A24 has released a trailer for its upcoming emotional drama, “Tuesday,” which stars Julia Louis-Dreyfus (“Veep”) and Lola Petticrew.
The film premiered at the 50th Telluride Film Festival on Sept. 1 and is expected to release sometime this summer.
Louis-Dreyfus plays a loving, caring mother to a terminally ill teenage daughter (Petticrew). The two have a powerful bond, and early scenes of the “Tuesday” trailer show how they’ve embraced their circumstances with joy and humor, undaunted by the looming specter of death.
That changes when the daughter is literally confronted by death manifested in the form of a talking bird. As the story unfolds, the mother must learn to make her peace with and accept the brevity of her daughter’s time on Earth in an emotionally devastating drama about the echoes of loss and finding resilience in the unexpected.
Rounding out the cast is British actor and playwright Arinzé Kene.
The film premiered at the 50th Telluride Film Festival on Sept. 1 and is expected to release sometime this summer.
Louis-Dreyfus plays a loving, caring mother to a terminally ill teenage daughter (Petticrew). The two have a powerful bond, and early scenes of the “Tuesday” trailer show how they’ve embraced their circumstances with joy and humor, undaunted by the looming specter of death.
That changes when the daughter is literally confronted by death manifested in the form of a talking bird. As the story unfolds, the mother must learn to make her peace with and accept the brevity of her daughter’s time on Earth in an emotionally devastating drama about the echoes of loss and finding resilience in the unexpected.
Rounding out the cast is British actor and playwright Arinzé Kene.
- 1/25/2024
- by Diego Ramos Bechara
- Variety Film + TV
Are disaster movies about climate change getting more realistic, or is the real world simply starting to resemble a disaster movie about climate change? To judge by Mahalia Belo’s “The End We Start From,” a despairing and all-too-conceivable thriller in which an unnamed woman (Jodie Comer) struggles to protect her newborn baby after a massive flood makes the whole of England go a little “Children of Men,” the answer to that question is regrettably “both.” Ah, how I long for the days when a Hollywood blockbuster about Jake Gyllenhaal trying to survive a now-routine New York weather system was marketed as a piece of escapism.
There are no giant waves in this small-scale British film about an entire society coming apart at the seams — no shots of the London Eye being knocked into the Thames, nor scenes in which panicked scientists look over data so ominous they can only...
There are no giant waves in this small-scale British film about an entire society coming apart at the seams — no shots of the London Eye being knocked into the Thames, nor scenes in which panicked scientists look over data so ominous they can only...
- 12/8/2023
- by David Ehrlich
- Indiewire
It begins as a spatter of heavy rainfall — nothing out of the ordinary for acclimatized Brits, for whom an actual storm can even be cozily welcome after days of noncommittal drear and drizzle. But then it doesn’t stop, deep-set wet turns to invasive flooding, and what seemed a mere bout of inclement weather has swept you — and countless others like you — out of house and home. Megan Hunter’s speculative novel “The End We Start From” was a neat metaphor for the larger threat in seemingly minor signifiers of climate crisis; briskly adapted by screenwriter Alice Birch, Mahalia Belo’s fine film version matches its pragmatic, coolly urgent vision of a world coming apart slowly, gradually, and then all at once.
Tight in budget and focus, this isn’t disaster cinema of the lurid Hollywood school, revelling in the grand spectacle of destruction. For much of the film’s running time,...
Tight in budget and focus, this isn’t disaster cinema of the lurid Hollywood school, revelling in the grand spectacle of destruction. For much of the film’s running time,...
- 10/13/2023
- by Guy Lodge
- Variety Film + TV
Tuesday is a fairy tale with some very real-world consequences.
The latest A24 collaboration with Julia Louis-Dreyfus, after her superb comedy You Hurt My Feelings premiered at Sundance early in 2023, has just had its world premiere at the Telluride Film Festival this weekend, and for Louis-Dreyfus admirers it just may be a revelation. The star, who has won a boatload of Emmys for comedy including a historic achievement for Lead Actress in three separate comedy series and who was also excellent in the Kenya Barris comedy You People this spring, shows she is just as talented tackling a highly emotional and unusual dramatic role.
Tuesday also marks a stunning writing and directorial feature debut for Croatian filmmaker Daina O. Pusic, who in wanting to make a movie dealing with loss and death has turned it all into a bit of a fairy tale involving a macaw who it turns out is the face of death.
The latest A24 collaboration with Julia Louis-Dreyfus, after her superb comedy You Hurt My Feelings premiered at Sundance early in 2023, has just had its world premiere at the Telluride Film Festival this weekend, and for Louis-Dreyfus admirers it just may be a revelation. The star, who has won a boatload of Emmys for comedy including a historic achievement for Lead Actress in three separate comedy series and who was also excellent in the Kenya Barris comedy You People this spring, shows she is just as talented tackling a highly emotional and unusual dramatic role.
Tuesday also marks a stunning writing and directorial feature debut for Croatian filmmaker Daina O. Pusic, who in wanting to make a movie dealing with loss and death has turned it all into a bit of a fairy tale involving a macaw who it turns out is the face of death.
- 9/4/2023
- by Pete Hammond
- Deadline Film + TV
You’d be hard-pressed to find a stranger mainstream pop album released in the first half of 2023 than Kesha’s Gag Order. Its disarming opening tracks, the menacing yet briefly celestial “Something to Believe In” and the dark-wave minimalist “Eat the Acid,” wouldn’t feel out of place on, say, an Anna Meredith album. Save for the vintage soul-sampling “Only Love Can Save Us Now” and the gaudy, Auto-Tune-steeped “Peace & Quiet,” the majority of the material here is more art-pop than anything Kesha has released to date.
Gag Order is, in form and content, a total rebuke of the party-girl image that Kesha presented on albums like Cannibal, and yet it’s somehow even freakier. The spartan “Fine Line” is cleverly centered around two different accruing tensions: a pulsating bassline that frequently creeps through the low-frequency mix, as an emotionally despondent Kesha sings about the “fine line” between “genius and...
Gag Order is, in form and content, a total rebuke of the party-girl image that Kesha presented on albums like Cannibal, and yet it’s somehow even freakier. The spartan “Fine Line” is cleverly centered around two different accruing tensions: a pulsating bassline that frequently creeps through the low-frequency mix, as an emotionally despondent Kesha sings about the “fine line” between “genius and...
- 5/17/2023
- by Paul Attard
- Slant Magazine
Dua Lipa’s Future Nostalgia, Charli Xcx’s quarantine-made How I’m Feeling Now and Michael Kiwanuka’s Kiwanuka are among the 12 albums shortlisted for the 2020 Mercury Prize, the prestigious award honoring the year’s best LP by a British musician.
Stormzy, Laura Marling, Porridge Radio, Sports Team, Georgia, Kano, Lanterns on the Lake, Moses Boyd and Anna Meredith also landed recent albums on the shortlist, with the winner to be announced September 24th; due to the Covid-19 pandemic, no live event will take place to celebrate the awarding of the Mercury Prize.
Stormzy, Laura Marling, Porridge Radio, Sports Team, Georgia, Kano, Lanterns on the Lake, Moses Boyd and Anna Meredith also landed recent albums on the shortlist, with the winner to be announced September 24th; due to the Covid-19 pandemic, no live event will take place to celebrate the awarding of the Mercury Prize.
- 7/23/2020
- by Daniel Kreps
- Rollingstone.com
Over a single opening weekend, composer Pinar Toprak smashed all previous box-office records for women composers in film. She scored “Captain Marvel,” which made $153 million domestically.
Until now, the top-grossing films by women composers were Rachel Portman’s “The Vow,” which made $125 million domestic in 2012, and Deborah Lurie’s “Dear John,” $80 million back in 2010 — and those sums were for the theatrical lifetime of the films, not just a weekend.
The lack of work for female composers has been a frequent topic of conversation in film-music circles since the 2014 formation of the Alliance for Women Film Composers, which now boasts more than 400 members.
According to the latest “Celluloid Ceiling” statistics from the Center for the Study of Women in Television and Film, just 6 percent of the 250 top-grossing films of 2018 had scores by women — but that number was double the 3 percent found in the list of 2017 films.
Last year’s 15-film Oscar...
Until now, the top-grossing films by women composers were Rachel Portman’s “The Vow,” which made $125 million domestic in 2012, and Deborah Lurie’s “Dear John,” $80 million back in 2010 — and those sums were for the theatrical lifetime of the films, not just a weekend.
The lack of work for female composers has been a frequent topic of conversation in film-music circles since the 2014 formation of the Alliance for Women Film Composers, which now boasts more than 400 members.
According to the latest “Celluloid Ceiling” statistics from the Center for the Study of Women in Television and Film, just 6 percent of the 250 top-grossing films of 2018 had scores by women — but that number was double the 3 percent found in the list of 2017 films.
Last year’s 15-film Oscar...
- 3/11/2019
- by Jon Burlingame
- Variety Film + TV
Tuesday’s Oscar music nominations produced some of the day’s biggest surprises, inevitabilities and near-inevitabilities that still produced a sigh of relief. Some notes on the shocks and happy affirmations in the Best Original Song and Score fields:
1. No “First Man.” That was the biggest shocker of Tuesday’s announcement. Justin Hurwitz, who won song and score Oscars for 2016’s “La La Land,” was widely expected to be among the final five for his music for Damien Chazelle’s moon-landing saga. After all, he already won the Golden Globe and Broadcast Film Critics awards. Clearly the film had lost momentum in the marquee categories, but it was well seen and highly regarded enough to place in four of the Oscars’ technical divisions, leaving Hurwitz’s Mia status all the more mysterious.
2. Terence Blanchard’s first nomination. Sound the trumpets! Blanchard was singled out for his music for Spike Lee’s “BlacKkKlansman,...
1. No “First Man.” That was the biggest shocker of Tuesday’s announcement. Justin Hurwitz, who won song and score Oscars for 2016’s “La La Land,” was widely expected to be among the final five for his music for Damien Chazelle’s moon-landing saga. After all, he already won the Golden Globe and Broadcast Film Critics awards. Clearly the film had lost momentum in the marquee categories, but it was well seen and highly regarded enough to place in four of the Oscars’ technical divisions, leaving Hurwitz’s Mia status all the more mysterious.
2. Terence Blanchard’s first nomination. Sound the trumpets! Blanchard was singled out for his music for Spike Lee’s “BlacKkKlansman,...
- 1/22/2019
- by Jon Burlingame
- Variety Film + TV
For many years, Oscar “shortlists” narrowed down the choices in a preliminary round that would eventually lead to the five nominees for original song and score. Academy executives discontinued that practice after the 1979 awards, but have brought it back for the 2018 honors.
It was problematic then and it remains so now. Not everyone agrees that the shortlist concept is a good idea, primarily because it forces music-branch members to see and evaluate dozens of films before the first round of voting in early December. Previously, they had until early January to wade through all those “for your consideration” screeners and CDs.
In May, Academy executives insisted that the shortlist “gives smaller or lesser-known films a better chance to be nominated.” Speculation at the time focused on music from films released in the first half of the year, which have often been ignored in favor of end-of-year releases, generally deemed more “important.
It was problematic then and it remains so now. Not everyone agrees that the shortlist concept is a good idea, primarily because it forces music-branch members to see and evaluate dozens of films before the first round of voting in early December. Previously, they had until early January to wade through all those “for your consideration” screeners and CDs.
In May, Academy executives insisted that the shortlist “gives smaller or lesser-known films a better chance to be nominated.” Speculation at the time focused on music from films released in the first half of the year, which have often been ignored in favor of end-of-year releases, generally deemed more “important.
- 1/5/2019
- by Jon Burlingame
- Variety Film + TV
“The Wife.” “Eighth Grade.” “Rbg.” “Sicario: Day of the Soldado.” “Mary Shelley.”
Those are just a few of the 2018 films scored by women, but when the shortlist for best original score was announced last month, all of the 15 scores whittled down by music branch members for the first round of Oscar consideration were composed by men.
“It shows that women are not getting the top films,” says Laura Karpman, a composer (“Paris Can Wait”) and governor of the music branch. “And that there is a continued invisibility.”
Karpman pushed hard for the shortlist — this is the first year since 1979 that the music branch has had one, joining a third of the other branches in the practice — explicitly in the hope that it would widen the field. She feels that if there had been a shortlist last year, Michael Abels (“Get Out”) and Tamar-kali (“Mudbound”) would certainly have been on it.
Those are just a few of the 2018 films scored by women, but when the shortlist for best original score was announced last month, all of the 15 scores whittled down by music branch members for the first round of Oscar consideration were composed by men.
“It shows that women are not getting the top films,” says Laura Karpman, a composer (“Paris Can Wait”) and governor of the music branch. “And that there is a continued invisibility.”
Karpman pushed hard for the shortlist — this is the first year since 1979 that the music branch has had one, joining a third of the other branches in the practice — explicitly in the hope that it would widen the field. She feels that if there had been a shortlist last year, Michael Abels (“Get Out”) and Tamar-kali (“Mudbound”) would certainly have been on it.
- 1/4/2019
- by Tim Greiving
- Variety Film + TV
As Martin Scorsese once said, “Music and cinema fit together naturally. Because there’s a kind of intrinsic musicality to the way moving images work when they’re put together. It’s been said that cinema and music are very close as art forms, and I think that’s true.” Indeed, the right piece of music–whether it’s an original score or a carefully selected song–can do wonders for a sequence, and today we’re looking at the 25 films that best expressed this notion this year.
From seasoned composers to accomplished musicians, as well as a smattering of soundtracks, each musical example perfectly transported us to the world of the film. Check out our rundown of the top 25, which includes streams to each soundtrack in full where available.
25. Game Night (Cliff Martinez)
24. Vox Lux (Scott Walker and Sia)
23. Halloween (John & Cody Carpenter and Daniel Davies)
22. The Ballad of Buster Scruggs...
From seasoned composers to accomplished musicians, as well as a smattering of soundtracks, each musical example perfectly transported us to the world of the film. Check out our rundown of the top 25, which includes streams to each soundtrack in full where available.
25. Game Night (Cliff Martinez)
24. Vox Lux (Scott Walker and Sia)
23. Halloween (John & Cody Carpenter and Daniel Davies)
22. The Ballad of Buster Scruggs...
- 1/2/2019
- by Jordan Raup
- The Film Stage
The Academy of Motion Picture Arts and Sciences has announced the 15 scores that are still in contention for an Oscar this year. The shortlist finds a number of heavily tipped favorites competing against a handful of blockbusters, smaller films, and scores by returning winners like Alexandre Desplat, who took home trophy last year for “The Shape of Water” and returns to the mix with “Isle of Dogs.” Nicholas Brittell earned two spots here, for his scores for “If Beale Street Could Talk” and “Vice.”
Most of the glaring absences come from the indie side of things, as brilliant scores from the likes of Jonny Greenwood (“You Were Never Really Here”), Anna Meredith (“Eighth Grade”), and Colin Stetson (“Hereditary”) were largely overlooked in favor of films with larger profiles and higher budgets.
The following scores have made the shortlist for Best Original Score:
“Annihilation”
“Avengers: Infinity War”
“The Ballad of Buster Scruggs...
Most of the glaring absences come from the indie side of things, as brilliant scores from the likes of Jonny Greenwood (“You Were Never Really Here”), Anna Meredith (“Eighth Grade”), and Colin Stetson (“Hereditary”) were largely overlooked in favor of films with larger profiles and higher budgets.
The following scores have made the shortlist for Best Original Score:
“Annihilation”
“Avengers: Infinity War”
“The Ballad of Buster Scruggs...
- 12/17/2018
- by David Ehrlich
- Indiewire
Director Yorgos Lanthimos continues to defy conventions with “The Favourite,” a funny and savage look at the court of England’s Queen Anne in the early 1700s.
“Period films are always challenging,” he tells Variety, “and with a limited budget, it takes a lot of work. So it was hard but fun.”
Lanthimos and his crew shot most of the film at Hatfield House in Hertfordshire. The helmer says that his behind-the-camera team came up with unusual solutions to create the right tone for the film.
Robbie Ryan, Cinematographer
“We shot on film, which is always my preference. And I asked Robbie to not use artificial lighting. I like to do that with all my films. It was either daylight or practical, which for this period meant candles. It was challenging, especially for the dark night scenes. We were using very wide-angle lenses, and the camera was moving quite a bit.
“Period films are always challenging,” he tells Variety, “and with a limited budget, it takes a lot of work. So it was hard but fun.”
Lanthimos and his crew shot most of the film at Hatfield House in Hertfordshire. The helmer says that his behind-the-camera team came up with unusual solutions to create the right tone for the film.
Robbie Ryan, Cinematographer
“We shot on film, which is always my preference. And I asked Robbie to not use artificial lighting. I like to do that with all my films. It was either daylight or practical, which for this period meant candles. It was challenging, especially for the dark night scenes. We were using very wide-angle lenses, and the camera was moving quite a bit.
- 12/5/2018
- by Tim Gray
- Variety Film + TV
It seems safe to assume that no one was expecting this out of comedian and actor turned filmmaker Bo Burnham. That’s nothing against him. It merely means that his first effort with crafting cinema is just that good. This week, Burnham makes his directing and writing debut with Eighth Grade, a coming of age story that should hit very close to home. This film works in a tremendously strong way. Depicting this seminal time in a teenager’s life is something many would struggle with. Not him, though. Burnham is more than up to the challenge, with the results speaking for themselves. This is something special. The movie, unsurprisingly, is about an eighth grader. Soon to be High Schooler Kayla (Elsie Fisher) is just trying to survive the end of her Middle School experience, one that has been a disaster almost from the start. Her dad Mark (Josh Hamilton...
- 7/9/2018
- by Joey Magidson
- Hollywoodnews.com
Very rarely does a film come along that is such a sheer delight all you want to do is watch it over and over again. Eighth Grade is one of these extraordinary gems, a film that is overflowing with insight, wit and humanity. Coming-of-age dramas are a well traversed genre and can so often fall into cliché especially for first-time filmmakers who are yet to find their voice. Yet Bo Burnham’s first feature Eighth Grade feels utterly fresh, relevant and self-assured. Burnham’s 12-year comedy career has no doubt helped refine his particular brand of humour, but it’s still a staggering achievement to create such an accomplished first film.
Eighth Grade opens on Kayla (Elsie Fisher) filming a YouTube video for her almost non-existent subscriber base. She dishes out life advice and gives a monologue on “being yourself” then signs off with her“Gucci!” catchphrase. However, like many kids,...
Eighth Grade opens on Kayla (Elsie Fisher) filming a YouTube video for her almost non-existent subscriber base. She dishes out life advice and gives a monologue on “being yourself” then signs off with her“Gucci!” catchphrase. However, like many kids,...
- 6/4/2018
- by Luke Channell
- HeyUGuys.co.uk
If comedy is best pulled from trauma, there are few moments in one’s life more distressingly rich to mine from than middle school. Comedian-turned-director Bo Burnham, now more than a decade removed for proper reflection, depicts the specific time period with all the spot-on crippling anxiety and all-consuming awkwardness in his modest but affecting directorial debut Eighth Grade.
Having been bestowed the superlative of Most Quiet, Kayla (a perfectly cast Elsie Fisher) has just a week left until she can leave middle school behind. Although she stays nearly silent at school–outside of a few under-the-breath utterances of agreement when the most popular kids walk by–her outlet can be found online. “No one uses Facebook anymore,” as one character exclaims, which leaves every waking hour available to scroll through Tumblr, Snapchat, Twitter, Instagram, Buzzfeed, etc. Kayla’s most personal digital expression can be found on the same platform...
Having been bestowed the superlative of Most Quiet, Kayla (a perfectly cast Elsie Fisher) has just a week left until she can leave middle school behind. Although she stays nearly silent at school–outside of a few under-the-breath utterances of agreement when the most popular kids walk by–her outlet can be found online. “No one uses Facebook anymore,” as one character exclaims, which leaves every waking hour available to scroll through Tumblr, Snapchat, Twitter, Instagram, Buzzfeed, etc. Kayla’s most personal digital expression can be found on the same platform...
- 1/21/2018
- by Jordan Raup
- The Film Stage
Pluralism is the defining feature of music at the end of the 20th century – from the minimalist film music of Michael Nyman to the lush sounds of Toru Takemitsu to the spectralist works that explored sound itself, writes Gillian Moore
"We live in a time not of mainstream but of many streams," John Cage mused as he surveyed the musical scene shortly before his death in 1992, "or even, if you insist upon a river of time, then we have come to the delta, maybe even beyond a delta to an ocean which is going back to the skies … "
The 12th and final episode of The Rest Is Noise festival is called New World Order. It may still be too early to have the historical distance to tell what really mattered in classical music at the end of the 20th century. What is clear, however, is that in the closing decades...
"We live in a time not of mainstream but of many streams," John Cage mused as he surveyed the musical scene shortly before his death in 1992, "or even, if you insist upon a river of time, then we have come to the delta, maybe even beyond a delta to an ocean which is going back to the skies … "
The 12th and final episode of The Rest Is Noise festival is called New World Order. It may still be too early to have the historical distance to tell what really mattered in classical music at the end of the 20th century. What is clear, however, is that in the closing decades...
- 12/4/2013
- by Gillian Moore
- The Guardian - Film News
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