#Katrine Boorman

[skeletonfumes]

Excalibur (1981) John Boorman

[victusinveritas]

Katrine Boorman as Igraine in Excalibur, 1981. Directed by John Boorman.

[badmovieihave]

Bad movie I have Excalibur 1981

[boysnghoulsfilmreview]

Boys 'n' Ghouls Film Review Podcast is back with their latest film review. As they review Excalibur 1981 here: https://youtu.be/pSqTsAPZFA8 via YouTube

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[strawberryblondefilms]

[olivierdemangeon]

  Synopsis : Morgane, sorcière du bien, est la mère du petit Arthur. Elle doit absolument trouver un parrain né le même jour et à la même heure que son fils pour l’orienter vers le bien. Mais Molok, dernier sorcier du mal, va tout mettre en oeuvre pour transmettre à Arthur ses pouvoirs maléfiques…

Origine du film : France Réalisateur : René Manzor Scénariste : René Manzor Acteurs : Vanessa Paradis, Jean Reno, Gil Bellows, Jeanne Moreau, Dabney Coleman, Katrine Boorman, Malcolm Dixon Musique : Jean-Félix Lalanne Genre : Aventure, Comédie, Fantastique Durée : 1 heure et 42 minutes Date de sortie : 19 mars 1997 (France) Année de production : 1997 Sociétés de production : Les Films Christian Fechner, TF1 Films Production, Canal+ Distribué par : UGC-Fox Distribution Titre original : Un Amour de Sorcière Notre note : ★★☆☆☆

Notre commentaire : “Un Amour de Sorcière” est une comédie fantastique française datant de 1997, écrite et réalisée par René Manzor, à qui l’on doit également “Dédales” (2003). Les acteurs principaux sont Vanessa Paradis, qu’on a pu voir dans “Une chance sur deux” (1998), Jean Reno, qu’on a pu voir dans “Da Vinci Code” (2006), Gil Bellows, qu’on a pu voir dans “Les Évadés” (1994), et Jeanne Moreau, dont on cite toujours “Jules et Jim” (1962) comme film référent.

Suite au décès de Jeanne Moreau survenu le 31 juillet 2017 à l’âge de 89 ans, nous avons décidé de regarder ce film. Actrice qui a joué dans plus de 130 métrages, elle fut la première femme élue à l’Académie des Beaux-Arts. En 1992, elle avait remporté le César de la Meilleure Actrice pour son rôle dans “La Vieille qui marchait dans la Mer” (1991), mais également deux Césars d’Honneur en 1995 et 2008. Modestement, nous lui dédions cette critique. 

J’avais vu “Un Amour de Sorcière” au cinéma, lorsqu’il était sorti, en 1997, et j’en gardais un bon souvenir. Aujourd’hui, 20 ans plus tard, je suis consterné devant autant de niaiserie. D’un autre côté, c’est une expérience positive, car cela prouve que mon appréciation a évolué, et que mon champ de vision s’est considérablement élargi en matière de cinéma. Il y a donc toujours quelque chose de positif à retirer d’une expérience négative. 

Molok Edramareck (Jean Reno) serait le dernier sorcier mâle en activité, mais sans successeur, il en cherche un pour le remplacer le jour venu du côté obscur de la magie. De son côté, sa nièce, Morgane (Vanessa Paradis), est une sorcière du bien, et jeune maman du petit Arthur, et cherche un parrain. En fonction du choix de ce dernier, l’enfant basculera vers le bien ou le mal. Molok aimerait donc bien le récupérer, ce qui n’est pas du tout du goût de Morgane. Une bataille va donc se développer entre ses deux sorciers, au milieu duquel Michael Firth (Gil Bellows), génie de l’informatique, va se retrouver coincé… 

L’intrigue est fortement prévisible, et les rebondissements peuvent donc facilement être devinés par avance. Le pire dans tout cela, ce sont les effets spéciaux qui sont d’un très faible niveau. Pendant ce temps, Steven Spielberg nous proposait “Jurassic Park: Le Monde Perdu” (1997), tandis que Paul W.S. Anderson nous livrait “Event Horizon” (1998) alors que Joel Schumacher sortait “Batman & Robin” (1997). 

Très honnêtement, j’ai été déçu par ce film que j’ai finalement trouvé cucu la praline. Les prestations de la distribution sont très moyennes. Gil Bellows n’est pas très crédible, et son personnage apparaît comme l’idiot de l’histoire. Jean Reno en fait trop, il est trop caricatural dans son rôle de méchant. Vanessa Paradis s’en sort un peu mieux, notamment grâce à son charme naturel, Bien que Jeanne Moreau ne dispose que d’un rôle secondaire, c’est certainement l’actrice qui offre la meilleure performance, très en adéquation avec son personnage. 

“Un Amour de Sorcière” a fait l’objet d’une édition en DVD ainsi qu’en Blu-ray, paru le 20 septembre 2011 chez Universal Pictures Vidéo (France). Pour de plus amples renseignements, n’hésitez pas à consulter la fiche du film sur le site DVD.Fr.

En conclusion, “Un Amour de Sorcière” est un film très moyen disposant d’une histoire qui s’avère peu intéressante et relativement brouillonne. L’intrigue est un peu ridicule et peu attractive. La photographie est assez triste et les effets spéciaux ne sont pas à la hauteur de l’histoire. La distribution offre des prestations moyennes, en dehors de Jeanne Moreau qui semble la mieux s’en sortir dans ce naufrage. Un divertissement durant lequel on se sera presque ennuyé… 

  Bande-annonce :

UN AMOUR DE SORCIÈRE (1997) ★★☆☆☆ Synopsis : Morgane, sorcière du bien, est la mère du petit Arthur. Elle doit absolument trouver un parrain né le même jour et à la même heure que son fils pour l’orienter vers le bien.

[byneddiedingo]

Helen Mirren and Nicol Williamson in Excalibur (John Boorman, 1981) Cast: Nigel Terry, Helen Mirren, Nicholas Clay, Cherie Lunghi, Nicol Williamson, Robert Addie, Gabriel Byrne, Keith Buckley, Katrine Boorman, Liam Neeson, Corin Redgrave, Niall O'Brien, Patrick Stewart, Clive Swift, Ciarán Hinds. Screenplay: Rospo Pallenberg, John Boorman, based on a book by Thomas Malory. Cinematography: Alec Thomson. Production design: Anthony Pratt. Film editing: John Merritt. Music: Trevor Jones. John Boorman's Excalibur may be the best of the many movie versions of the Arthurian legend, or perhaps just the most faithful to the traditional stories as told from Malory to Tennyson to T.H. White. It doesn't go for spoof like Mark Twain's A Connecticut Yankee in King Arthur's Court or Monty Python and the Holy Grail (Terry Gilliam and Terry Jones, 1975) or for hipness like the BBC-TV series Merlin. It's content to be straightforward sword-and-sorcery stuff with an underlying motif that traces the decline of magic,  represented by Merlin (Nicol Williamson) and Morgana (Helen Mirren), as Christianity takes hold in mythical Britain. Most of all, the film makes clear how much Arthurian legend -- with its undercurrents of incest and of political treachery -- underlies more recent excursions into the realm of fantasy like The Lord of the Rings and Game of Thrones series. That said, Excalibur is beginning to show its age: Trevor Jones's score is pieced out with heavy dollops of Wagner leitmotifs from the Ring and Tristan und Isolde and the now over-familiar borrowing from Carl Orff's Carmina Burana, the special effects are creaky, Alec Thomson's cinematography leans too heavily on fog filters, and the costumes are a little too spangly and cheesy. I wouldn't be surprised to see a remake on the horizon, but it should stick fairly closely -- while eliminating some of the clunkers in the dialogue -- to the screenplay by Boorman and Rospo Pallenberg, which has a solid and consistent take on the characters. Meanwhile, it's fun to spot some up-and-coming actors like Patrick Stewart and Liam Neeson in smallish roles.

[diesiraekaa]

Ce soir place à Dame Ygerne dans la Pop Culture 😊 Katrine Boorman dans Excalibur de John Boorman (1981) Rachel de Thame dans le téléfilm Merlin de Steve Barron (1998) Caroline Goodall dans Les Brumes d'Avalon de Uli Edel (2001) Josée Drevon dans la série Kaamelott de Alexandre Astier, Alain Kappauf et Jean-Yves Robin (2004-2009) Alice Patten dans la série Merlin de Julian Jones, Jake Michie, Johnny Capps et Julian Murphy (2009-2010) Claire Forlani dans la série Camelot de Morgan O'Sullivan, Michael Hirst et Chris Chibnall (2011) Poppy Delevingne dans Le Roi Arthur : La Légende d'EXcalibur de Guy Ritchie (2017) #Ygerne #kathrineboorman #Excalibur #racheldethame #merlin #carolinegoodall #mistsofavalon #JoséeDrevon #Kaamelott #alicepatten #claireforlani #camelot #poppydelevingne #leroiarthur #lalegendedexcalibur #Kaastagraam https://www.instagram.com/p/CEFBCLGDNs8/?igshid=dc99gt2sr7jt

[douxreviews]

Excalibur (1981) Review

"Guards! Knights! Squires! Prepare for battle!"

After failing to get his version of Lord of the Rings off the ground, John Boorman set his sights on another big fantasy adventure without any of those pesky copyright issues to worry about.

It's a bit of a stretch to say that Excalibur is the definitive big screen version of the Arthurian myths. I honestly don't think there has ever really been one. The fact that the most acclaimed and beloved film based on the adventures of King Arthur and the Knights of the Round Table is Monty Python and the Holy Grail kind of says it all, really. It is often difficult to watch this film and not think of Python. I kept having flashbacks to Galahad at Castle Anthrax during the scene with Perceval in Morgana and Mordred's cave. Despite being released six years prior, Holy Grail feels like a razor sharp piss take of Boorman's film, which is far too serious for its own good. I get that he wanted to make a grown up version of Arthurian myth, with lots of blood and sex (most of it without the knights ever taking off their bulky armour), but did it really have to be quite so stiff and humourless?

Excalibur may not be the definitive King Arthur film, but it is certainly the most comprehensive. All the major events are covered here: the birth of Arthur, the sword in the stone, Lancelot and Guenevere, Merlin's imprisonment in the crystal cave, the quest for the Holy Grail and the final battle with Mordred. Boorman's original cut was three hours long. Scenes cut included a sequence where Lancelot rescued Guenevere from a forest bandit. By cramming the entire thing into just over two hours, Excalibur comes across as a very episodic work, with few of the chapters being allowed the room they need to breath.

This also means that none of the characters ever get to feel like living, breathing people. The most impressive thing I can say about Nigel Terry is how convincingly he ages throughout the film as we see Arthur go from a young boy to middle aged man. Nicholas Clay and Cherie Lunghi make for a very pretty Lancelot and Guenevere, but their love affair is love at first sight and nothing more. The only ones who leave any lasting impression are Nicole Williamson and Helen Mirren. Williamson is my probably favourite Merlin; one third political manipulator and two thirds total madman. Helen Mirren plays Morgana. That's it. That's all that needs to said on the subject.

The film looks great, thanks in no small part to Alex Thomson's lush cinematography (which earned him the film's only Oscar nomination), even if it does have the unfortunate effect of instantly dating the whole thing. Despite being set in the dark ages and being released in 1981, the film just screams 1970s. It is also painfully obvious that Boorman didn't have that much cash to splash. Camelot seems to consist of just a drawbridge and a wall. There never seems to be more than twenty knights at any given time. Merlin's fog during the final battle doesn't just conveniently conceal Arthur's army, but Mordred's as well. Boorman often compensates for this lack of spectacle by playing 'O Fortuna' as loudly as possible.

Notes and Quotes

--The prelude from Wagner's Tristan and Isolde is used repeatedly as a love theme for Lancelot and Guenevere.

--Boorman's daughter, Katrine, played Igrayne. That must've made filming her sex scene really awkward.

--The film features many short appearances by future stars including:

Liam Neeson as Sir Gawain

Gabriel Byrne as Uther Pendragon

Patrick Stewart as Leodegrance and Ciarán Hinds as Lot

--Boorman cast Williamson and Mirren because he felt that the tension on set would come through in the actors' performances

--Kid Mordred slaughtering knights in his golden armour was seriously creepy.

--I do like that Terry does nothing to hide his Gloucestershire accent. It is nice to have a king who doesn't sound like he went to Eaton.

Merlin: "You're not listening. Your is not. Love is deaf as well as blind, that's it."

Arthur: "Merlin! What have I done?" Merlin: "You have broken what could not be broken! Now, hope is broken." Arthur: "My pride broke it. My rage broke it! This excellent knight, who fought with fairness and grace, was meant to win. I used Excalibur to change that verdict. I've lost, for all time, the ancient sword of my fathers, whose power was meant to unite all men... not to serve the vanity of a single man. I am... nothing."

Merlin: "When a man lies, he murders some part of the world."

Merlin: "You brought me back. Your love brought me back. Back to where you are now. In the land of dreams." Arthur: "Are you a dream, Merlin?" Merlin: "A dream to some. A nightmare to others!"

Morgana: "Your eyes never leave me, Merlin." Merlin: "Can't I acknowledge beauty?" Morgana: "Can't you acknowledge... love? Perhaps you ache for what you've never known." Merlin: "Perhaps you lust for what you cannot have."

Two and a half out of four shiny knights in armour.

Mark Greig has been writing for Doux Reviews since 2011

[capticalcitycomics]

Just Pinned to Science Fiction: Excalibur [Blu-ray]: Nigel Terry, Helen Mirren, Nicholas Clay, Cherie Lunghi, Paul Geoffrey, Nicol Williamson, Robert Addie, Gabriel Byrne, Keith Buckley, Katrine Boorman, Liam Neeson, Corin Redgrave, Niall O'Brien, Patrick Stewart, Clive Swift, John Boorman: Movies & TV https://ift.tt/2TxUxUU

[movieswithkevin27]

Excalibur

Now considered to potentially be the best adaptation of the legend of King Arthur, director John Boorman's Excalibur is one of many films to have risen out of the ashes of negative reviews upon release. However, whether it was fully deserving of this critical turnabout is an entirely different matter. As a fantasy adventure film, Excalibur is undeniably a faithful adaptation of the legend and one with excellent operatic sensibilities and great battles. Unfortunately, it is maligned by one deadly disease that strikes at the very heart of the film and can often turn its imaginative fantasy and serious battles into pure, unintentional comedy. This film left me in stitches more often than it ever should have and part of that is due to the dialogue, but the vast majority of it is due to its horrific acting.

This horrific acting is pretty much the worst part of this film and what leads to its undoing as a film. In the lead role, we have the horrific Nigel Terry who turns in a confused and oddly tongue-in-cheek performance as King Arthur. Alongside him, Nicol Williamson's Merlin is a clear inspiration for Morgan Freeman's Tiberius in The Lego Movie. He delivers his lines with a odd blend of comedy and serious mysticism with the end result being him appearing to ham it up far too much. The rest of the cast is largely awful for reasons beyond their own control and can be described as Boorman's misstep. Having everybody yell their lines, along with their unconvincing delivery, makes the film and its characters appear wholly unaware of the fact that this is really a Monty Python movie. The actors deliver their lines with no confidence or sense of belief that this is really happening. The worst sinner here is Boorman's daughter Katrine who plays Igrayne, Arthur's mother. As her son is stolen from her by Merlin, her pained screams of "Get him!" are absolutely hysterical with her shrill shrieks being the work of comedy genius. Unfortunately, they were lines intended to be painful, real, and tragic to hear. With horribly unconvincing delivery that makes it seem like the whole cast was just sitting through a table read and going over their lines for the first time when Boorman figured he would just have them read it with the some conviction in the real shoot, Excalibur winds up being unintentional comedy of the highest order.

Blended with its fantastical plot, the film's horrible acting is really unfortunate. Instead of a mystical and magical adventure, the film winds up feeling like a funny drug-fueled romp through the minds of a stoner. It is a weird blend of Monty Python and Time Bandits, except played entirely straight to the point that you have no idea whether the film realizes it is so funny. As Lancelot (Nicholas Clay) and Guenevere (Cherie Lunghi) have sex in the forest with Arthur nearing their location and Morgana (Helen Mirren) and Merlin watching on, the scene is entirely comical due to the horrible acting. Mirren and Williamson ham it up as the wizards while the rest of the cast all act horrified, shocked, and ashamed in a way that makes it appear as though this is the first time these actors have ever felt these emotions. The film would be markedly better if its acting were wooden. Instead, it worsens the matter with everybody appearing to be robots or aliens attempting to mimic human behavior.

This acting concern is often found in the dialogue, to be fair, as the actors struggle to feel their way through the dialogue that just comes off as far too cheesy to match the film's serious struggle between good and evil. This is even more unfortunate with how well developed the film's themes really are. With Arthur being a Jesus-like figure in this adaptation of the legend, he is tempted and put through the ringer all to prove that he is the true chosen one. Along the way, he offers forgiveness to his wife, his best friend, and seeks to unite his kingdom under a religious center. Honoring his father and family, Arthur is a man that is united by his disciples, fearlessness, and willingness to bring peace and prosperity throughout the land. Including the theme of lust throughout the film that tempts men of every walk of life and serves to be their very undoing, the film may be one of the most soundly written and developed adaptations of Jesus in a non-Jesus film ever put to film. Boorman keeps the film focused upon this theme and always develops it, adding various layers to it that makes it a compelling tale of a man seeking redemption after falling from grace and having to fight his way back through defending his soul from those that want its perfection. In the end, it becomes a film about a savior for the world amidst great evil (Morgana) who must become worthy of this calling and stand trials that many other men could not withstand. However, through his loyal disciples and their diligence, he is able to overcome because no true savior is worthy of the title if he does not have the full love of those that serve alongside him.

One of the film's greatest accomplishments, however, certainly comes via its visuals. With gorgeous long shots of Camelot or men riding on the country side, the film's gorgeous usage of dark blues against the lush gold of the castle or burning orange fires always captures the imagination of the audience. It creates this mystical and other worldly feeling that instills the film with that a visual fantasy to match its plot's keen sense of the legend of King Arthur. Its fantastic visuals really allow the film to rise up to its epic aspirations and gives it an excellent sense of spectacle. Its fights and battles live up to these expectations with excellent use of smoke and fog in the climax to obscure some of the action and to create an ominous sense of dread as to what else is waiting for Arthur and his knights. While the film's less-than-serious acting may not sell the deathly serious nature of its sword fighting or the imagination of its sorcery, the film's battles certainly have great scope and power on both fronts. Relying upon the sword excalibur and having to understand when to and when not to use the sword in order to keep its honor, these jousts and full-scale battles both further Boorman's thematic considerations in the film and his desire to make an action epic out of Arthurian legend.

Fantastical, gorgeously designed, and with great thematic writing, Excalibur had the potential to be a fantasy action adventure film for the ages. It knows its source material and faithfully brings it to life in a fun and well-written fashion. Its themes are resonant and powerful, giving the film an emotional core with strong religious ties to Jesus and average person's struggle to remain pure in a world dominated by sin. Its visuals capture the intended scope of the film with lush blues, oranges, greens, and vibrant metal armor and diamonds that shine like no other. It is a smart and terrifically envisioned film when it comes to those visuals and its plot. However, its writing with clunky dialogue and occasionally awkward flow - which mostly occurs when the film dramatically advances through time - really hamstring the film. Both are bad enough on their own, but are worsened by the film's uniformly horrible acting that makes the film come off as a comedy romp through Arthurian legend with the actors seemingly believing they walked on a Monty Python set instead of one focused on a serious adaptation of King Arthur and the Knights of the Roundtable. As a result, the film winds up feeling entirely confused with unintentional comedy abounding, which nearly undermines the film's strengths.

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“Excalibur”, 1981 (Katrine Boorman, Helen Mirren, Cherie Lunghi)

[cinemacinemas-fr]

Camille Claudel de Bruno Nuytten (1987) #MrCinema 301

Retrouvez la bande-annonce du film Camille Claudel ponctuée des secrets de tournage et d'anecdotes sur celui-ci. ■ Abonnez-vous sur YouTube ► https://goo.gl/dck70g ■ Suivez-moi sur Twitter ► https://goo.gl/IMyExb ■ Rejoignez-moi sur Facebook ► https://goo.gl/eWnGLq ■ Suivez-moi sur Instagram ► https://goo.gl/N7expq 🎥 Camille Claudel est un film français réalisé par Bruno Nuytten, sorti en 1988. ✎ A vingt ans, Camille Claudel, sculptrice pleine de promesses, rencontre Auguste Rodin qui, a 40 ans, est en pleine possession de son génie. Elle devient son élève, puis sa maîtresse. Sa rupture avec ce dernier et les difficultés qu'elle rencontrera pour imposer son œuvre la conduiront peu à peu à la folie… 🎬 Fiche technique ▬▬▬▬▬▬▬▬▬ Réalisateur : Bruno Nuytten Musique : Gabriel Yared Directeur de la photographie : Pierre Lhomme Dates de sortie France : 7 décembre 1988 ☺ Distribution ▬▬▬▬▬▬▬ Isabelle Adjani, Gérard Depardieu, Laurent Grévill, Alain Cuny, Madeleine Robinson, Philippe Clévenot, Katrine Boorman, Jean-Pierre Sentier, Danièle Lebrun, Aurelle Doazan, Madeleine Marie, Maxime Leroux, Philippe Clévenot, Roger Planchon, Flaminio Corcos, Roch Leibovici, Gérard Darierl, François Berléand ✎ Sources Wikipedia: https://ift.tt/2YJljtg ✎ Sources AlloCiné: https://ift.tt/23HZA4F #IsabelleAdjani #GérardDepardieu #LaurentGrévill #AlainCuny #MadeleineRobinson #PhilippeClévenot #KatrineBoorman #JeanPierreSentier #DanièleLebrun #AurelleDoazan #MadeleineMarie #MaximeLeroux #PhilippeClévenot #RogerPlanchon #FlaminioCorcos #RochLeibovici #GérardDarierl #FrançoisBerléand #BrunoNuytten #MarilynGoldin #GabrielYared #PierreLhomme #BernardVezat #BernardArtigues #ChristianFechner https://youtu.be/0jtFKMpYSno

[fatalisfilmproductions]

„Die Weinstraße“: Biblische Herbergssuche als schräge Filmkomödie

Graz (APA) - Im Jänner bietet das Grazer Rechbauerkino wieder einem heimischen Filmkünstler seine Premierenleinwand. Mit „Die Weinstraße“ hofft der Filmemacher Simon G. Mueller, der seinen Debütfilm „Stylers“ vor rund 14 Jahren an selbiger Stelle präsentierte, auf einen gelungenen Neustart. Mueller kehrte nach einem sechsjährigen Studienaufenthalt in New York vor drei Jahren in seine Heimatstadt zurück.

„Die Weinstraße“ versteht sich als steirisches Roadmovie in Anlehnung an das surreale europäische Unterhaltungskino der 1970er-Jahre. Die Aufnahmen fanden großteils an Originalschauplätzen im Sausal statt, vereinzelt wurde auch im Studio gedreht. Für den Film wurden lediglich 24 Drehstunden benötigt. Das Gesamtbudget hielt sich mit 20.000 Euro ebenfalls in überschaubaren Grenzen.

Der Inhalt orientiert sich mehr oder weniger offen an der biblischen Herbergssuche: Josef Zimmermann traut sich nicht, seiner wesentlich jüngeren, hochschwangeren Frau Maria zu sagen, dass er den Job verloren hat. Er verkauft heimlich sein Auto, um Maria mit dem Geld noch ein paar unbeschwerte Tage in Slowenien zu schenken. Unterwegs strandet das Paar jedoch in den südsteirischen Weinbergen.

Inspiration für den Film holte sich Mueller unter anderem bei Altmeister Luis Bunuel und dessen Spätwerk „La Voie Lactee“ („Die Milchstraße“, 1969) und beim Fantasy-Klassiker „Excalibur“ von John Boorman aus dem Jahr 1981. Auch Michael Glawoggers posthum vollendete „Sex, Drugs & Rock‘n Roll“-Trilogie trug das ihrige zur Entwicklung von „Die Weinstraße“ bei.

Parallelen zu Glawoggers Filmschaffen finden sich in der Kombination von Improvisationstheater und schrägem Unterhaltungskino. Die Schauspielerriege von Muellers Film rekrutiert sich hauptsächlich aus Mitgliedern der Grazer Off-Bühne Theater im Keller (TiK), zu dem Mueller schon seit langem Kontakte pflegt. Die Hauptrollen als Josef und Maria spielen TiK-Chef Alfred Haidacher und Katrin Ebner.

Glawogger arbeitete bei „Nacktschnecken“ und „Contact High“ mit Michael Ostrowski und anderen Mitgliedern des Theaters im Bahnhof (TiB) auf ähnliche Weise zusammen. Gastrollen übernahmen EAV-Gründungsmitglied Eik Breit, Jörg-Martin Willnauer, Grazbürsten-Kabarettistin Ursula Bruck sowie der frühere „Starmania“-Teilnehmer und Musiker Gernot Pachernigg.

Auf das Publikum dürfte mit „Die Weinstraße“ nun abermals ein Erlebnis im Geist der absurden österreichischen Kinotradition zukommen. Mueller sieht in seinem Film auch einen subtilen Kommentar zur aktuellen Flüchtlingsthematik in deren Diskussion immer wieder der Bezug zu Jesus als Quasi-Flüchtlingskind hergestellt wird. Es gehe letztlich um den Begriff des Fremdseins, „nicht zuletzt im eigenen Land“, so Mueller. „Die Weinstraße“ sei aber weder ein religiöser noch ein politischer Film.

Das Spiel mit der filmischen Machart der 1960er- und 1970er-Jahre schlägt sich unter anderem im stilgerecht gezeichneten Filmplakat und im heutzutage unüblichen Kinobreitformat Ultra Panavision 70 nieder. In diesem Format wurden seinerzeit Hollywoodklassiker wie etwa „Ben Hur“ oder „Die Meuterei auf der Bounty“ sowie zuletzt „The Hateful Eight“ von Quentin Tarantino gedreht.

Mit „Die Weinstraße“ will sich der 38-jährige Heimkehrer Mueller zunächst an das Grazer Publikum wenden. Einen breiteren Kinoauftritt im deutschsprachigen Raum oder bei internationalen Festivals schließt er für die Zukunft nicht aus. Das nächste Filmprojekt unter dem Titel „Kettenhund“ trägt er bereits in Form eines Drehbuchs mit sich herum.

„Die Weinstraße“ von Simon G. Mueller; Premiere: Freitag, 18. Jänner 2019 um 19.45 Uhr, Filmzentrum im Rechbauer. Weitere bereits fixierte Spieltermine: Sa., 19. Jänner 2019 um 19.45 Uhr, So., 20. Jänner, bis Do., 24. Jänner, jeweils um 18 Uhr. Mehr Informationen zu Film und Filmemacher unter http://fatalisfilmproductions.com