film Guide: What was the trigger for this film? How was the idea born?

Asghar Farhadi: I was in Berlin working on a screenplay for a film taking place entirely in this city. One evening in my friend’s kitchen, I heard an Iranian tune playing next door. Suddenly my mind was overtaken by memories and images linked to another story. I tried to get rid of them, to concentrate on the screenplay I was developing. To no avail.

The ideas and images had taken root. They wouldn’t let go. In the street, in public transport, I was followed by this embryo of a story from somewhere else invading my Berlin time. I finally accepted that I was feeling

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closer to this story every day. So I went back to Iran and started writing this other screenplay. I guess we could say this film was conceived in a Berlin kitchen.

FG: How do you work with your actors?

AF: I usually take a long time to choose the actors and this was no exception.

I tend to avoid embarrassing actors with general considerations on the film or my vision of it. I feel the actor doesn’t need the global meaning of the film but must strive to concentrate on his own character’s definition and intentions. My method, in fact, is to adapt to each actor, his or her way of being and doing.

But what is constant is the importance of rehearsing. This is when the actors become their characters. During the shoot, we can concentrate on details, as the outline is already there. We took our time to rehearse, working from a very detailed screenplay, which we followed precisely, to enable each actor to understand the different dimensions of their characters. This approach may very well come from my experience with the theater. It doesn’t mean propositions or opinions are forbidden, but we agreed that rehearsals were the only place to discuss. Once we started shooting, we agreed that variations would be minimal.

FG: In what conditions did you shoot?

AF: All of the scenes were shot on location. However, for the scenes in the judge’s office and in court, as we weren’t

allowed to shoot in the real location, we built everything in two disaffected schools.

FG: Is the separation at the heart of your film only that of a couple?

AF: I don’t think it’s important for the audience to know my intention. I’d rather they left the cinema with questions. I believe that the world today needs more questions than answers. Answers prevent you from questioning, from thinking. From the opening scene, I aimed to set this up. The film’s first question is whether an Iranian child has a better future in his or her own country or abroad.

There is no set answer. My wish is that this film will make you ask questions such as these.

FG: Is there a reason both leading characters are female?

AF: In my films, I try to give a realistic and complex vision of my characters, whether male or female. I don’t know why women tend to be more of a driving force. Perhaps it’s an unconscious choice. It could also be that in a society in which women are oppressed, men can also no longer live in peace. Currently in Iran it is the women who are struggling most in an attempt to recover the rights they have been deprived of.

They are at once more resistant and more determined. But if the two characters both happen to be women, they have nevertheless made very different life choices.

Both are trying to save their hides.

One is from the poor underclass, with all its attendant particularities, while the other is middle-class.

FG: Was it your intention to draw a more contrasted portrait of Iranian women?

AF: Western audiences often have a very fragmented image of the Iranian woman, whom they see as being passive,

homebound, far from any kind of social activity. Perhaps a certain number of women in Iran do live like that, but for the most part women are highly present and active in society, and in a much more forthright manner than men, despite the restrictions they are subjected to.

Both kinds of women are present in the film, without either being condemned or proclaimed a heroine. The confrontation between these two women is not that of good versus bad. They are simply two clashing visions of good. And that is where, in my opinion, modern tragedy resides. Conflict sparks between two positive entities and what I hope is that the viewer will not know whose victory to wish for.

FG: Do you feel it is necessary to know the culture or language to understand all possible reading levels?

AF: It is probably easier for an Iranian audience to establish a complete relationship with the film. Knowing the language, but also the context and social texture in which the story is set will no doubt open up less obvious interpretations. Yet at the heart of the story is a married couple.

Marriage is a form of relationship between two human beings unrelated to the period or society in which it is set. And the issue of human relationships is not specific to a given place or culture. It is one of modern society’s most essential and complex concerns.

So I feel that the subject of the film makes it accessible to a wider public, beyond geographical, cultural or linguistic frontiers.

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directed by Roman Polanski

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arnage is a razor-sharp, biting comedy centered on parental differences. After two boys duke it out on a playground, the parents of the “victim” invite the parents of the “bully” over to work out their issues.

A polite discussion of childrearing soon escalates into verbal warfare, with all four parents revealing their true colors. None of them will escape the carnage.

ABOUT CARNAGE Academy Award®-winning director Roman Polanski directs Kate Winslet, Jodie Foster, John C. Reilly and Christoph Waltz in Carnage, the screen adaptation of the smash comedy play God of Carnage by Yasmina Reza.

The bitterly amusing story of two families who become locked in a showdown after their children are involved in a playground squabble, Carnage shines a

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spotlight on the risible contradictions and grotesque prejudices of four well-heeled American parents.

Shot in real time as the four adults meet to settle the dispute, Carnage pits power couple Nancy and Alan Cowan against the liberal writer and campaigner Penelope Longstreet and her wholesaler husband, Michael. Unpredictable and shocking, the film hilariously exposes the hypocrisy lurking behind their polite façades.

Hailed by the critics and public alike, the play enjoyed sell-out runs in Paris, London and on Broadway after its premiere in 2006 and won a slew of awards at both the Olivier Awards and the Tony® Awards, including Best Play and Best Direction of a Play.

As soon as he saw the play, Roman Polanski knew it would make an exciting film. “The tone of the play was hilarious and the pace fast-moving. What particularly attracted me was the real-time action.

I’d never made a film without the slightest ellipse and I don’t remember ever seeing one either.”

Polanski brought on the author of the play, Yasmina Reza, to adapt it for the screen. Originally set in Paris, the play’s location was moved to New York when it was transferred to Broadway in 2009. It is in Brooklyn that Polanski chose to set his film adaptation.

“The spirit of the play seemed to me more American than French and Brooklyn would be a likely place for this kind of liberal family to live.”

The director also wanted to remain faithful to the play’s real-time setting where the action unfolds over 90 minutes without breaks and in one location – despite the challenges that would mean. “It’s a challenge to make a film in real time,” says Polanski. “Ever since I was a child I enjoyed films that evolved in a single location far more than action films. I like the sensation of the proximity to the characters, similar to the feeling to be found in Dutch paintings such as Van Eyck’s The Arnolfini Wedding, where the artist gives the spectator the sensation of being in the room. I’ve made films before set in an enclosed space, but not as rigorously self-contained as on this occasion, so that was a new experience.”

Polanski assembled an all-star cast for Carnage including Academy Award®-winner Kate Winslet (Mildred Pierce, The Reader) and Academy Award®-winner Christoph Waltz (Water for Elephants, Inglourious Basterds) as Nancy and Alan Cowan, opposite Academy Award®-winner Jodie Foster (Panic Room, The Silence of the Lambs) and Academy Award®-nominee John C. Reilly (We Need to Talk About Kevin, Chicago, Magnolia) as Penelope and Michael Longstreet.

All of the actors were required to be on set all day, every day, throughout the shoot, as they all appear in every scene. “To film in that way you must have actors who can live with each other,” says Polanski. “The four characters they were playing were of such different traits and types. It was a stroke of luck that these four actors could function so well together in complete harmony. It just doesn’t happen on every production!”

Kate Winslet describes her character, investment broker Nancy Cowan, as “an extremely busy working mother who constantly feels desperately guilty about not being present enough in her child’s life and yet has very forthright opinions about motherhood and parenting when in fact she’s clutching at straws. Although she loves her child, there are certain areas where she doesn’t really know what she’s talking about.”

For Winslet the play’s success resides in how its universal themes are couched in humor. “It’s a window on so many of our worlds,” she says. “It’s about the complexities of parenting, it’s about how children should be raised, and it’s about the endlessly complex dynamic that is marriage. And to have turned it into a comedy in the way that Yasmina did is even more enriching and enlightening for everybody. To be able to laugh at ourselves, to be able to make fun of the human condition, is the thing that no matter what language you speak or which country you’re in or what your personal circumstances are we’ve all experienced in some way.”

For Jodie Foster, who plays campaigner Penelope Longstreet, the ideas the story tackles provided the strongest attraction. “Although it’s satirical and outlandish in some respects, the relationships between the characters have a genuine grounding in real psychology, in family psychology, and it’s the tapestry of people’s lives that I find most fascinating – how they interact with each other, how they drive each other crazy, how they stab each other over and over again, not just in this generation but also the next. Our ideas about morality are constructs and in fact we’re all very primitive.

We’re all monstrous in some ways and if we took responsibility for that, we’d probably be better off.”

John C. Reilly takes on the role of Michael Longstreet, a housewares supply salesman with social ambitions.

“He aspires to be a class higher than where he came from. His wife Penelope is much more intellectual.

She’s a writer and she’s very concerned with global issues and justice in the world. In some ways each of the characters is a hypocrite who thinks that if only everyone thought the way they thought then the world would be perfect. So Michael puts on his best face for the meeting with Nancy and Alan but eventually he can’t take it anymore and explodes.”

And even though Carnage might provide a devastating portrait of American parenting, the satire of the piece keeps things from becoming overly dark. “It’s a perfect setup for comedy,” says Reilly. “Whenever you put people in a difficult situation and make them behave in a polite way – that’s an age old recipe for comedy.”

Carnage, from Sony Pictures Classics, will open this December.

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directed by Joe Carnahan

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group of oil-rig roughnecks are left stranded on the sub-arctic tundra after their plane experiences a complete mechanical failure and crashes into the remote Alaskan wilderness. The survivors, battling mortal injuries, biting cold and ravenous hunger, are relentlessly hunted and pursued by a vicious pack of rogue wolves.

boss, a man named Andy Crittenden was a real film buff and when I told him I wanted to make a low budget feature but would need to use some of the station’s equipment to do so, he was completely supportive. That film was called Blood Guts Bullets and Octane. It was made for about $8000.00 and got into the Sundance Film Festival.

Film Guide: I read that you used to move furniture for a living.

What was the big break that got you from that to making films?

FG: You have made a nice transition from indie action films to larger budget “high-octane” films. Do you feel this is your niche, or do you see other genres in your future?

Joe Carnahan: I moved furniture throughout college. It was tough but taught me a lot about labor in general. Hard work is hard work.

And trust me, if you can carry triple dressers up spiral staircases ten hours a day you can make a movie.

I worked at a small television station in Sacramento after college. My

JC: I’m interested in all genres and I think it’s dangerous for a filmmaker to qualify or quantify their films as one specific thing. I don’t think Smokin Aces and The Grey have anything in common beyond my affection for them as their own stories. I look at film like I look at my taste in music. It’s wild

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and varied and very non-specific. I hope to keep it that way. It’s more interesting. My next film will likely be Killing Pablo about the hunt for the great Colombian gangster Pablo Escobar. A good deal of that film will be in Spanish, so that will be a fascinating challenge and a pretty cool change of pace.

FG: Tell us about working with Liam Neeson in The Grey. How did it compare to working with him on The A-Team?

JC: We throw the phrase “consummate professional” around pretty freely these days but Liam was truly the personification of that. To follow me out into sub-zero temps with no creature comforts beyond a snow cat that he shared with every other member of the cast on location was a testament to how much he believed in the script.

FG: Were the shooting conditions on The Grey really that intense?

JC: We worked in some brutal conditions and were kicked off the mountain three times during shooting due to “whiteout” and 70 mph winds. When you see the finished film though, you see exactly how tough it was. We were outside Smithers, British

Colombia and it gets down to 25 below freezing on a regular basis.

We had really about 5 shooting hours during the day due to those conditions and then frostbite would set it if you went much beyond that. I saw a woman watching the film recently and she put her coat on during the blizzard sequence.

I thought that was hysterical.

FG: What moment or scene during the entire production do you remember the most?

JC: I remember shooting on the mountain and the winds really picked up. We could barely see one another and Nonso Anozie, who plays Burke in the film and is a classically trained Shakespearean actor, began reciting a monologue from The Tempest, railing against the oncoming storm. I thought it was magical. Instead of complaining about the cold and the conditions, he decided to attack it with this great speech from The Bard.

FG: What do you think presents greater danger for the characters in The Grey, the weather elements (bitter cold) or nature (the wolves)?

JC: I think they are all one in the same. The wolves are as much a part of the natural threat in this

film as the blizzards or the river or the cliffside or anything else the survivors encounter. It’s about the unnatural encroachment of man and industry on the natural world – and that world fighting back. The wolves, like the wind or the snow, are representative of nature itself. What belongs versus what doesn’t? Ottway (Liam Neeson) and the rest of the survivors are the intruders here.

They are out of their natural habitat.

FG: Now that you’ve directed four feature films, are there any writers, directors or actors out there you would like to collaborate with in the future?

JC: The list is long and varied. I wish I’d been able to work with Paul Newman. He was my all-time favorite and I don’t think we’ll see another one quite like him.

FG: What’s next for Joe Carnahan?

JC: An electric blanket and a hot bowl of soup!

Scan this tag to watch the official movie trailer.

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winter 2011

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it too simple and you under-represent the story’s complexities. But make it too complicated and you distance everybody. It’s been a real balancing act.

“What’s as relevant now as it was thirty-odd years ago and will be in a hundred years’ time is how people betray one another’s trust.”

directed by Thomas Alfredson screenplay by Bridget O'Connor & Peter Straughan

T

he time is 1973. The Cold War of the mid-20th century continues to damage international relations. Britain’s Secret Intelligence Service (SIS), a.k.a. MI6 and code-named the Circus, is striving to keep pace with other countries’ espionage efforts and to keep the UK secure. George Smiley (Gary Oldman), a retired career spy with razor-sharp senses, is rehired in secret at the government’s behest, as there is a gnawing fear that the Circus has long been compromised by a double agent, or mole, working for the Soviets and jeopardizing England. He learns that the list of mole suspects has been narrowed down to five men. They are the ambitious Percy Alleline (Toby Jones), whom he had code-named Tinker; suavely confident Bill Haydon (Colin Firth), dubbed Tailor; stalwart Roy Bland (Ciarán Hinds), called Soldier; officious Toby Esterhase (David Dencik), dubbed Poor Man; and – Smiley himself. Even before the startling truth is revealed, the emotional and physical tolls on the players enmeshed in the deadly international spy game will escalate….

George Smiley is author John le Carré’s most famous character. Introduced in 1961 with the publication of the author’s first novel, “Call for the Dead,” the quiet spy would return in some of le Carré’s most famous works. Among them was what is often regarded as his finest book, “Tinker Tailor Soldier Spy,” published in 1974 and acclaimed as a masterpiece of espionage fiction.

“The story, at its core, is a whodunit,” says producer Tim Bevan. “Who is the double agent? But that core spirals into helixes and the story moves through a couple of different periods of time. Make

While considering directors for the movie, Bevan fielded a phone call from Tomas Alfredson, the Swedish filmmaker who had caught the world film community’s attention with his striking and empathetic feature Let the Right One In. "I think that all of the musclebound guys, they go and they join the army.

And the nerds, they are the spies."

“I asked for his take on the material. He said, ‘Well, I think that all of the musclebound guys, they go and they join the army. And the nerds, they are the spies.’ I thought, ‘Now, there’s an angle...’

We were looking for a directorial vision from a confident filmmaker to firmly guide the audience through the narrative of this complex story. Tomas was a bit of an unlikely candidate, but le Carré saw Let the Right One In and said, ‘Go with him.’”

Lead actor Gary Oldman took on the challenge of starring in a feature film as one of fiction’s most iconic spies.

Alfredson says, “When Gary was suggested for the role, the reaction was, ‘Perfect!’ Just look at this actor’s career and how many different characters he’s played. Gary has all the star quality, yet he is also a chameleon. He doesn’t have this voice that you would recognize through a wall.

Based on the John le Carré classic that redefined the spy thriller.

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“Gary tells us so much about Smiley through even the smallest expressions. When he raises his voice even a little, the effect is enormous. It’s a very vulnerable approach for an actor to work with such subtlety. It’s been fantastic to see.”

a director who was guiding you towards the kind of character details and extra layers that you’re always hoping to discover and who comes at everything from different angles that would often astonish.”

Tinker Tailor Soldier Spy in select theatres beginning December.

Scan this tag to watch the official movie trailer.

Get the free mobile app at http://gettag.mobi

Benedict Cumberbatch, who plays opposite Oldman as Smiley’s Circus colleague Peter Guillam, found him to be “so inclusive to other actors. There’s nothing precious about what Gary does.

“But we were doing this one scene, where Smiley is recalling a past encounter, and it became a very thin line for me not to fall over.

Guillam is enthralled, and I was mesmerized!

Gary was completely inhabiting Smiley.”

The power shift atop the Circus that occurs early in the story benefits the personable Bill Haydon, portrayed

by Academy Award®-winner Colin Firth. The actor comments, “Haydon wields considerable power in dealing with foreign operations. He’s very much looked up to by some of the younger members of the organization, with hero worship. They’re subscribing to his self-image: dashing, with a kind of glamour and rather cavalier. He’s the one who rides his bicycle into the office and through the typing pool.

That’s indicative of the confidence and flair that he operates with.”

Mark Strong, who plays field agent Jim Prideaux, states, “This shoot was a revelation and not only because of playing scenes from a brilliant script with these actors. There was

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FILMPREVIEWS

a quick look at upcoming alternative & independent films

ALBERT NOBBS

Director: Rodrigo Garcia Award winning actress Glenn Close (Albert Nobbs) plays a woman passing as a man in order to work and survive in 19th century Ireland. Some thirty years after donning men’s clothing, she finds herself trapped in a prison of her own making. Mia Wasikowska, Aaron Johnson and Brendan Gleeson join a prestigious international cast that includes Jonathan Rhys Meyers, Janet McTeer, Brenda Fricker and Pauline Collins.

THE ARTIST

Director: Michel Hazanavicius Hollywood, 1927. George Valentin is a silent-movie superstar. The advent of the talkies will sound the death knell for his career and see him fall into oblivion. For young extra Peppy Miller, it seems the sky’s the limit – major movie stardom awaits. The Artist tells the story of their interlinked destinies.

BERNIE

Director: Richard Linklater Jack Black plays Bernie, the beloved mortician in a small Texas town. MacLaine is the town’s richest, meanest widow, and even she adores him. No one will say a bad word about Bernie – even after he commits a very nasty crime.

THE BEST EXOTIC MARIGOLD HOTEL Director: John Madden

The Best Exotic Marigold Hotel follows a group of British retirees who decide to “outsource” their retirement to less expensive and seemingly exotic India. Enticed by advertisements for the newly restored Marigold Hotel and bolstered with visions of a life of leisure, they arrive to find the palace a shell of its former self. Though the new environment is less luxurious than imagined, they are forever transformed by their shared experiences, discovering that life and love can begin again when you let go of the past.

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FIL M PREVIEWS THE BULLY PROJECT Director: Lee Hirsch

Directed by Sundance and Emmy-award winning filmmaker, Lee Hirsch, The Bully Project is a beautifully cinematic, character-driven documentary that examines the dire consequences of bullying through the testimony of strong and courageous youth. Through the power of their stories, the film aims to be a catalyst for change in the way we deal with bullying as parents, teachers, children and society as a whole.

At its heart are those with huge stakes in this issue whose stories each represent a different facet of America’s bullying crisis.

CATCH .44

Director: Aaron Harvey Three hit women are sent to rural Louisiana to intercept a big money dope deal, but when they get to the near-empty roadside café, bullets blast apart what was supposed to be a simple transaction. It could be a huge, bloody misunderstanding but it might also be a deadly double-cross.

CORIOLANUS

Director: Ralph Fiennes Caius Martius “Coriolanus” (Ralph Fiennes), a revered and feared Roman general is at odds with the city of Rome and his fellow citizens. Pushed by his controlling and ambitious mother Volumnia (Vanessa Redgrave) to seek the exalted and powerful position of Consul, he is loath to ingratiate himself with the masses whose votes he needs in order to secure the office. When the public refuses to support him, Coriolanus’s anger prompts a riot that culminates in his expulsion from Rome. The banished hero then allies himself with his sworn enemy Tullus Aufidius (Gerard Butler) to take his revenge on the city.

DEEP BLUE SEA

Director: Terence Davies Adapted and directed by Terence Davies, The Deep Blue Sea stars Rachel Weisz as Hester Collyer who leads a privileged life in 1950s London as the beautiful wife of high court judge Sir William Collyer. To the shock of those around her, she walks out on her marriage to move in with young ex-RAF pilot, Freddie Page, with whom she has fallen passionately in love.

THE DESCENDANTS Director: Alexander Payne

Matt King (George Clooney) is an indifferent husband and father of two girls who is forced to re-examine his past and embrace his future when his wife suffers a boating accident off of Waikiki. The event leads to a rapprochement with his young daughters while Matt wrestles with a decision to sell the family’s land handed down from Hawaiian royalty and missionaries.

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FIL M PREVIEWS DESIR

Director: Frederick Wiseman Acclaimed documentary filmmaker Frederick Wiseman explores one of the most mythic and colorful places dedicated to women, the Crazy Horse, a legendary Parisian cabaret club founded in 1951 by Alain Bernardin. Over the years it has become the Parisian nightlife must for visitors, ranking alongside the Eiffel Tower and the Louvre. Wiseman’s impeccable eye finds the Crazy Horse a uniquely French showcase with an emphasis on elegance, perfectionism and a grueling schedule. The film shows us the rehearsals and unveiling of the brand new show – Désir – created by the renowned French choreographer Philippe Decouffle.

THE DIVIDE

Director: Xavier Gens In this graphic and violent, post-apocalyptic thriller, nine strangers – all tenants of a New York high rise apartment – escape a nuclear attack by hiding out in the building’s bunker-like basement. Trapped for days underground with no hope for rescue, and only unspeakable horrors awaiting them on the other side of the bunker door, the group begins to descend into madness, each turning on one another with physical and psycho-sexual torment. While in the bunker allow themselves to be overcome by desperation and lose their humanity, one survivor holds onto a thin chance for escape even with no promise of salvation on the outside.

EXTREMELY LOUD AND INCREDIBLY CLOSE Director: Stephen Daldry

Oskar (Thomas Horn) is convinced that his father (Tom Hanks), who died in the 9/11 attacks on the World Trade Center, has left a final message for him hidden somewhere in the city. Feeling disconnected from his grieving mother (Sandra Bullock) and driven by a relentlessly active mind that refuses to believe in things that can’t be observed, Oskar begins searching New York City for the lock that fits a mysterious key he found in his father’s closet. His journey through the five boroughs takes him beyond his own loss to a greater understanding of the observable world around him.

THE IRON LADY

Director: Phyllida Lloyd The Iron Lady is a surprising and intimate portrait of Margaret Thatcher (Meryl Streep), the first and only female Prime Minister of the United Kingdom. One of the 20th century’s most famous and influential women, Thatcher came from nowhere to smash through barriers of gender and class to be heard in a maledominated world.

IN THE LAND OF BLOOD AND HONEY Director: Angelina Jolie

Set against the backdrop of the Bosnian War that tore the Balkan region apart in the 1990s, the story of Danijel and Ajla, two people from different sides of a brutal ethnic conflict. Danijel, a soldier fighting for the Serbs, and Ajla, a Bosnian held captive in the camp he oversees, knew each other before the war and could have found love with each other. But as the armed conflict takes hold of their lives, their relationship grows darker, their motives and connection to one another ambiguous, their allegiances uncertain.

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FIL M PREVIEWS INTO THE ABYSS Director: Werner Herzog

In his fascinating exploration of a triple-homicide case in Conroe, Texas, master filmmaker Werner Herzog probes the human psyche to explore why people kill and why a state kills. In intimate conversations with those involved, including 28-year-old death-row inmate Michael Perry (scheduled to die within eight days of appearing on-screen), Herzog achieves what he describes as “a gaze into the abyss of the human soul.” Herzog’s inquiries also extend to the families of the victims and perpetrators as well as a state executioner and pastor who’ve been with deathrow prisoners as they’ve taken their final breaths. As he’s so often done before, Herzog’s investigation unveils layers of humanity, making an enlightening trip out of ominous territory.

JEFF, WHO LIVES AT HOME Director: Jay Duplass, Mark Duplass

On his way to the store to buy wood glue, Jeff looks for signs from the universe to determine his path. However, a series of comedic and unexpected events leads him to cross paths with his family in the strangest of locations and circumstances.

Jeff just may find the meaning of his life... and if he’s lucky, pick up the wood glue as well.

JIRO DREAMS OF SUSHI Director: David Gelb

In the basement of a Tokyo office building, 85-year-old sushi master Jiro Ono works tirelessly in his world-renowned restaurant Sukiyabashi Jiro. As his son Yoshikazu faces the pressures of stepping into his father’s shoes and taking over the legendary restaurant, Jiro relentlessly pursues his lifelong quest to create the perfect piece of sushi.

THE LADY

Director: Luc Besson From director Luc Besson comes an epic love story about how an extraordinary couple and family sacrifice their happiness at great human cost for a higher cause.

This is the story of Aung San Suu Kyi and her husband, Michael Aris. Despite distance, long separations and a dangerously hostile regime, their love endures until the very end. A story of devotion and human understanding set against a background of political turmoil that continues today, The Lady also is the story of the peaceful quest of the woman who is at the core of Burma’s democracy movement.

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FIL M PREVIEWS MISS BALA

Director: Gerardo Naranjo In this Mexican thriller, a young woman clings on to her dream of becoming a beauty contest queen in a country dominated by organized crime.

MY WEEK WITH MARILYN Director: Simon Curtis

Colin Clark met Marilyn Monroe while working as a young assistant on Laurence Olivier’s The Prince and the Showgirl. When Marilyn experienced emotional difficulties during shooting, the 23-year-old third-assistant director came to her aid and romance developed. But one week of honesty and fun was not enough to save the doomed star from self-destruction.

NORWEGIAN WOOD Director: Anh Hung Tran

Upon hearing the song “Norwegian Wood,” Toru remembers back to his life in the 1960s when his friend Kizuki killed himself and he grew close to Naoko, Kizuki’s girlfriend. As the two try in very different ways to contend with their grief, Toru forms a bond with another woman, Midori.

ONCE UPON A TIME IN ANATOLIA Director: Nuri Bilge Ceylan

A haunting story about a group of men, among them a local prosecutor, doctor, police chief and two murder suspects, who go in search of a missing body in the Anatolian steppes, Once Upon a Time in Anatolia is a breathtakingly beautiful work from celebrated Turkish director Nuri Bilge Ceylan.

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FIL M PREVIEWS ORANGES AND SUNSHINE Director: Jim Loach

Set in 1980s Nottingham, social worker Margaret Humphreys holds the British government accountable for child migration schemes and reunites the children involved, now adults living mostly in Australia, with their parents in Britain.

PINA

Director: Wim Wenders “Dance, dance, or we are lost.” Pina Bausch’s final words summarize her life and provide the inspiration for acclaimed director Wim Wenders’ breathtaking tribute to the legendary choreographer. Bausch and her Tanztheater Wuppertal elevated dance into brilliantly subversive new expressive realms. In this exhilarating film Wenders captures the raw, heart-stopping intensity of the movement and in stunning 3D transforms it into a transcendent cinematic experience. As Germany’s official entry for the Oscar for Best Foreign Language Film, Pina features interviews with and performances by Bausch’s beloved original company members and offers an indelible image of an artist who went the full distance in her uncommonly rich creative life.

SALMON FISHING IN THE YEMEN Director: Lasse Hallstrom

Dr. Alfred Jones, a fisheries scientist in London, is approached by a mysterious sheikh about an outlandish plan to introduce the sport of salmon fishing into the desert in Yemen. The Sheikh’s absurd vision of bringing faith and hope to his people fails to resonate with the faithless, unhappy Brit. However, after initially refusing the proposal, Dr. Jones is swayed by the British government, the Sheikh and the Sheikh’s glamorous real estate rep Harriet and into accepting the job. The result is a ridiculous look at the dysfunction of government bureaucracy and the importance of faith in the face of impossibility.

THE SALT OF LIFE

Director: Gianni Di Gregorio

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In his warm and witty follow-up to his 2010 Italian sensation Mid-August Lunch, writer-director-actor Gianni Di Gregorio has created another irresistible manifesto of his love of women – but this time he plays a middle-aged retiree who has become invisible to all distaff Romans, regardless of age or relation. In The Salt of Life he contends with an aristocratic, spendthrift mother, a wife who is more patronizing friend than romantic partner, a daughter with a slacker boyfriend whom Gianni unwillingly befriends, and a wild young neighbor who sees him merely as her dog walker. Watching his “codger” friends snare beautiful younger women on the sun-kissed cobblestones of Trastevere, Gianni tries his polite, utterly gracious best to generate some kind of extracurricular love life – with both hilarious and poignant results.

FIL M PREVIEWS SHAME

Director: Steve McQueen Brandon (Michael Fassbender) is a New Yorker who shuns intimacy with women but feeds his desires with a compulsive addiction to sex. When his wayward younger sister (Carey Mulligan) moves into his apartment stirring memories of their shared painful past, Brandon’s insular life begins to spiral out of control.

SILENT HOUSE

Director: Chris Kentis, Laura Lau Directed by fillmmaking duo Chris Kentis and Laura Lau (Open Water), Silent House is an enthralling and unsettling horror thriller starring Elizabeth Olsen as Laura, a young woman whose panic grows into terror as she finds herself sealed inside her family’s crumbling lake house. With no electricity and no contact to the outside world, Laura experiences events throughout the house that become increasingly frightening and bloody.

TYRANNOSAUR

Director: Paddy Considine This is the story of Joseph, a man plagued by violence and a rage that is driving him to self-destruction. As Joseph’s life spirals into turmoil, a chance of redemption appears in the form of Hannah, a Christian charity-shop worker. Their relationship develops to reveal that Hannah is hiding a secret of her own with potentially devastating effects on both of their lives. Tyrannosaur is an exploration of how love and friendship can be found in the darkest of places.

UNDEFEATED

Director: Dan Lindsay, TJ Martin Set in the inner-city of Memphis, this coming-of-age documentary chronicles the Manassas Tigers’ 2009 football season, on and off-the-field, as they strive to win the first playoff game in the high school’s 110-year history. A perennial whipping boy, in recent decades Manassas had gone so far as to sell their home games to the highest bidder. That all changed in the spring of 2004 when Bill Courtney, a former high school football coach turned lumber salesman, volunteered to lend a hand.

Focusing more on winning young men than football games, the football program began resurrecting itself and in 2009 featured the most talented team Manassas had ever fielded, a team poised to end the playoff jinx that had plagued the school since time immemorial. winter 2011

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FIL M PREVIEWS W.E.

Director: Madonna W.E. tells the story of two fragile but determined women, Wally Winthrop and Wallis Simpson, separated by more than six decades. In 1998, lonely New Yorker Wally Winthrop is obsessed with what she perceives as the ultimate love story: King Edward’s VIII’s abdication of the British throne for the woman he loved, American divorcée Wallis Simpson. But Wally’s research, including several visits to the Sotheby’s auction of the Windsor Estate, reveals that the couple’s life together was not as perfect as she thought. Weaving back and forth in time, the film intertwines Wally’s journey of discovery in New York with the story of Wallis and Edward, from the glamorous early days of their romance to the slow unraveling of their lives in the decades that followed.

WE NEED TO TALK ABOUT KEVIN Director: Lynne Ramsay

A suspenseful and psychologically gripping exploration into a parent dealing with her child doing the unthinkable, We Need to Talk About Kevin is told from the perspective of Eva. Always an ambivalent mother, Eva has had a contentious relationship with Kevin literally since birth. Kevin, now 15-years-old, escalates the stakes when he commits a heinous act, leaving Eva to grapple with her feelings of grief and responsibility, as well as the ire of the community-at-large. The film explores nature vs. nurture on a whole new level as Eva’s own culpability is measured against Kevin’s innate evilness. Ramsay’s masterful storytelling leaves enough moral ambiguity to keep the debate going.

YOUNG ADULT

Director: Jason Reitman Academy Award®-winner Charlize Theron plays Mavis Gary, a writer of teen literature who returns to her small hometown to relive her glory days and attempt to reclaim her happily-married high-school sweetheart (Patrick Wilson). When returning home proves more difficult than she thought, Mavis forms an unusual bond with a former classmate (Patton Oswalt) who hasn’t quite gotten over high school either.

, YOUR SISTER S SISTER Director: Lynn Shelton

Set against the damp foliage of the Pacific Northwest, Humpday star Mark Duplass plays Jack, still reeling from his brother’s death a year earlier. His close friend Iris (Emily Blunt), who happens to also be the ex of Jack’s brother, ships him off to her family’s remote vacation home so he can be alone to get himself back together. Jack unexpectedly finds Iris’ sister Hannah there for similar purposes, and the two quickly get to know each other over an evening of tequila. When Iris arrives unannounced the next morning, it sets off a chain reaction of revelations and shifting dynamics.

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