Corsage director/screenwriter Marie Kreutzer on the interactions between Sisi (Vicky Krieps), Emperor Franz Joseph (Florian Teichtmeister), and King Ludwig II (Manuel Rubey): “Control is a big thing in the whole story for me.” Photo: Robert M Brandstaetter, courtesy IFC Films Release
Marie Kreutzer’s laser focus in Corsage is on Sisi, Empress Elisabeth of Austria turning 40 years old. Vicky Krieps (Best Actress European Film Awards and Cannes Film Festival Un Certain Regard Best Performance Award shared with Adam Bessa for Lotfy Nathan’s Harka) is in excellent form and up to the task of presenting to us the icon in all her idiosyncrasies.
Marie Kreutzer with Anne-Katrin Titze: “It was very important for me that the costumes as well as the production design would not just be romantic and luxurious …”
In the first instalment with Marie Kreutzer, we discuss her use of Camille’s song, She Was, her...
Marie Kreutzer’s laser focus in Corsage is on Sisi, Empress Elisabeth of Austria turning 40 years old. Vicky Krieps (Best Actress European Film Awards and Cannes Film Festival Un Certain Regard Best Performance Award shared with Adam Bessa for Lotfy Nathan’s Harka) is in excellent form and up to the task of presenting to us the icon in all her idiosyncrasies.
Marie Kreutzer with Anne-Katrin Titze: “It was very important for me that the costumes as well as the production design would not just be romantic and luxurious …”
In the first instalment with Marie Kreutzer, we discuss her use of Camille’s song, She Was, her...
- 12/14/2022
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Lola (Valerie Pachner) wakes with a start. She has what we’ll soon learn is an uncharacteristic smudge of mascara beneath her too-bright, too-awake eyes. But then this is the Lola of later, not the woman to whom Marie Kreutzer’s nervy, nuanced drama “The Ground Beneath My Feet” first introduces us — not the ambitious, high-performance business consultant, whose only respite from a grueling, high-heels-and-rolling-suitcase lifestyle appears to be a similarly grueling workout regime. Whether sweating ferociously in some anonymous hotel gym, prepping for a 48-hour workday with a morning jog or burning the midnight oil over spreadsheets and data analysis, the ground beneath Lola’s feet is a treadmill.
The absolute order of her life, compartmentalized right down to the borderline psychotic neatness of her underwear drawer, conceals a messy secret: Lola’s older sister, Conny (Pia Hierzegger) is a paranoid schizophrenic who has been hospitalized following a suicide...
The absolute order of her life, compartmentalized right down to the borderline psychotic neatness of her underwear drawer, conceals a messy secret: Lola’s older sister, Conny (Pia Hierzegger) is a paranoid schizophrenic who has been hospitalized following a suicide...
- 2/9/2019
- by Jessica Kiang
- Variety Film + TV
Markus Schleinzer is a filmmaker who knows how to wait for a payoff: Take the dry in-joke, for example, of waiting seven years to follow his 2011 debut “Michael” with a film called “Angelo.” His tartly brilliant second feature is awash with slow-building irony, though as with his first, there’s precious little mirth in its devastating kicker. An interpretive biopic of Angelo Soliman — an African man kidnapped into slavery as a child, who subsequently rose and fell through the ranks of 18th-century Viennese high society — Schleinzer’s film takes a chillingly but aptly clinical view of a life treated as an amusing human experiment by all but the man living it. Behavior is painstakingly observed and notes are extensively taken, before “Angelo” tersely delivers its own findings on the toxicity of the culture that colonized its title character.
Lest the “Michael”/”Angelo” segue lead viewers to expect a clear partner piece to Schleinzer’s debut,...
Lest the “Michael”/”Angelo” segue lead viewers to expect a clear partner piece to Schleinzer’s debut,...
- 9/29/2018
- by Guy Lodge
- Variety Film + TV
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