#Martin Dirkov

[genevieveetguy]

The Apprentice, Ali Abbasi (2024)

[steelbluehome]

"The two leads are fantastic: Stan navigates from naïve wannabe to glowering mogul and never loses his way or slips into parody. His vanity about his hair and his looks is on display from the beginning, but in the early years he is unsure of himself and there is a vulnerability about him. Strong is also utterly believable as Cohn, a man as vain as his disciple and certainly as dangerous."

The Standard

The Apprentice review: Sebastian Stan shines in drama about how Donald Trump went from wannabe to mogul (click for article)

This origin story does an excellent job of showing the rise and rise of Donald Trump

Jo-Ann Titmarsh

4 out of 5 stars

One of the hottest tickets in Cannes this year is Iranian director Ali Abbasi’s The Apprentice, his tale of the rise and rise of Donald Trump.

The apprentice in question is Trump himself (Sebastian Stan), while the master he serves and later usurps is Roy Cohn (Jeremy Strong), a lawyer who hobnobs with leaders and has the ear of the president.

Cohn is ruthless and will stop at nothing to attain what he wants, often in the name of a patriotism which equals hard-right conservatism.

The film opens in 1970s New York. Donald is a baby-faced teetotal rent collector for his dad, but he yearns to break free of his father’s grip and strive for greater things, obsessing over the tycoons and millionaires that frequent Le Club.

This is where he meets Cohn who takes Trump under his wing and instructs him to follow his three essential tenets, which are all about achieving, denial and how even a defeat can be turned into a win.

Abbasi deftly recreates the feel of the city and the darkness of those years. And what starts gritty becomes colourful once Ivana (Maria Bakalova) appears her platinum blonde hair, scarlet dress and matching glossy lips.

The other important people are his family members. Martin Donovan plays Fred, the abusive and monstrous family patriarch. Donald’s mother Mary (Iona Rose MacKay) is a less forceful presence, while Trump’s brother Freddy (Charlie Carrick) is sympathetically depicted as a man slowly but irrevocably broken by his father’s contempt.

As the film moves into the 1980s, the look changes completely as the Eighties vibe comes clearly into focus, like walking into the neon-lit bathroom of a dingy club.

There is nothing but tackiness here, that harsh lighting revealing the deals in Atlantic City, the over-the-top décor of the Trump home and the gaudiness of the couple’s life together, even as their relationship falls apart.

The harshness also highlights Trump’s ascension as Cohn begins to falter and the apprentice becomes the master.

The film ends with Trump drafting his book The Art of the Deal, in which he dictates those three tenets drummed into him by Cohn. Nothing about Trump is original. Nothing has been gained by him alone. And there is nothing he won’t do to get what he wants.

The two leads are fantastic: Stan navigates from naïve wannabe to glowering mogul and never loses his way or slips into parody. His vanity about his hair and his looks is on display from the beginning, but in the early years he is unsure of himself and there is a vulnerability about him. Strong is also utterly believable as Cohn, a man as vain as his disciple and certainly as dangerous.

It’s hard not to bring up comparisons with Succession here: a New York dynasty, a tyrannical father, the wealthy elite, the presence of Jeremy Strong who played Kendall Roy… there’s even a fleeting glimpse and mention of Rupert Murdoch, whom Cohn says Trump should cosy up to. And then there’s the excellent music by Martin Dirkov, which has echoes of the Succession theme.

There are some problems, the story is too linear and the screenplay, by Gabriel Sherman, full of scenes seen many times before, such as Cohn chasing after Trump in the street begging for an audience or Donald refusing his calls, and the director could have been more inventive in the fil. However, there is a lot of humour here, particularly thanks to the character of Cohn, and almost always at Trump’s expense.

The Apprentice is not going to change anyone’s mind about Trump, who is so vain that he will almost certainly love this film, despite the references to his plastic surgery and big butt.

But Abbasi does an excellent job of showing us how and why Trump became the Trump of today and how his path to presidency was paved.

[thefilmverdict]

#theApprenticemovie #Ali Abbasi #Gabriel Sherman #RoyCohn JeremysStrong #SebastianStan # MariaBakalova # MartinDonovan #CharlieCarrick #MarkRendall, # MarkRendall # KasperTuxen #OlivierBuggeCoutté #OliviaNeergaardHolm #AleksandraMarinkovich #Martin Dirkov # Scythia Films #ProfilePictures #Tailored Films #Rocket Science #discussing film 

[brunobresani]

73 muestra internacional de cine en la @cinetecanacionalmx

Araña sagrada

Holy Spider, Dinamarca-Alemania-Suecia-Francia, 2022, 117 min.

D: Ali Abbasi. G: Ali Abbasi y Afshin Kamran Bahrami. F en C: Nadim Carlsen. M: Martin Dirkov. E: Olivia Neergaard-Holm y Hayedeh Safiyari. Con: Mehdi Bajestani (Saeed), Zar Amir Ebrahimi (Rahimi), Arash Ashtiani (Sharifi), Forouzan Jamshidnejad (Fatima), Alice Rahimi (Somayeh), Sina Parvaneh (Rostami). CP: Profile Pictures, One Two Films, Nordisk Film Production, Wild Bunch International, entre otras. Prod: Ali Abbasi, Sol Bondy y Jacob Jarek. Dist: Cine Caníbal.

Una periodista de Teherán se sumerge en los barrios más peligrosos de la ciudad iraní de Mashhad para investigar una serie de asesinatos. Pronto se dará cuenta que los crímenes son obra de un solo hombre que ataca trabajadoras sexuales por la noche con el propósito de purificar a la ciudad de sus pecados. Inspirado en un hecho real, el tercer largometraje del director nacido en Irán y radicado en Dinamarca, Ali Abbasi, navega entre el thriller y el cine de denuncia para remover los cimientos de las estructuras políticas, los tabúes y el fundamentalismo de su país de origen, delineados aquí por la misoginia, la violencia de género y una moral que no siempre permite acceder a la justicia.

#cinetecanacional #muestrainternacionaldecine #cine #kino #film #arañasagradapelícula

[cultfaction]

Knocking trailer released

After suffering a traumatic incident, Molly (Cecilia Milocco) moves into a new apartment to begin her path to recovery, but it’s not long after her arrival that a series of persistent knocks and screams begin to wake her up at night. Molly’s new life begins to unravel as the screams intensify and no one else in the building believes or is willing to help her. KNOCKING, which world premiered to…

[icollectimages]

Shelley (2016)

Country: Denmark / Sweden

Directed by: Ali Abbasi

Written by: Abbasi & Maren Louise Käehne Based on an original idea by: Abbasi

Cinematography by: Sturla Brandth Grøvlen & Nadim Carlsen

Edited by: Olivia Neergaard-Holm

Produced by: Jacob Jarek

Music by: Martin Dirkov

Production Design by: Sabine Hviid & Kristine Køster

[scenesandscreens]

HOLIDAY (2018)

Director - Isabella Eklöf, Cinematography - Nadim Carlsen

[vulturehound]

'A Unique Enigma About What it Means to be Human' - Border (Blu-Ray Review)

‘A Unique Enigma About What it Means to be Human’ – Border (Blu-Ray Review)

(more…)

[mellowyknox]

Ecco "Shoemaker”

Agency: &Co Copenhagen

Production: Atlas Stockholm Director: Per-Hampus Stalhandske Cinematographer: Oliver Millar Editor: Per-Hampus Stalhandske Colorist: Kath Raisch

Original Score & Sound Design: Martin Dirkov

Year: 2017

[genevieveetguy]

Border (Gräns), Ali Abbasi (2018)

[lesterplatt]

3M Command - Musical Wall from Torben Kjelstrup on Vimeo.

Director: Torben Kjelstrup DoP: Franz Lustig Production Design: Jiří Matura 1st AD: David Jancar Stylist: Oskar Charpentier SFX: Vítek Petrasek VFX: Kevin VFX Supervisor: Bob Murdock Sound on set: Roman Seckar Sound design: Martin Dirkov Editor: Leo Scott

Production Company: Furlined EP UK: Olly Chapman EP US: Jay Wakefield Producer: Giles Skillicorn

Production service: Unit+Sofa EPs: Fady Salame/ Martin Sobotka Production manager: Rola Brzobohata Line producer: Jan Hlavsa Production manager: Iris Koutova

Agency: Venables Bell & Partners Creative director: Gus Johnston Creative director: Ryan Hoercher Art Director: Nina Golik Copywritor: Bryson Schmidt Agency producer: Hannah Murray

[saturdaynightmatinee]

CALIFICACIÓN PERSONAL: 6 / 10

Título Original: Shorta AKA Enforcement

Año: 2020

Duración: 108 min

País: Dinamarca

Director: Frederik Louis Hviid, Anders Ølholm

Guion: Anders Ølholm, Frederik Louis Hviid

Música: Martin Dirkov

Fotografía: Jacob Møller

Reparto: Jakob Ulrik Lohmann, Simon Sears, Tarek Zayat, Issa Khattab, Özlem Saglanmak, Arian Kashef, Josephine Park, Dulfi Al-Jabouri, Michael Brostrup, Abdelmalik Dhaflaoui, Imad Abul-Foul, Anne Plauborg, Morten Brovn Jørgensen, Ibrahim Asmaa Ahmad, Hanin Georgis, Mads Rømer, Jack Pedersen, Boie Kratfeldt, Lara Aksoy, Rose Broholm, Ali Abdul Amir Najei, Anna Tulestedt, Jonas El Keh, Jousef Sobhie, Sebastian Kipling, Wagma Khattak, Elias Osman, Ali Haider, Jesper Kronsell, Malin Brolin-Tani, Mickey Nørregaard, Mogens Rubinstein, Frederik Dirks Gottlieb

Productora: Toolbox Film

Género: Action, Crime, Drama

https://www.imdb.com/title/tt11081050/

TRAILER:

[maxdurhamart]

Researching Artists

‘View From A Blue Moon Teaser’ (2017) by John John Florence

Director Blake Vincent and Sound Designer Martin Dirkov co-operate increasing fast-cuts and contrasting diegetic sounds in this ‘teaser’ to create a stimulating energetic video clip. I would like to produce a work inspired by this in some way in my 4D studio final artwork.

https://vimeo.com/135000529

[artwalktv]

alt-J “in Cold Blood” Narrated by Iggy Pop Director: Casper Balslev Black Dog Films/ New Land Executive Producer Black Dog Films: Martin Roker Executive producer New Land: Thor Brammer Jacobsen Producer: Mikkel Damkiær Producer suppleant: Joacim Harder Production manager: Nicoline Lau Edinger Cinematography: Niels Thastum Editor: Anders Albjerg Production Designer. Anna Gry Skovdal 1st AD. Tue Czajkowski Directors Assistent: Joacim Fougner B- Unit Camera: Niels Buchholtzer Gaffer: Martin Riello Best Boy: Jonas Madsen Focus Puller: Thue Garde, Mads Hoppe 2. AC: Kristoffer Hoyer Key Grip: Christian Brøndum Sound Design: Martin Dirkov Set Build: Joshua Beckford Make- up SFX: Per Kapper Make up: Louise Bruun Wardrobe: My Ringsted SFX and weapons Hummer Højmark Car Wrangler: Søren Hvam Production Coordinator: Lea Sönnichsen Production Assistent: Linea Cramer Location Manager: Kristian Nørlyng Casting by Ditte Kiel / ArtCast Cast: Martine Lindskjold, Jonathan Albrecthsen, Kristian Hedegaard Petersen. Brian Rodrigues, Kenneth Bøtker, Frej Levin, Rainy James, Philip Hoeg, Henrik Queitsch, Kress Bøtel, Ronni Tronborg, Axel Emil Christensen Mouse: Syd & friends Mouse Whisper: Jessie Davidsson Post production by Cameo Grader: Lasse Marcussen Flame: Bjørn Munch Post production coordinator: Emma Engberg Additional Sound mix: Sylvester Holm Directors Rep Black Dog Films: Holly Wolfers Commissioner: Andrew Law Infectious Music 2017

[karoltabis]

agency: &co executive producer: kristian kjelman, cille silverwood producer: cille silverwood line producer: henrik voigt, stefano caretta 1st ad: richard diment dop: oliver millar 1st ac: peter topsoe
 2nd ac: kathrine thejl d.i.t.: sospeter ng˙anga gaffer: thomas bekker best boy: alex suhr key grip: michael tot grip: jeppe lassen stylist: pernille holm art director: trine padmo service production holland: operator executive producer: maarten j.n.w. sundermann gaffer: willem van der eerden key grip: sebastiaan de roy art director: barnaby monk service production portugal: production portugal executive producer: silvia reis gaffer: marco sales key grip: miguel efe editor: per-hampus stålhandske original score & sound design: martin dirkov vfx: peter hartwig grade: kath raisch / company 3 production company: &co productions, atlas