For Henry Lloyd-Hughes, shooting the scenes of “We Were the Lucky Ones” that take place in a Soviet gulag in Siberia were taxing to shoot but in “the right way” due to how it was shot. “All of those scenes, by and large, were shot chronologically, which meant that there was an intensity to that period of work for me that was physically challenging and mentally grueling, but in a way that I think was right for what we were trying to get across,” he describes to Gold Derby during our recent webchat (watch the exclusive video interview above). Those scenes also got a surprise boost from the weather in Romania in the form of an unexpected snowstorm. “They had set aside these cannons, like these hoses of snow to try and cover it to make it look like Siberia. Then two days to go and there’s a huge...
- 5/6/2024
- by Charles Bright
- Gold Derby
As of Episode 4, “We Were the Lucky Ones” is still in the midst of the Nazi domination of Europe. But the Hulu limited series has already displayed a preference for swerving away from the expected tropes of the period. It’s telling a World War II saga that features no battlefields and a chronicle of Jewish resistance that is more about forging and smuggling than about killing Nazis.
“We Were the Lucky Ones” is all the better for showing the audience new kinds of hardships and new avenues for survival, too. It shines when dramatic moments feel specific to the Kurcs, the Polish Jewish family the show follows as the war scatters them across Europe and even further afield, as opposed to the kinds of war imagery that, given the number of WWII dramas each year, can appear standard issue.
Avoiding cliches but still showing the scope Nazi oppression, to...
“We Were the Lucky Ones” is all the better for showing the audience new kinds of hardships and new avenues for survival, too. It shines when dramatic moments feel specific to the Kurcs, the Polish Jewish family the show follows as the war scatters them across Europe and even further afield, as opposed to the kinds of war imagery that, given the number of WWII dramas each year, can appear standard issue.
Avoiding cliches but still showing the scope Nazi oppression, to...
- 4/6/2024
- by Sarah Shachat
- Indiewire
Michelle Williams will play Katherine Parr, the last of Henry VIII’s six wives, in Karim Aïnouz’s “Firebrand.”
The film marks the English-language debut of Karim Aïnouz, and goes into production in the U.K. in early 2022. The film is produced by Gabrielle Tana of Magnolia Mae Films, and written by Henrietta and Jessica Ashworth (“Killing Eve”).
Aïnouz’s “Mariner of the Mountains” premieres in Cannes as a Special Screening on July 9.
“I could not be more excited to be bringing the undiscovered story of Katherine Parr to the screen, a ferociously brilliant woman who I am inspired by deeply and has been largely invisible, or certainly under-represented in English history,” said Aïnouz. “Much is known about Henry VIII’s tyrannical reign, and those who perished and suffered at his hands, but my focus here is on a woman who not only managed to survive, but also, to thrive.
The film marks the English-language debut of Karim Aïnouz, and goes into production in the U.K. in early 2022. The film is produced by Gabrielle Tana of Magnolia Mae Films, and written by Henrietta and Jessica Ashworth (“Killing Eve”).
Aïnouz’s “Mariner of the Mountains” premieres in Cannes as a Special Screening on July 9.
“I could not be more excited to be bringing the undiscovered story of Katherine Parr to the screen, a ferociously brilliant woman who I am inspired by deeply and has been largely invisible, or certainly under-represented in English history,” said Aïnouz. “Much is known about Henry VIII’s tyrannical reign, and those who perished and suffered at his hands, but my focus here is on a woman who not only managed to survive, but also, to thrive.
- 7/7/2021
- by Naman Ramachandran
- Variety Film + TV
Gabrielle Tana is producing for the UK’s Magnolia Mae Films.
Michelle Williams is to play Katherine Parr, the last of Henry VIII’s six wives, in Brazilian director Karim Aïnouz’s English-language debut Firebrand.
The film will start shooting in the UK in early 2022, produced by Gabrielle Tana of London-based Magnolia Mae Films.
The film is written by former Screen Stars of Tomorrow Jessica and Henrietta Ashworth, whose credits include BBC series Killing Eve and feature Tell It To The Bees. No further casting has yet been confirmed.
Previously titled Queen’s Gambit (prior to the release of Netflix...
Michelle Williams is to play Katherine Parr, the last of Henry VIII’s six wives, in Brazilian director Karim Aïnouz’s English-language debut Firebrand.
The film will start shooting in the UK in early 2022, produced by Gabrielle Tana of London-based Magnolia Mae Films.
The film is written by former Screen Stars of Tomorrow Jessica and Henrietta Ashworth, whose credits include BBC series Killing Eve and feature Tell It To The Bees. No further casting has yet been confirmed.
Previously titled Queen’s Gambit (prior to the release of Netflix...
- 7/7/2021
- by Ben Dalton
- ScreenDaily
“Mangrove,” now streaming on Amazon Prime, is the first in the five-part anthology, “Small Axe” by director Steve McQueen. Spanning two decades, the films are standalones tracing the West Indian experience with reggae music and costume tying all five films together.
Costume designer Jacqueline Durran oversaw all five films, while individual designers worked on each installment. In “Mangrove,” Lisa Duncan created the looks for the film that tells the true story of the Mangrove Nine, who clashed with London police in 1970.
Duncan breaks down her process and crafting the looks of the characters Frank Crichlow (Shaun Parkes), Darcus Howe (Malachi Kirby) and the British Black Panther leader Altheia Jones-LeCointe (Letitia Wright).
What were some of the conversations you had with Steve McQueen and Jacqueline Durran about capturing the look for “Mangrove?”
Jacqueline approached my agency to get me to come in and talk to her about Mangrove and the trial.
Costume designer Jacqueline Durran oversaw all five films, while individual designers worked on each installment. In “Mangrove,” Lisa Duncan created the looks for the film that tells the true story of the Mangrove Nine, who clashed with London police in 1970.
Duncan breaks down her process and crafting the looks of the characters Frank Crichlow (Shaun Parkes), Darcus Howe (Malachi Kirby) and the British Black Panther leader Altheia Jones-LeCointe (Letitia Wright).
What were some of the conversations you had with Steve McQueen and Jacqueline Durran about capturing the look for “Mangrove?”
Jacqueline approached my agency to get me to come in and talk to her about Mangrove and the trial.
- 11/21/2020
- by Jazz Tangcay
- Variety Film + TV
If you’ve seen “Hunger,” “Shame,” or his Oscar-winning “12 Years a Slave,” you know that director Steve McQueen has a singular gift for plunging viewers into his characters’ central nervous systems, even when they’re undergoing sensations you’d just as soon avoid. With “Lovers Rock,” one of five segments in his upcoming miniseries “Small Axe,” that gift is used for delight. It’s a great kick-off for this year’s New York Film Festival, where “Lovers Rock” will be the opening-night film.
A “one wild night” movie akin to “Dazed and Confused” or “American Graffiti,” “Lovers Rock” takes us to a West Indian “Blues party” in 1979 London. As with any such gathering of young people to flirt, dance, and listen to music, there are friendships and rivalries, intra-community and intra-family squabbles and alliances, the promise of love and the threat of violence.
Specifically, for 2020 pandemic audiences, there is...
A “one wild night” movie akin to “Dazed and Confused” or “American Graffiti,” “Lovers Rock” takes us to a West Indian “Blues party” in 1979 London. As with any such gathering of young people to flirt, dance, and listen to music, there are friendships and rivalries, intra-community and intra-family squabbles and alliances, the promise of love and the threat of violence.
Specifically, for 2020 pandemic audiences, there is...
- 11/16/2020
- by Alonso Duralde
- The Wrap
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