#vickykrieps

[blurrymerzsblog]

Masterpiece.

PhantomThread, (Paul Thomas Anderson)

Vicky Krieps/Daniel Day Lewis.

#films #movies #filmmaking #filmphotography #cinema #cinematheia #cinefilia #cinemática #filmcomposer #phantomthread #vickykrieps #danieldaylewis

[film-book]

‎

THE DEAD DON'T HURT (2023) Movie Trailer: Viggo Mortensen & Vicky Krieps contend with the Consequences of the Civil War https://film-book.com/the-dead-dont-hurt-2023-movie-trailer-vicky-krieps/?feed_id=128535&_unique_id=660877b9524ad

[msilwrites]

Hey FOLKS! Can we talk about that magical moment when Alma walked into the scene at the hotel in Phantom Thread? I mean, seriously, Vicky Krieps has this warmth about her that's downright enchanting! That smile of hers is like a burst of sunshine, and I totally get why Reynolds was taken with her.

Am I the only one who found myself completely charmed by Alma's introduction? That smile of hers just lights up the whole room, and I couldn't help but be drawn in. It's like she brought a ray of sunshine into Reynolds' meticulous world.

There's something about the way Vicky Krieps portrays Alma that feels so genuine and like she's sharing a piece of sunshine with the audience. Did anyone else feel this way? I can't be the only one who was smitten by her charm?!!!

“It’s a lot to take in, and Krieps gives a performance so emotionally responsive and minutely detailed that we can see Alma arriving at one crushing realization — she’s the latest model of many — before settling just as quickly into steely determination. Reynolds may be fitting her for a specific role, but he, too, will soon know how it feels to be whittled down to size.” 

Vicky Krieps as Alma in Phantom Thread (2017) dir. Paul Thomas Anderson

[regentstreetcinema]

Alexandre Dumas's classic swashbuckler returns to the big screen in a lavish new interpretation that'll make you wonder if you could pull off a cavalier hat. Now showing at Regent Street Cinema.

[intellectures]

Rom antwortet nicht

Übermorgen wird die große deutsche Regisseurin Margarethe von Trotta 81 Jahre alt. Im Wettbewerb der 73. Berlinale ist vorher ihr Spielfilm »Ingeborg Bachmann – Reise in die Wüste« zu Wüste, der die Beziehung von Max Frisch und Ingeborg Bachmann in den Blick nimmt. Read the full article

[kelly-clarksons]

kellyclarksonshow: Swapping stories with Viggo Mortensen and @ vickykrieps today on Kelly PLUS a performance from @ pepeaguilar_oficial and @ lawrencezarian trains with Olympic gymnast @ brody1700!

[movie-track01]

FATHER MOTHER SISTER BROTHER has cast :

• #CateBlanchett

• #VickyKrieps

• #AdamDriver

• #MayimBialik

• #TomWaits

• #CharlotteRampling

• #IndyaMoore

• #LukaSabbat

The film is directed by Jim Jarmusch.

[ambientwitch]

Just accidentally took the vickykrieps url because I thought surely it wouldn’t be available . Someone should actually use this because I am for some reason loyal to ambientwitch

[twilightteamm]

📸 | #virgile.guinard: portfolio @voguegermany x Berlinale - Berlin International Film Festival

with #kristenstewart @joannakulig_official @vickykrieps @langstonuibel @emily.atef @marleneburow

♥️ @chanelofficial

[thelovingfeeling]

darwin darwin nuñez (yo) he came from benfica (twitter) to the big reds (tumblr)

EVERYBODY SAY HI TO TWITTERS BIGGEST STAR (debatable) MISS VICKYKRIEPS (not affiliated with actual victoria krieps)

[avatarmovies]

gregwilliamsphotography

On Saturday evening, @gregwilliamsphotgraphy captured Hollywood stars – from @tillmovie and @everythingevrywheremovie to @topgunmovie and @blackpanther – at the annual @bafta Tea Party in Los Angeles, held for award contenders, members, and guests ahead of the British Academy of Film and Television Arts awards in London this February.

#MichelleYeoh#DanielleDeadwyler#AngelaBassett#DannyRamirez#GregTarzanDavis#JayEllis#ChinonyeChukwu#StephanieHsu#BillNighy#VickyKrieps#BaileyBass#DanielKwan#DanielScheinert#JoeCole#RhianJohnson#BAFTA#GregWilliamsPhotography#GregWilliams

[regentstreetcinema]

If everyone's looking at you, you might as well put on a show.

[movienized-com]

Les trois mousquetaires: Milady

Les trois mousquetaires: Milady (2023) #MartinBourboulon #EvaGreen #VincentCassel #VickyKrieps #JacobFortuneLloyd #LouisGarrel Mehr auf:

Die drei Musketiere: Milady / The Three Musketeers: MiladyJahr: 2023 (Dezember) Genre: Action / Abenteuer / History Regie: Martin Bourboulon Hauptrollen: Eva Green, Vincent Cassel, Vicky Krieps, Jacob Fortune-Lloyd, Louis Garrel, Lyna Khoudri, Romain Duris, François Civil, James Flynn, Pio Marmaï, Camille Rutherford, Marc Barbé, Patrick Mille, Alexis Michalik, Eric Ruf … Filmbeschreibung: Das…

[adamwatchesmovies]

Old (2021)

I've never seen another movie tell the same tale as Old. This makes it unpredictable and interesting from the get-go. It also explains too much, which makes it easy to poke holes in its story. Whether you'll enjoy it depends entirely on your ability to suspend your disbelief.

Like many of M. Night Shyamalan’s films, the less you know going in, the better. This allows you to experience the strange goings-on as the characters do, which will distract from the loopy mechanics of this strange beach. Before going into more details and the premise, I'll tell you that it's worth checking out. You might find that it exploits a fear you didn’t even know you had. If some of it doesn’t seem to add up (such as Nikki Amuka-Bird’s character) just wait. Old doesn’t really have a twist. That word implies that everything you saw before will be turned on its head. What Old has is not the same as a reveal that “they were living in present-day the whole time” or “he was the hero’s father all along”!

With that said, the premise: Guy and Prisca Cappa (Gael García Bernal and Vicky Krieps) are vacationing with their six-year-old son Trent (Nolan River) and 11-year-old daughter Maddox (Alexa Swinton). While relaxing on an exclusive beach with some other resort guests, they suddenly begin aging one year for every thirty minutes.

Suddenly discovering your health will degenerate until death in a matter of hours or that your best years slipping through your fingers are real fears touched upon to various degrees. Even if the characters don’t explicitly express these, you feel it just looking at them. The way Shyamalan transitions between the different actors who play the same roles is effective. A different movie would’ve made the mistake of trying (and failing) to use computer effects to show rapid bursts of time. In Old, we follow enough characters that someone can walk away from the camera - for credible reasons - and then come back later looking completely different without making you feel like they’re cheating.

Though the dialogue is often stilted, the filmmaking is still good. Every second spent on the gorgeous sand with those beautiful cliffs and that pristine water is costing our protagonists a lot. You want them to hurry but an escape must be carefully planned - we see how fatal rushing things can be. Then, there are the internal dangers. Sometimes it’s a disease that goes untreated “for years”. In some cases, it's the psychological toll of losing your looks, your strength, your sight, your hearing, and your health. If you suffer from a mental disease, your mind might go. Someone on the beach snaps and they become an external danger. The premise also allows for quiet, contemplative moments as some people realize it’s too late for them, that all they can do is enjoy their twilight years.

Even when M. Night Shyamalan isn’t successful, his projects are interesting because they’re ambitious. Old shows that maybe he should get a co-writer to polish his dialogue and get a second opinion about which mysteries need to be left in the dark but it's more "good" than "bad". (November 7, 2021)

[doomonfilm]

Thoughts : Hanna (2011)

My family and friends who know me know that I have a love for redeeming Vudu codes and adding films to my extensive online library.  Recently, I came across a copy of Night School, and that redemption code included a free film.  I was unsure of what to get, but I settled on Hanna after watching the trailers for the films available.  Cut to a couple of weeks later, Super Bowl Sunday, and I see a commercial for a Hanna tv series.  Weird, right?  Now I feel that I have to watch this film before the property becomes relevant again.. synchronicity at work.

Hanna (Saoirse Ronan) and her father Erik (Eric Bana) survive off of the land in the forests of northern Finland.  Erik pushes Hanna constantly, making sure that her survival instincts, hunting instincts and intelligence are always sharp and running at full capacity.  As Hanna grows older, however, she yearns for a true challenge, not just the ‘imaginary’ training that Erik prepares her for.  One day, Erik presents Hanna with an intriguing option in the form of a remote button, which he promises will trigger a challenge unlike any that Hanna has seen before, if she chooses.  Curiosity gets the best of her, and Hanna triggers the challenge, putting C.I.A. operative Marissa Wiegler (Cate Blanchett) and her team in motion.  Erik and Hanna set their plan in motion, as Erik disappears while Hanna stays back and is captured.  She finds herself in a Moroccan compound run by the C.I.A., which she escapes, and sets a dangerous game of cat and mouse into motion as all three parties race towards one another.

The way that the concept of a feral human is toyed with plays quite intriguing in regards to Hanna and her transition from forest to eventual hiding in the streets of Morocco.  The beauty of her transition into society soon takes a turn into the absurd via an over-immersion into electricity, television and teenage gossip, all of which dull her killer instinct and make her susceptible to capture.  The intensity of the pursuit from Wiegler, Isaacs (Tom Hollander) and his crew serve to both help snap Hanna’s tangents back to the mainline narrative, plus it causes tension as they run through Rachel (Olivia Williams) and Sebastian’s (Jason Flemyng) family, as well as Knepfler (Martin Wutke) in the wake.

The balance between a hard-nosed C.I.A. manhunt picture and a coming-of-age tale is a good one, as it allows just enough focus on both stories to propel each narrative without having to rely too heavily on the tropes of each genre.  The attention especially played to Hanna and her interaction with Sophie is key, as it allows a split channel of discovery (and further distraction) in regards to Hanna and her journey to find out who she is.  Having mostly British and American characters occupy Spanish and Moroccan locations is an interesting touch, as it may bode to a slightly larger commentary on the powerful using the disenfranchised as their playgrounds.  Add to this the mystery of Hanna, her origin, and where she is truly from, and you’ve got a film that holds your attention from opening to closing credits.

The mixture of intense framing with grand camera moves is utilized to create a disjointed feeling, putting the viewer squarely in the same shoes as Hanna.  Great location choices are abound, including the shipping yard and amusement park sequences, as well as the streets of countries mentioned previously.  Economical action is applied rather than opting for grand action sequences, with a lot of the action being centered around foot chases and hand to hand combat rather than elaborate car chases and gunfights.  Tonally, things are well-balanced between the spy story and the coming of age story, with each aspect getting enough attention to feel fulfilled.  The ending feels a bit abrupt, but the fact that there is now a TV series on the way sort of helps aide with that acceptance.

Saoirse Ronan uses a brilliant approach to the fish out of water approach, managing to wrap most of her performance in a sense of wonder while always making sure that the sharp edge she possesses simmers just below the surface.  Eric Bana plays the protector quite well, serving as guide and guardian until he is forced to reveal the truth to Hanna, while also being competent in the role of a rogue agent.  Cate Blanchett brings an air of dignity to her role as antagonist, allowing her class and stature to direct her as she leads the dual manhunt and points thugs in the direction of her dirty work.  Jessica Barden embraces her bratty role, while Aldo Maland manages to bring some subtlety to his mostly silent performance.  Olivia Williams and Jason Flemyng both help provide a bit of levity, while Tom Hollander and his cronies serve a purely dangerous function of being truly formidable foes and threats to Hanna and Erik.  Appearances by Michelle Dockery, Vicy Krieps and the memorable Martin Wuttke round things out.

I probably won’t watch the show, but I definitely will recommend the movie Hanna to friends, as I enjoyed it.  I’ve definitely become a fan of Saoirse Ronan over the past couple of years, and stumbling across this gem was a nice way to start the year, even if the film is a bit older.