Entertainment
Read THRs Day 1 Digital Festival Daily – The Hollywood Reporter
Hollywood journalist released its first digital daily issue of the Venice Film Festival, which features a discussion with Paul Schrader on entering Venice The card counter, a preview of Maggie Gyllenhaal’s directorial debut, Edgar Wright detailing what it was like to film Last night in Soho during containment, among others.
Existential thriller “The Man in a Room”
The last time prolific filmmaker and legendary screenwriter Paul Schrader stepped off a vaporetto in Venice, the city had just served as the stage for his late-career critical resurrection. Schrader’s 21st directorial film, the scorching existential thriller First reformed, presented in preview at the 2017 edition of the Venice Film Festival with an almost unanimous reception, the critics hailing it as the masterful culmination of the obsessions which crossed his nearly five decades in the cinema. Schrader returns to the competition schedule in Venice this year with the last man in an iteration of a piece, The card counter. Ahead of The card counterthe Venice premiere on September 2, THR connected with Schrader to discuss his lifelong interest in all the flavors of disgruntled loners and how the pandemic ultimately helped him make a better movie.
Maggie Gyllenhaal: the director
It was working together on 2018 Kindergarten teacher, her first feature film as a producer, which Maggie Gyllenhaal told her Pie Films producer partners Osnat Handelsman-Keren and Talia Kleinhendler about her desire to direct. She focused on Elena Ferrante’s short story in 2006 The lost girl, the story of a UK literature professor on summer vacation who, after befriending a young mother, grapples with the heavy burden of parenting her own daughters and taking care of aware that she feels liberated now that they are adults. THR Take a look at Gyllenhaal’s first stint behind the camera and how to do it six months after the start of a global pandemic made it a gamble.
“An emotional journey in many ways”
One of the most anticipated films to see its release schedule repeatedly torn to shreds due to the pandemic, Focus Features’ psychological horror Last night in Soho finally bowed out in Venice, almost a year after its initial release. It’s the end of a moving journey for director Edgar Wright, who first began to imagine the idea – a time-consuming tale of a young fashion student (played by Thomasin McKenzie) who is transported in the 1960s and in the body of a singer. (Anya Taylor-Joy) – over ten years ago in homage to the legendary Central London district. Talk to THR Ahead of the film’s world premiere in Venice, the British filmmaker discusses shooting a film in one of London’s busiest areas (mostly in the dead of night, while the city slept), spotting Taylor-Joy as he was on the Sundance jury and why he felt it was important to turn down offers from major studios in order to make his original film.
Click here To download THR‘s Venice Day 1 Digital Daily.
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