[Editor’s Note: The following article contains spoilers for “The Leftovers” series finale — Season 3, Episode 8, “The Book of Nora.”]
Of the many emotional moments packed into the 72-minute “Leftovers” finale, hearing Laurie’s voice on the other end of Nora’s emergency phone call was perhaps the most shocking. After spending the past two weeks (or two months, if you’re a TV critic given access early on) coming to terms with Laurie’s decision to “go scuba diving,” it took a minute (or a day) to wrap your head around the fact that she didn’t kill herself.
Read More: ‘The Leftovers’: Damon Lindelof on The Finale’s Two Endings and Why You Can Believe in Both
While obviously an ecstatic, life-affirming, “holy fucking shit Laurie is holding her grandchild right now” moment, it demanded a shift in understanding from what we’d come to accept at the end of Episode 6. All the interviews with the creators and Ms. Brenneman led us to believe she was, in fact,...
Of the many emotional moments packed into the 72-minute “Leftovers” finale, hearing Laurie’s voice on the other end of Nora’s emergency phone call was perhaps the most shocking. After spending the past two weeks (or two months, if you’re a TV critic given access early on) coming to terms with Laurie’s decision to “go scuba diving,” it took a minute (or a day) to wrap your head around the fact that she didn’t kill herself.
Read More: ‘The Leftovers’: Damon Lindelof on The Finale’s Two Endings and Why You Can Believe in Both
While obviously an ecstatic, life-affirming, “holy fucking shit Laurie is holding her grandchild right now” moment, it demanded a shift in understanding from what we’d come to accept at the end of Episode 6. All the interviews with the creators and Ms. Brenneman led us to believe she was, in fact,...
- 6/5/2017
- by Ben Travers
- Indiewire
Girl Talk is a weekly look at women in film — past, present, and future.
Long-time actress, writer, and producer Zoe Lister-Jones had a big idea when she decided to move behind the camera to direct her first film: she wanted an all-female crew to assist her. On her directorial debut, “Band Aid,” Lister-Jones was joined on set by producer Natalia Anderson, director of photography Hilary Spera, and a team that included female art directors, camera operators, electricians, sound editors, and many more. It was a revolutionary idea that the filmmaker found essential to execute, if only to prove that such a move was indeed possible.
While the lack of female filmmakers working in the industry has become a firebrand topic over the past couple of years, diversity is also severely lacking in other areas of the crew. The Center for the Study of Women in Television and Film at San...
Long-time actress, writer, and producer Zoe Lister-Jones had a big idea when she decided to move behind the camera to direct her first film: she wanted an all-female crew to assist her. On her directorial debut, “Band Aid,” Lister-Jones was joined on set by producer Natalia Anderson, director of photography Hilary Spera, and a team that included female art directors, camera operators, electricians, sound editors, and many more. It was a revolutionary idea that the filmmaker found essential to execute, if only to prove that such a move was indeed possible.
While the lack of female filmmakers working in the industry has become a firebrand topic over the past couple of years, diversity is also severely lacking in other areas of the crew. The Center for the Study of Women in Television and Film at San...
- 6/2/2017
- by Kate Erbland
- Indiewire
[Editor’s Note: The following review contains spoilers for “The Leftovers” through Season 3, Episode 6, “Certified.”]
Immediate Reaction
Last week, I was sitting in the lower deck at a baseball game, near the wall where the field meets the fans . It was a sparsely populated affair, as the woeful Anaheim Angels were hosting the Chicago White Sox on a cold, cloudy Tuesday night, but the lower seats were populated by a few enthusiastic fans.
One of them brought a beach ball.
The ball started making its way around the crowd, each member joyfully punching the multi-colored orb back up toward the sky so the next lucky group could do the same. As I turned in my seat to catch sight of it, my first thought wasn’t, “Oh, I hope they hit it my way.” Instead, it was just fear; pure, instinctual fear. “Oh no,” I thought.
Read More: ‘The Leftovers’: Amy Brenneman on The Shocking Ending to Episode 6 and Laurie’s Powerful Change of Plans...
Immediate Reaction
Last week, I was sitting in the lower deck at a baseball game, near the wall where the field meets the fans . It was a sparsely populated affair, as the woeful Anaheim Angels were hosting the Chicago White Sox on a cold, cloudy Tuesday night, but the lower seats were populated by a few enthusiastic fans.
One of them brought a beach ball.
The ball started making its way around the crowd, each member joyfully punching the multi-colored orb back up toward the sky so the next lucky group could do the same. As I turned in my seat to catch sight of it, my first thought wasn’t, “Oh, I hope they hit it my way.” Instead, it was just fear; pure, instinctual fear. “Oh no,” I thought.
Read More: ‘The Leftovers’: Amy Brenneman on The Shocking Ending to Episode 6 and Laurie’s Powerful Change of Plans...
- 5/22/2017
- by Ben Travers
- Indiewire
Painting in cinema seems to be all the rage this spring. Following the trailer for the Canadian feature Maudie, the French biographical drama film Cézanne and I has just recently released a U.S. preview.
Directed by Danièle Thompson of Avenue Montagne and Change of Plans, the film portrays the true story about the friendship between 19th century novelist Émile Zola and painter Paul Cézanne when they first met as schoolmates. The two friends would eventually grow up in search for fame and glory, sparking a feudal rivalry.
On the shortlist for France’s Academy Award for Best Foreign Language Film pick, which would eventually go to Elle, Magnolia Pictures will release the film this April. Judging from the preview, it looks to be a well-composed story of heated friendship. Starring Guillaume Canet, Guillaume Gallienne, Alice Pol, Déborah François and Sabine Azéma, check out the trailer below.
CÉZANNE Et Moi...
Directed by Danièle Thompson of Avenue Montagne and Change of Plans, the film portrays the true story about the friendship between 19th century novelist Émile Zola and painter Paul Cézanne when they first met as schoolmates. The two friends would eventually grow up in search for fame and glory, sparking a feudal rivalry.
On the shortlist for France’s Academy Award for Best Foreign Language Film pick, which would eventually go to Elle, Magnolia Pictures will release the film this April. Judging from the preview, it looks to be a well-composed story of heated friendship. Starring Guillaume Canet, Guillaume Gallienne, Alice Pol, Déborah François and Sabine Azéma, check out the trailer below.
CÉZANNE Et Moi...
- 2/27/2017
- by The Film Stage
- The Film Stage
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