"The Furniture," by Daniel Walber, is our weekly series on Production Design. You can click on the images to see them in magnified detail.
Sofia Coppola’s The Beguiled is no sprawling epic of the Civil War. The Farnsworth Seminary for Girls, where Miss Martha Farnsworth (Nicole Kidman) presides, is no Tara. There are no ballgowns or battlefields. There is only a big lonely house, the seat of a plantation that has decayed into an isolated finishing school for an especially isolated handful of girls.
Corporal John McBurney (Colin Farrell) is thrust into this setting, his leg wounded and his uniform bloodied. The resulting tension simmers for days, weeks even, before exploding in nocturnal chaos and violence. All the while the house stands silent, forcing these emotions up and down the stairs and into small, dimly-lit corners. There is a forever haze about this place, though never quite hot enough to break into a sweat.
Sofia Coppola’s The Beguiled is no sprawling epic of the Civil War. The Farnsworth Seminary for Girls, where Miss Martha Farnsworth (Nicole Kidman) presides, is no Tara. There are no ballgowns or battlefields. There is only a big lonely house, the seat of a plantation that has decayed into an isolated finishing school for an especially isolated handful of girls.
Corporal John McBurney (Colin Farrell) is thrust into this setting, his leg wounded and his uniform bloodied. The resulting tension simmers for days, weeks even, before exploding in nocturnal chaos and violence. All the while the house stands silent, forcing these emotions up and down the stairs and into small, dimly-lit corners. There is a forever haze about this place, though never quite hot enough to break into a sweat.
- 10/16/2017
- by Daniel Walber
- FilmExperience
At the end of the most recent season of his superb FX series, Louis C.K. made an unusual pass at long-form storytelling. “Late Show” finds Louie at its most overtly dramatic and—for a show that regularly exults in narrative ellipsis and melancholia—its most accessible as well. It tells the story, over three episodes, of our hero’s unlikely journey to succeed an apparently retiring David Letterman. As an increasingly confident director, C.K. has continued to explore more adventurous possibilities. Louie is essentially a hybrid of the comedian’s impulses as a stand-up and as a straight-ahead sketch writer. The man on stage, with all his fear and responsibility and desire and dread, is dropped into a world conceived to afflict these very qualities, a world that must be endured. The jokes come later, when we can make sense of it all. Whatever truth is to be discovered...
- 5/5/2014
- by Ryan Meehan
- MUBI
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