#young vincent cassel

[mcpirita]

La Haine (1995)

[lethalover]

me n that old man

[asklesbianonceler]

I watched Brotherhood of the Wolf with Bea last night and at the end she was like "I know you're going to be thinking about the villain for weeks" and y'all.... I hate that she was right. Like, I can't tell her she's right but

[denimbex1986]

'The star of Christopher Nolan’s latest blockbuster, Oppenheimer, Cillian Murphy, has consistently shown that he has more substance than most of his Hollywood peers. Whether this be via his general persona or his love of great music, it’s not often that a person in the limelight proves themselves to be such an authentic artist.

Demonstrating this point, Murphy recently revealed that the late David Bowie inspired the aesthetic for his performance as the father of the atomic bomb, J. Robert Oppenheimer, in the new Christopher Nolan thriller. The Irish actor explained in an interview that he drew on the musician’s ‘Thin White Duke’ era and on-stage persona when creating his version of the physicist.

“We worked very closely with our costume designer to design the clothes,” the actor told MTV Movies, “And particularly, I wanted to get his silhouette. He was very fragile, he was very, very slim, and I wanted to get that silhouette right.”

Murphy added: “Chris (Nolan) sent me a couple of shots of David Bowie, certain periods in David Bowie’s career, like Thin White Duke and around Young Americans’ time.”

Regarding Bowie’s persona, Murphy continued: “He had these massive trousers, and he was so emaciated but so fucking cool…So we used that, weirdly, for some of Oppenheimer’s trousers.”

This kind of unique approach has made Cillian Murphy such a fan favourite over the years. Adding to his substance, whilst the actor is a big music lover, he’s also a lifelong film buff and has provided many great accounts of movies in his time. He recently demonstrated this fascination with the form on a more forensic level than usual when he and Nolan appeared in the Video Club for the French publication Konbini as part of the promotional run for Oppenheimer.

Having their discussion in a room filled with DVDs, the pair picked out some of their favourite titles from the shelves and explained their admiration. Whilst there were many notable moments, a highlight was when Cillian Murphy chose Mathieu Kassovitz’s stylish 1995 crime drama La Haine. The modern French classic stars Vincent Cassel, Hubert Koundé and Saïd Taghmaoui as three friends from a poor immigrant background in the Paris suburbs.

The movie was a critical hit, with Kassovitz awarded the ‘Best Director’ prize at the 1995 Cannes Film Festival. It was also the breakout role for Vincent Cassel and would set him up for a successful career. It transpires that the quality of La Haine impacted Cillian Murphy so that he much called it a “masterpiece” and revealed that he was “obsessed with it” around the time of its release.

He told Nolan: “La Haine, one of my favourites. I showed it to my kids recently, this movie. They were absolutely knocked out, I mean, I think it’s a masterpiece. It hasn’t aged, it’s still as relevant, incredibly shot, and the black and white again. I saw that when I was… ’95… yeah, then I was just, I hadn’t even become an actor then, I was just kind of into films. I remember I had a La Haine t-shirt and everything, there was a special edition DVD box set that I had; I was obsessed with it. The score and that as well is amazing, amazing performances.”'

[aralisj]

Pas de Deux || The Bear Ballet AU

It is highly unlikely that I'll write anything - this is just a random concept that came to me in a daydream. Enjoy some loose thoughts under the cut though.

Donna as a Dance Mom™ would be perfectly in character. She's constantly reviving her glory days as a ballerina on the corps of Chicago ballet. She resents her children for making her give up her career, potentially giving Nat body image and self esteem issues, and pushing Mikey and Carmy past their breaking point… Also her whole aura screams cunty ballet teacher cursing and smoking during class.

Mikey takes over Donna's studio after a career ruining injury (and subsequently gets addicted to painkillers).

Carmy gets a scholarship to study ballet in Europe, then returns to climb the ranks and eventually become a principal dancer in the New York ballet. The plays on his name and the ballet Carmen are fucking exhausting and end in a shouting match more than once.

New York asshole boss is an old school ballet master. I'm picturing Vincent Cassel in The Black Swan, vicious and overbearing, giving Carmy shit for his height, and being a "Sergei Polunin wannabe" with his tattoos and his smoking.

Sydney dances from a young age, inspired by her mom. She gets very badly injured and steps aside for a while. She followed Carmy's career closely and saw him dance on her trip to New York. After a miraculous recovery from her injury, she takes up dance again and joins the studio - Carmy sees her as the only one on his level. Her dream is being a prima ballerina (and dancing a pas de deux with the Carmy Berzatto wouldn't hurt either).

Tina is a self taught dancer and Mikey brings her in to teach beginners classes and ballroom dance.

Richie is just there (canon compliant lmao). He picks up some stuff over the years but not enough to teach. He eventually becomes essential to running the place, booking venues and running social media for the studio as it grows into a high level academy (think Eva Nys on TikTok)

Nat abandoned dance completely right as she could have turned professional (Donna never forgives her) but she returns as a manager for the studio once things start to get serious after Carmy's return.

Pete LOVES ballet but can't dance at all.

[jadedbirch]

I finally watched the 2023 French fanfic of my favorite book, i.e. The Three Musketeers: Milady, part deux of Martin Bourboulon's two-part adaptation of the Alexadre Dumas' novel. I talked about part 1 - The Three Musketeers: d'Artagnan - earlier, but I like to think of them of them together as one oeuvre, since they were shot as one film and then split into two cinematic releases.

Those of you who know me, understand by now that my movie reviews predominantly judge these movies not as standalone works of cinema but as adaptations. I don't ever ask for historical or canonical accuracy (which I have long ago accepted is much too much to ask for), but what I look for is that the plot and the characters serve the underlying spirit of the original Dumas novel. And perhaps this is why, more so than with other - admittedly much more terrible - adaptations, this one just makes me blind with rage. I don't know when filmmakers decided that how we like our morally gray characters is somehow justified, redeemed, and generally de-clawed. If what they were going with here was to make Milady de Winter, the murderous villainess of the novel, into some kind of a post-feminist hero, then they have failed miserably. (Lots of spoilers below the cut)

I don't usually feel the need to put SPOILER warnings on adaptations of the 3 Musketeers, but this ones veers so far off plot that I'm putting it here just in case.

Let's start by saying that it is certainly not Milady who is the main villain of these movies. It's not even Cardinal Richelieu, the man who seems to pull her strings. Rochefort, sadly, does not even appear in this adaptation, and honestly, I feel like docking a point just for that. Apparently M. Bourboulon decided that Dumas' masterpiece just wasn't interesting enough on its own, so he felt the need to "beef" it up, i.e. rewrite the narrative by taking out critical characters like Rochefort and Lord Winter and substituting them with new characters like Mathilde (Aramis' knocked-up sister), Benjamin (Athos' Protestant!!! brother) and maligning poor Gaston le duc d'Orleans by making him the main villain of the duology. Which is a damn shame, because these were all one-note characters foisted upon us at the expense of delightful assholes who made the original novel so fun to read.

And that goes for all the main characters here, including the titular Milady herself. Book!Musketeers are young, reckless assholes, who wench, fight, gamble and generally engage in very questionable behavior. You know, "boys will be boys" - and I do mean that with every possible connotation, i.e. they're horrible. By taking away their youth (excuse moi but Vincent Cassell, who plays Athos, is in his 60's LMAO), Bourboulon would have stripped their bad behavior of any of the benefit and charm of youth. So, I guess, Bourboulon decided to get rid of the bad behavior entirely, instead. Other than Porthos having an occasional bisexual threesome (bless), and Athos drinking while brooding, we don't really see any of the musketeers being the delightful assholes that I, for one, expect them to be. Strip away everything else, but do not ever take the assholery away from me! Here, they are old and they are boring, and honestly, it makes absolutely no historical or narrative sense that any of them are still in the service.

As for d'Artagnan, our hero, he is painted with such a chaste and faithful brush that I'm not actually sure - is this the same shithead who in the book fucks Milady's maid so that he can pretend to be Milady's boyfriend in the dark and sleep with her without her consent??? Hm... nope. This d'Artagnan is so faithful to his Constance, even though they barely touched hands, that he rebuffs Milady's (very assertive) attempts at (inexplicably) seducing him. Oh dear, oh dear, you might say. How is she supposed to spend the rest of the movie trying to get her revenge against him for raping her? Oh, that's right. She's not!

This Milady is no villainess but she's certainly no post-feminist heroine either. Her backstory is so cliche, it is for to weep, and I raged and ranted at great length about it here. She was forced to marry at 15! To some unnamed man who beat and raped her! And whom she killed - a totally justifiable homicide - before somehow falling in love and marrying Old Man Athos and bearing him a child (future Mordaunt? I see you, cutie!). But alas, Old Man Athos learned of her past crime - because she told him - and turned her over to the authorities, resulting in her being branded (natch) and then hanged (convenient how Athos doesn't actually get his own hands dirty). This Milady has literally Never Done A Thing Wrong. Since there's no Lord Winter, there's no poisoned husband. She never succeeds in killing Buckingham or having him killed. She never tries to even so much as look at d'Artagnan wrong, in fact, they keep saving each other's lives for Reasons of the Narrative, none of them particularly compelling. And finally, our poor Constance, I was really rooting for her to survive this AU, but alas. She ends up once again doomed by the narrative, but so stupidly, that I honestly don't know what to say. It made absolutely no sense for Queen Anne to hide her in England with the Duke of Buckingham since doing so would have implicated her in both treason and adultery. BUT WHAT IS LOGIC? Anyways, suffice to say, it's not Milady's fault that Constance ends up dead in d'Artagnan's arms by the end of the movie.

Don't get me wrong. This Milady is very hot (she is played by Eva Green, after all). But there's really nothing interesting or compelling about her as a character. She's a survivor, determined to survive. WHICH SHE DOES. Yay, it's a Milday-is-alive-at-the-end AU! And, honestly, good for her. By all means, girl, you kill that old man who betrayed you and handed you over to be hanged! He doesn't deserve you! And you abduct your own son and smuggle him out of France to teach that old man a lesson! But for the love of all that is holy, can you please, PLEASE raise him to be at least a tiny bit evil???? Please???

I am begging, can we just let villains be villains? Milady's original character was so much more fabulous not because some man beat and raped her but because of her ability to bend men to her will and whim throughout the novel. She outwits and outmaneuvers all of our "heroes," leaving a titillating trail of bodies and broken hearts in her wake, and it takes TEN MEN in the end to hunt her down and execute her. And listen, Athos spends the rest of his life trying to atone for it. THAT IS HER POWER. This Milady? Blah. And while we're here, this Athos? Double blah. I don't care, let her kill him. There's absolutely nothing interesting about this man. (And yes, I think hanging your wife for lying to you and then becoming a murderous alcoholic about it is very interesting, Athos. Very interesting, indeed.) I'd rather watch Vincent Cassell in Eastern Promises 20 more times - now THAT was a character worth his acting skill!

As for the movies themselves, it's sad to say that the only time both my wife and I felt ANY level of investment was close to the very end, when we were waiting to find out whether Constance was going to die. And most of that was due to the extremely convoluted narrative bending that defied logical sense and occasionally space and time. We did not give a shit about anything else, which does not, generally speaking, a great cinematic experience make. And where Part I at least gave us a few moments of levity and a great win for humanity in bisexual Porthos, Part II is merely dark, drab, and joyless.

Final grade for both parts: I give it a C- as a film and a D as an adaptation, in which the only thing that saves it from being an F is Eva Green's hotness.

[bluehome91]

Monica Belluci

Monica Anna Maria Bellucci was born on September 30, 1964 in the Italian village of Città di Castello, Umbria, the only child of Brunella Briganti and Pasquale Bellucci.

Monica grew up in a family of a farmer (father) and artist (mother). Her father likes to speak about his daughter and recollect in his mind her early years. He tells that Monica was so beautiful that the chef of the restaurant, where they had dinner, once refused to take money from them.

Teachers admired the young beauty and one of them had even drawn her portrait.

Monica started her career at the age of 13 as a model posing for the local photo enthusiast.

Later she moved to Milan fashion center where she signed a contract with Elite Model Management. Apart from Milan fashion she also posed for Dolce and Gabbana and French Elle.

Monica Bellucci is a secret dream for many men all over the world and of course, she had numerous love affairs. But the star was officially married just twice.

Her first husband was Claudio Carlos Basso. He was a fashion photographer and they got acquainted, when Claudio made photos of the godlike woman. They dated for a year and then got married on the 3rd January, 1990. Four months later they filed for divorce and finished that short unimportant marriage.

Monica Bellucci got married in 1999 for the second time. Her marriage with an actor Vincent Cassel served as a sample to many other celebrities for many years.

Vincent Cassel (3 November 1966) is a French actor. He became well known in France via his role as Vinz, a troubled French Jewish youth, in Matthieu Kassovitz’s 1995 film La Haine (Hate), which gave him two César Award nominations.

The couple got acquainted at a film set as French actor Vincent Cassel and Italian actress Monica Bellucci appeared in several films together. They wedded on the 3rd of August, 1999 and then gave a birth to two great talented daughters, Deva (born on the 12th of September, 2004) and Léonie, born on the (21st of May, 2010)

Vincent and Monica lived apart even when they were married. Monica tells, they tried to avoid marriage routine and that’s why lived in separate apartments. But it didn’t work and one of the most beautiful couples in the world got divorced in August, 2013.

Monica Bellucci was an extremely beautiful girl from the very childhood. If you think now, that the beauty of this elegant woman is a result of plastic surgery, you should just look at some of her childish photos. The star had full lips, big eyes and tender figure.

MONICA BELLUCCI MARITAL STATUS:

Divorced

MONICA BELLUCCI HUSBAND:

Claudio Carlos Basso (1990-1994)

MONICA BELLUCCI HUSBAND:

Vincent Cassel (1999-2013)

[hotmusketeerspoll]

Complete list of Entrants for the Magnificent Musketeer Tournament

D’Artagnan

Douglas Fairbanks (The Three Musketeers 1921, The Iron Mask 1929)

Aimé Simon-Girard (Les Trois Mousquetaires 1921 - film serial)

Max Linder (Dart-In-Again) (L'Etroit Mousquetaire/ The Three Must-Get-Theres 1922)

Gene Kelly (The Three Musketeers 1948)

Jean-Paul Belmondo (Les Trois Mousquetaires 1959)

Jean-Pierre Cassel (Cyrano et D'Artagnan 1964)

Jeremy Brett  (The Three Musketeers - TV 1966-1967)

Michael York (The Three Musketeers 1973, The Four Musketeers 1974, The Return of the Musketeers 1989)

Jean Valmont (Les Quatres Charlots mousquetaires 1974)

Mikhail Boyarsky (D'Artagnan and Three Musketeers USSR 1978, Musketeers Twenty Years After 1992)

Chris O’Donnell (The Three Musketeers 1993)

Gabriel Byrne (The Man in the Iron Mask 1998)

Hugh Dancy (Young Blades 2001)

Logan Lerman (The Three Musketeers 2011)

Luke Pasqualino (The Musketeers 2014-2016)

Olivier Dion (Les Trois Mousquetaires, le spectacle musical 2016)

Tamaki Ryou (All for One - D'Artagnan and the Sun King 2017)

Pierfrancesco Favino (Moschettieri del re - La penultima missione 2018)

Malachi Pullar-Latchman (The Three Musketeers 2023)

François Civil (Les Trois Mousquetaires 2023)

Athos

Oliver Reed (The Three Musketeers 1973, The Four Musketeers 1974, The Return of the Musketeers 1989)

Kiefer Sutherland (The Three Musketeers 1993)

John Malkovich (The Man in the Iron Mask 1998)

Heino Ferch (D’Artagnan et les Trois Mousquetaires 2005)

Matthew Macfadyen (The Three Musketeers 2011)

Tom Burke (The Musketeers 2014-2016)

Brahim Zaibat (Les Trois Mousquetaires, le spectacle musical 2016)

Uzuki Hayate (All for One - D'Artagnan and the Sun King 2017)

Vincent Cassel (Les Trois Mousquetaires 2023)

Aramis

Richard Chamberlain (The Three Musketeers 1973, The Four Musketeers 1974, The Return of the Musketeers 1989)

Igor Starygin (D'Artagnan and Three Musketeers USSR 1978, Musketeers Twenty Years After 1992)

Charlie Sheen (The Three Musketeers 1993)

Jeremy Irons (The Man in the Iron Mask 1998)

Callum Blue (Young Blades 2001)

Luke Evans (The Three Musketeers 2011)

Santiago Cabrera (The Musketeers 2014-2016)

Damien Sargue (Les Trois Mousquetaires, le spectacle musical 2016)

Miya Rurika (All for One - D'Artagnan and the Sun King 2017)

Jake Meniani (The Three Musketeers 2023)

Romain Duris (Les Trois Mousquetaires 2023)

Porthos

Brian Blessed (The Three Musketeers - TV 1966-1967)

Frank Finlay (The Three Musketeers 1973, The Four Musketeers 1974, The Return of the Musketeers 1989)

Oliver Platt (The Three Musketeers 1993)

Gerard Depardieu (The Man in the Iron Mask 1998)

Ray Stevenson (The Three Musketeers 2011)

Howard Charles (The Musketeers 2014-2016)

David Bàn (Les Trois Mousquetaires, le spectacle musical 2016)

Pio Marmaï (Les Trois Mousquetaires 2023)

Milady

Lana Turner (The Three Musketeers 1948)

Faye Dunaway (The Three Musketeers 1973, The Four Musketeers 1974)

Margarita Terekhova (D'Artagnan and Three Musketeers USSR 1978)

Rebecca de Mornay (The Three Musketeers 1993)

Milla Jovovich (The Three Musketeers 2011)

Maimie McCoy (The Musketeers 2014-2016)

Emji (Les Trois Mousquetaires, le spectacle musical 2016)

Mollie Hindle (The Fourth Musketeer 2022)

Preeya Kalidas (The Three Musketeers 2023)

Eva Green (Les Trois Mousquetaires 2023)

Constance

Marguerite de la Motte (The Three Musketeers 1921, The Iron Mask 1929)

June Allyson (The Three Musketeers 1948)

Raquel Welch (The Three Musketeers 1973, The Four Musketeers 1974)

Julie Delpy (The Three Musketeers 1993)

Gabriella Wilde (The Three Musketeers 2011)

Tamla Kari (The Musketeers 2014-2016)

Megan Lanquar (Les Trois Mousquetaires, le spectacle musical 2016)

Lyna Khoudri (Les Trois Mousquetaires 2023)

Richelieu

Nigel de Brulier (The Three Musketeers 1921, The Iron Mask 1929)

Vincent Price (The Three Musketeers 1948)

Charlton Heston (The Three Musketeers 1973, The Four Musketeers 1974)

Bernard Haller (Les Quatres Charlots mousquetaires 1974)

Aleksandr Trofimov (D'Artagnan and Three Musketeers USSR 1978)

Tim Curry (The Three Musketeers 1993)

Christoph Waltz (The Three Musketeers 2011)

Peter Capaldi (The Musketeers 2014-2016)

Christophe Héraut (Les Trois Mousquetaires, le spectacle musical 2016)

James Cosmo (The Three Musketeers 2023)

Éric Ruf (Les Trois Mousquetaires 2023)

Rochefort

Guy Delorme (Les Trois Mousquetaires 1961)

Christopher Lee (The Three Musketeers 1973, The Four Musketeers 1974, The Return of the Musketeers 1989)

Boris Klyuev (D'Artagnan and Three Musketeers USSR 1978)

Michael Wincott (The Three Musketeers 1993)

Mads Mikkelsen (The Three Musketeers 2011)

Marc Warren (The Musketeers 2014-2016)

Raynaldo Houy Delattre (Les Trois Mousquetaires 2023)

Anne of Austria

Angela Lansbury (The Three Musketeers 1948)

Geraldine Chaplin (The Three Musketeers 1973, The Four Musketeers 1974, The Return of the Musketeers 1989)

Catherine Jourdan (Les Quatres Charlots mousquetaires 1974)

Gabrielle Anwar (The Three Musketeers 1993)

Anne Paurillard (The Man in the Iron Mask 1998)

Sheena Easton (Young Blades 2005)

Juno Temple (The Three Musketeers 2011)

Alexandra Dowling (The Musketeers 2014-2016)

Victoria Sio (Les Trois Mousquetaires, le spectacle musical 2016)

Vicky Krieps (Les Trois Mousquetaires 2023)

King Louis XIII

Hugh O’Conor (The Three Musketeers 1993)

Freddie Fox (The Three Musketeers 2011)

Ryan Gage (The Musketeers 2014-2016)

Florian Cléret  (Les Trois Mousquetaires, le spectacle musical 2016)

Louis Garrel (Les Trois Mousquetaires 2023)

Treville

Hugo Speer (The Musketeers 2014-2016)

Marc Barbé (Les Trois Mousquetaires 2023)

Duke of Buckingham

Simon Ward (The Three Musketeers 1973)

Orlando Bloom (The Three Musketeers 2011)

Golan Yosef  (Les Trois Mousquetaires, le spectacle musical 2016)

Jacob Fortune-Lloyd (Les Trois Mousquetaires 2023)

Planchet

Roy Kinnear (The Three Musketeers 1973, The Four Musketeers 1974, The Return of the Musketeers 1989)

James Corden (The Three Musketeers 2011)

Régis Truchy (Les Trois Mousquetaires, le spectacle musical 2016)

Grimaud

William Phillips (The Three Musketeers 1948)

Matthew McNulty (The Musketeers 2014-2016)

Jussac

Ángel del Pozo (The Three Musketeers 1973)

Paul McGann (The Three Musketeers 1993)

Antoine Lelandais (Les Trois Mousquetaires, le spectacle musical 2016)

Alain Grellier (Les Trois Mousquetaires 2023)

Felton

Michael Gothard (The Three Musketeers 1973, The Four Musketeers 1974)

Madame Chevreuse

Sophie Craig (The Three Musketeers 2023)

Madame Coquenard

Jennifer Matter (The Three Musketeers 2023)

Girard

Paul McGann (The Three Musketeers 1993)

Febre (The Man in Black)

Tim Roth (The Musketeer 2001)

Louis XIV

Louis Hayward (The Man in the Iron Mask 1939)

Richard Chamberlain (The Man in the Iron Mask 1977)

Leonardo DiCaprio (The Man in the Iron Mask 1998)

Robert Sheehan (Young Blades 2005)

Manaki Reika (All for One - D'Artagnan and the Sun King 2017)

Philippe

Louis Hayward (The Man in the Iron Mask 1939)

Richard Chamberlain (The Man in the Iron Mask 1977)

Leonardo DiCaprio (The Man in the Iron Mask 1998)

Maria Theresa

Joan Bennett (The Man in the Iron Mask 1939)

Vivien Merchant (The Man in the Iron Mask 1977)

Kristina Krepela (La Femme Musketeer 2004)

Cardinal Mazarin

Gigi Proietti (D'Artagnan's Daughter / Revenge of the Musketeers 1994)

Gerard Depardieu (La Femme Musketeer 2004)

Michael Ironside  (Young Blades 2005)

Raoul

C. Thomas Howell (Return of the Musketeers 1989)

Peter Sarsgaard (The Man in the Iron Mask 1998)

Lousie de la Valliere

Jenny Agutter (The Man in the Iron Mask 1977)

Mordaunt

Michael Gothard (Further Adventures of the Musketeers 1967)

Kim Cattrall (Justine de Winter) (Return of the Musketeers 1989)

[tekkenjournalist]

Victor Chevalier, voiced by Vincent Cassel, was just caught sending DMs to young women containing pictures of his floor covered in silver fox grey pubic hair after he shaved it off of himself with the help of the Raven Unit.

Victor Chevalier is a character in the Tekken fighting game series who debuts in Tekken 8. He will also debut in Tekken X Hazbin Hotel.

[scotianostra]

Happy birthday to Scottish actress and model Freya Mavor.

Freya was born in Glasgow on August 13th 1993, but grew up in the Inverleith area of Edinburgh, her father is an award winning playwright and teaches at Napier University in the city , her great grandad was also a very successful writer, O H Mavor but used the pseudonym James Bridie. He also was instrumental in 1950 setting up a college of drama which has evolved into The Royal Conservatoire of Scotland. Freya says she got interested in acting after watching the Shining aged just ten! She spent time in France as a child and was educated there and at Mary Erskine's in Edinburgh

Her first acting experience was in school productions of Shakespeare plays. She made her professional debut in 2011, when she gained a lead role as Mini McGuinness in the fifth and sixth series of E4 Bafta-winning drama Skins. She gained this role after going through an open audition process, with more than 8,000 other teenagers auditioning for the show.

Since starting out Freya has gone on to a build a career between France and the UK. She has worked on features such as L'Empereur de Paris alongside Vincent Cassel, and indie films such as The Sense of an Ending by Ritesh Batra or La Dame dans L'auto by Joann Sfar. Her TV credits include The ABC Murders on the BBC and Il Etait Une Seconde Fois for Arte/Netflix, her time in France means she is bilingual, always handy for her acting roles over there. Freya was last seen in another Arte/Netflix show Twice Upon A Time, a sci fi/romance mini series filmed in Bordeaux, Paris, London and Iceland

Mavor has always expressed a love of the theatre and made her own stage debut in London for the play Good Canary, directed by John Malkovich, where she played a drug addict battling with mental illness.

Last year she starred in Balance, Not Symmetry about an American student who is living a privileged existence at Glasgow School of Art when her father unexpectedly dies. She has also completed a film called in 2019 called Gore but it is on hold due the controversy over one of the stars Kevin Spacey.

Last yaer Freya has returned in the second season of the British-American television drama series Industry shown on HBO in the United States and BBC 2 over here. She also starred in a joint BBC and Canal+ historical series Marie Antoinette, for which a second series has been commissioned.

Freya also starred in a stage play, The Other Boleyn alongside the excellent Alex Kingston

According to IMDb she has a series due to be released, Invitation to a Bonfire and in recent news she has been cast as the female lead role on HBO’s “Virtuoso,” a pilot set in 18th Century Vienna, it follows a class of young musical prodigies from all over Europe at the prestigious Academy of Musical Excellence. Mavor will play Marie, daughter of a prestigious Catholic family in Paris and the only girl chosen for the inaugural class of the prestigious academy.

[variousqueerthings]

WATCHING THE MESSENGER: THE STORY OF JOAN OF ARC (what a mouthful) FINAL THOUGHTS (sort of, I'm never done with Jeanne D'arc):

so the thing that's interesting about this one is that in writing her young and inexperienced which she was and also wrapped into this movie's depiction of womanhood and in the way it writes mental health is that she's got this sort of "idek what i'm doing or what the consequences are" vibe to her a lot of the time, especially after the first big battle and she sees all the corpses around her and has a meltdown followed by what seems to be dissociation for pretty much the whole rest of the film until her death

and the other thing is the things it chooses to play very straight and the things it does very differently -- so the killing of her sister in the beginning, which gives an early trauma to hearken back to and an added "impetus" for her to go to war, and which never happened vs the very specific sources it chose to deal with for her relationship to gender presentation (shocker i'm going into that), opting to nearly totally brush past it until the scene where she's "forced" to wear men's clothing again and gets burned for it -- which there is, to be clear, textual evidence that she wasn't given other clothes while incarcerated and did get judged for that, but also noticeably didn't include any of the other writing related to her visions telling her to wear men's clothing and this movie heavily mixing joan's visions with her as someone who's got a mental health issue of some kind, it's interesting that this snag of the clothing was mainly done away with, because it's a film that doesn't totally engage with her as someone with agency. she's mad, you see. that is the focal point. and what does "wearing men's clothings because the visions told me to" have to do with this madness? nothing, in fact it's kind of... not-very-mad-seeming

which is interesting as a counterpoint to a version i saw in the globe, which kind of went "an interpretation of joan as ye olde non-binary and also a lesbian" (this is flippantly written for brevity's sake, it was doing more than that, but that is the gist) which i did enjoy for the way it brought together a massive community of trans and nb theatre-goers within the globe and really felt like it was more for us than for joan, which i had struggles with because it went so far into the other direction of making everything a bit too modern for me. a bit too "joan's doing these choices with the idea that one day men's clothing will become allowed and joan has an internal sense of gender that coheres with modern sensibilities," and being a little timid around the religious and vision-y side of things

which is the crux of joan. you probably won't get a version that you're totally satisfied with, because joan As Figure encapsulates so many seeming paradoxes that we project ourselves onto. there's a distinct messiness to her that is very human in a way you don't always feel to quite this extent with mythos -- probably because of those court records and the subsequent early writings and the fact that she was nineteen years old when she was killed and it wasn't really that long ago comparatively

I think this movie struggled under the weight of that humanity, not for lack of trying to show it, but a. because of whatever personal bias besson went in with (which included basically stealing the project from kathryn bigelow and casting his then-wife mila jovovich, so youknow. there's some Vibes inherent in that already, and i do think bigelow could have done much more with both the feminism and the action, both of which were very uneven in this version imo) b. because of whatever other weird choices were made (i still think it was incredibly ugly-looking and many of the actors were flat -- not you, vincent cassel you were great) and c. because a movie possibly can't do it justice in the first place idk. we'll keep searching

obvs the passion of joan of arc is a masterclass. but it manages to get around a lot of these issues by essentially being all about the trial and a study of one of the most evocative faces ever put to silent film -- now that's giving "because the visions told me to"!

[tilbageidanmark]

Movies I watched this week (#178):

2 X Wojciech Jerzy Has + 2 X Bruno Schulz:

🍿 Bruno Schulz, "The Polish Kafka", is regarded as 'one of the finest Polish prose stylists of the 20th century'. Before being killed by the Gestapo in 1942, he published only 2 small works. Both were adapted to the cinema later on.

The Hourglass Sanatorium (1973) is a wild surrealist interpretation of Schulz's stories. An acclaimed masterpiece of Borgesian proportions, but where the magical realism is of the Eastern European type, played by poor Shtetl-Jews. A dark, decrepit nightmare, covered with spiderwebs, years before Terry Gilliam ploughed through the same insanities. Schrodinger time-shifts, mysterious doppelgängers, grotesque wax mannequins and lots of sensuality among the ruins. It's a heady, bizarro work of mythological unease. And the final dream scenes connect the story to the holocaust and the annihilation of this world, taking place in graveyards and on the shocking deportation lines. It's Heavy!

🍿 Accordion, Jerzy Has's first short, was how I discovered him. A wordless, bleak fable from 1947, about a son of a poor shoemaker who dreams about buying a used 'Harmonia'.

🍿 Street of Crocodiles on the other hand, the second Bruno Schulz adaptation, was a let down. Dark British stop-animation puppetry, wordless, confusing and in dirty back alleys. An experimental mood piece in a Jan Švankmajer style, but without the charm. M'eh. 1/10.

(Meanwhile I am listening to the music score for Kieślowski's Three Colors: Blue.)

🍿

Six by Sondheim, a 2013 documentary and my introduction to composer and lyricist Stephen Sondheim. Absolutely beautiful! (And I loved his Ethel Merman / Loretta Young anecdote...) 8/10.

I have to start searching for his full repertoire. (Or at least I should re-visit 'Marriage Story' one more time...)

🍿

2 by female directors:

🍿 On May 9, 1954, two days before the start of 'La Pointe Courte', her first feature film, Agnès Varda took a photograph of a naked man, a boy named Ulysse and a dead goat on the beach of Calais. (Photo Above). In 1983, she recreated that experience in the documentary Ulysse, an evocative reflection about the time machine of memory, history and art. It’s my 15th Varda film, and was as good as the best of them - 9/10. [*Female Director*].

🍿 Possibly in Michigan (1983) an avant-garde horror musical about cannibalism, a feminist revenge fantasy. Two women shopping for perfume at a department store, are being stalked by a masked serial killer. Artsy and disturbing. A complete review here. [*Female Director*].

🍿

The Browning Version, a British public school drama from 1951. Michael Redgrave gave a tremendous performance as a repressed and meek teacher, isolated and unloved. His contemptuous wife has an affair with a coworker, his nickname by his pupils is 'Himmler of the Fifth Ward', and on his last day of his last term, he's denied his pension. It's a story of failure and heartbreak.

🍿

Benoît Magimel X 3:

🍿 "...La Salope…… La Salope.... La Salooope..."

Magimel made his debut performance as a 12 year old delinquent in the quirky comedy Life Is a Long Quiet River, which tackled the question of Nature vs. Nurture in a wry and unexpected way. 2 babies get swapped at the hospital out of spite. One belongs to a rich family, the other to a poor one.

I never heard of it before, didn't know what to expect - and enjoyed it very much. 7/10.

🍿 The Bridesmaid, my 11th Amour Fou thriller by Claude Chabrol, made 6 years before his death. It started effortlessly and smooth, and was a delight to watch. But then Magimel meets and falls hopelessly in love with an enigmatic, 'unusual' woman, who's also a compulsive liar and a psychotic nutcase, and the rest just didn't work out. 3/10.

🍿 In Putain de Porte from 1994, 4 guys, including very young Vincent Cassel, Mathieu Kassovitz, and Magimel try to crash a party they were not invited to. M'eh.

🍿

3 by Dutch Bert Haanstra:

🍿 Glass, a short documentary from 1958, and the first Oscar win for The Netherlands. A highly-satisfying jazzy poem with terrific score, performed by The Pim Jacobs Quintet. My best film of the week - 10/10.

🍿 Zoo, made 3 years later, is similarly wonderful. Filmed with hidden camera, it draws parallels between the animals at the zoo and the many visitors who come to observe them, but really, behave in exactly the same ways. 9/10.

🍿 Fanfare was another successful comedy which he directed in 1958, and one which for decades, was “the most popular of all Dutch films”. It's a charming low-brow entertainment [what the Danes call 'Folkekomedie'] about a musical feud in a small touristy village. Its bucolic country all the way: Cows in the meadows, beer steins in the coffee hall, love in the haystacks, a trombone band, the whole nine yards. The only things missing were Gouda cheese wheels, wooden clogs and stork nests.

🍿

2 with Anne Miller:

🍿 I'm getting more and more enamored with old-fashioned musicals, especially from the technicolor era, and all the ones with Fred Astaire. He was such a happy dancer! Easter parade is a Pygmalion story with the usual power imbalance: He's 49, and Judy Garland is 26. But they were so wonderful! Ann Miller, (as was her custom I guess), played the the third wheel to their romance.

🍿 I think that Room Service was the only Marx Brothers comedy I haven't seen before. Their best comedies were masterpieces, but the weak ones were pitiful. The whole plot was about the three of them not able to pay their hotel bill, so basically it was "based on a true story". Ann Miller and young Lucille Ball served as background decorations. Jumpin' butterballs! 2/10.

🍿

My friend Simon is going through the classic works of Russian literature (Dostoevsky, Tolstoy, Etc.), and is currently heavy into Nikolai Gogol. So in sympathy I tried watching the 1926 silent Soviet version of The Overcoat. Unfortunately, I couldn't finish it.

🍿

2 juvenile comedies by Steve Pink:

🍿 "Excuse me, Miss, what color is Michael Jackson?"

In the opening scene of the gross-out guy comedy Hot Tub Time Machine, Craig Robinson pulls out a BMW key out of a dog's ass. Right off the bat, you know if this screwball time-machine story is for you. With ‘method actor’ Rob Corddry playing a raging asshole, (which he seems to be doing very well), and naked cameo of Megan Calvet-Draper. Raunchy but funny in parts. 7/10.

🍿 I shouldn't have tried to follow it up with his trashy teenage comedy Accepted. Jonah Hill, a year before 'Superbad', with about 100 lb. more, young Blake Lively, angry Lewis Blake and Dr. Frederick Chilton get together 1/2 a star (out of 10). For the rest, I could barely stay for half an hour, before having to turn it off. it was "Super Bad"!...

🍿

New discovery - The brilliant shorts of Arthur Lipsett!

🍿 Arthur Lipsett was a visionary Canadian avant-garde artist, who suffered from schizophrenia, and who eventually killed himself. His 1963 montage film 21-87 was a tremendous collage of discarded snippets found on the editing floor of the National Board Of Canada where he worked as an editor. 10/10.

🍿 Very nice, very nice, his very first film from 1961, was just as unique. It was nominated for an Oscar, and was adored by Stanley Kubrick, who subsequently offered Lipsett a job as the editor of the trailer for 'Dr. Strangelove'. Another 10/10.

🍿 Free Fall (1964) was even darker and more chaotic, with definite hints of psychosis. He had a brilliant sense of juxtaposition and collage, both sights and sounds.

🍿

"You made me the happiest juvenile delinquent in Baltimore!..."

First watch: John Waters’ most mainstream attempt Cry-Baby, a 1950's 'Squares vs. Hill-billies' teen rebel musical. Elvis + Grease + Rebel without a cause with Tracy Lords and Willem Dafoe and Iggy Pop and Joe Dallesandro. 3/10.

🍿

“Back to the salt mines…”

James Bond No. 2, From Russia with love, before the series got its footing. With blond villain Robert Shaw, and primitive levels of intrigues and suspense. Best producer fruit-name still goes to Albert R. Broccoli. 3/10.

🍿

More random bunch of acclaimed 10-minute shorts:

🍿 In the Darkness of Time, J-L Godard's 2002 collage of poetic images, juxtaposed into a mosaic of concepts: love, art, memory, death, humanity, destruction and cinema. He really was 'un poète' first and foremost.

🍿 René Laloux 1964 visual essay, Dead Times. A sardonic, surrealistic poem about Man's inherit need to kill everything around him. Like 'La Planète sauvage', the drawings are by Roland Topol, and the music is similar.

🍿 When the Day Breaks, another National Board of Canada Oscar nominated short, from 1999, about a humanoid pig who witnesses the accidental death of a humanoid rooster. 8/10. [*Female Director*].

🍿 Inspiration (1949), my second film by Czechoslovakian Karel Zeman (after ‘Invention for destruction’). A stop motion tale of a glass ballerina and a glass clown, the type of little figurines that used to be so popular then.

🍿 I think this is the closest to how the footage looked (2012) is an artsy but touchy Israeli short. A young man remembers the actual last day in the life of his mother, and how his father by mistake erased the video he had taken of her that last day.

🍿 Bluebeard, a fantastic 1901 film by Georges Méliès, about the serial killer and his eighth wife.

🍿Litany of Happy People (1971), my first by Slovenian Karpo Godina, of the Yugoslav 'Black Wave' cinematic movement. Experimental hippy documentary about the various minority ethnicities in some village.

🍿 Cathedral (1971), one of the earliest gay films that came after Stonewall. A poetic love session between three beautiful guys in a shrine of sheets, which eventually turns into a cathedral. Not for me, but okay…

🍿 Once Upon a Time there Lived a Dog, a 1982 Soviet folk tale about a dog and a wolf.

🍿

James Payne, curator of the channel 'Great Art Explained' gave a 51 min. exploration of Hieronymus Bosch's The Garden of Earthly Delights. A fascinating run-down, worth watching together with the detailed 'De tuin der lusten' project and Wikipedia. 8/10.

🍿

(My complete movie list is here).

[aragarna]

Please rant about the new musketeer movie, I need to know how bad it is on a scale from Michael York to Mathew McFaydden, so I know if it's worth trying to hunt down a cinema or wait till it's out on dvd

Well.... The good news is, there's no flying ship in that one. Not sure where to put it though. It's not atrocious, but it's lacking something. I'm always happy to see my boys, and the cast is good. It is rather entertaining at times, and I'm sure people not as attached to the characters as I am might not be as harsh as me but... I guess I was hoping for more? For better? Why is it that there can't be a single decent modern adaptation?!

The rest under the cut because spoilers for The Three Musketeers: d'Artagnan

First, it's visually ugly. It's all in brown and dark tones. Apparently the weather in France is always bad, ranging from pouring rain to clouds and fog. Even the red robe of the cardinal doesn't pop up! And don't get me started on the musketeer's uniforms. Why is it that every single recent movie wants to make them something that they're not. We *know* what they looked like. Blue casaques with a big white cross. Would it look out of fashion today? Of course! Even slightly ridiculous? Maybe. But Mordious, that's a 17th century uniform! Just play along! So, in this one, it becomes a very dark navy blue long coat with a black cross on the arm. It's actually so indisguishable that you can never tell when they're wearing it or not.

But okay, fine, if it was the only issue, I would have waved it off. The rest of the costumes, though probably not historically accurate, look pretty cool over all. If only they had more colors. Can you believe that there's a costumed ball, with one character wearing an arlequin costume and ... it doesn't even look like rainbow-y!

(can you tell I'm slightly mad at the movie's terrible coloring?)

And overall, I felt it wasn't very well filmed. Like, this isn't just a swashbluckler, it's The Swashbuckler story, so gotta work on those sword fights! Give me some fancy fighting! Work a real choregraphy! I understand that this is not the Errol Flynn era anymore but come on. So their idea to make it more "modern" was to use sequence-shots for the fight scenes. That is not a bad idea, but when there's no real choregraphy to follow, that just makes everything messy and pointless. So yeah, disappointed with the action scenes.

My other major source of annoyment was the lack of character development, or just character moments. D'Artagnan flirting with Constance was fine, but it's *not* the main story. It should have been the friendship between our four heroes. Instead of adding a whole new plot, I wish they'd taken the time with the canon scenes. Show me more why they went from being this close to kill each other, to instant friends ready to die for each other. Making Porthos bisexual is fine. I don't mind modernization of characters, but did you have to tell and show me this very clearly 3 times, but then give him virtually no other line of dialogue the rest of the movie? Romain Duris as Aramis is particularly awesome, but the poor guy is just as useless. The film is such a waste of a good casting. D'Artagnan, the main character, barely gets more time. Where is my ever-resourceful, cunning, smart and quick thinking hero? Young and idealistic but also natural leader d'Artagnan? His scenes with Constance are cute enough (and I don't mind that they got rid of Mr. Bonacieux) but I wanted more bonding with the boys! It's called The Three Musketeers, not My Cute Landlady. François Civil does a decent job but he isn't given the most subtle text...

Athos is the only one that is allowed a bit more development, but he's reduced to be a sappy old man. AAARGH ATHOS IS NOT AN OLD MAN. I do like Vincent Cassel, but the movie comes out 20 years too late for him to be a musketeer. Athos is not old, he is just the only vaguely grown-up one of the group. And come on "I don't have enough will to live to lie." ?! What the Hell?

All the characters feel reduced to a single dimension.

And yes, I do realize that you can't fit hundreds of pages in two 2-hour movies, but still, I feel like there were ways to make the movie better if it had been more character-oriented. The only real good character is the King. He has all the best lines and Louis Garrell is perfect.

Finally, while I don't mind when they take liberties from the original story, I'm not sure that the whole side plot actually adds anything. If you're worried about lack of plots, just develop the exisiting ones instead of rushing them in and out of England, maybe? It's Alexandre Dumas you're adapting, don't tell me there aren't enough twists in that plot!

And what annoys me about that side plot is that it starts with Athos being arrested. Which means that, from the start, they're never all four of them together. Which also means that that one supposedly emotional letter from Athos sounds a bit phony. Why would he care for that young idiot that he met only once?

Let my musketeers be all together, Morbleu!

Anyway, to try and end on a more positive note: it does remain entertaining enough that you're not bored. They filmed in real places - Le Louvre looks actually like Le Louvre - which is always a bonus. Louis XIII is awesome, and all the court intrigues are probably the best parts. And they do have a second movie coming out this December to try and make up for that one. We can expect War! Love! Tragedy! Vengeance! (and hopefully more character development?)

Sorry, that was long. All this to say: meh.

[captain-athos]

I think the reason I'm gnawing so hard on vincent cassel athos atm is because athos is usually meant to be like. slightly older than the others but relatively speaking still pretty young. Like in the book they make a lot of the contrast between his age and the way that he carries himself w all the cynicism and disillusionment of an old man. And like for him that swings between him being unusually wise and patient for someone his age AND also comparisons we get to bitter old age when he gets into one of his depressions. Either way, the contrast between his age and his personality is a big part of his characterisation

But then you get Vincent Cassel as athos, and I was watching some interviews with him where he talks about athos as someone who is fairly naive when it comes to love because he's not really had all that much experience and that puts him at milady's mercy. and I think it's interesting that for him as athos the contrast now comes from a much older man who has all of the experience in battle and is still a wise and noble leader of his fellow musketeers, but who is inexperienced and quite naive when it comes to matters of the heart.

[ghostflowerdreams]

It’s October! The month in which I watch even more horror movies than usual. Each year I tend to have a theme to help narrow down what to watch. So far I’ve done Zombie Films, Werewolf Films, Vampire Films, Slasher Films and Ghost Films. This year's theme is Cosmic/Eldritch Horror, often referred to as Lovecraftian Horror.

This list won’t cover every film inspired by H.P. Lovecraft’s works or those featuring similar elements, but I’ve watched plenty and decided to highlight the ones I personally enjoyed. If you're interested in exploring this subgenre, here are my top recommendations, in no particular order…

In the Mouth of Madness (1994) -- is an American supernatural horror film directed and scored by John Carpenter and written by Michael De Luca. It stars Sam Neill, Julie Carmen, Jürgen Prochnow, David Warner and Charlton Heston.

When horror novelist Sutter Cane goes missing, freelance insurance investigator John Trent scrutinizes the claim made by his publisher, Jackson Harglow. He's to retrieve a yet-to-be-released manuscript and ascertain the writer's whereabouts. Accompanied by the novelist's editor, Linda Styles, and disturbed by nightmares from reading Cane's other novels, Trent makes an eerie nighttime trek to a supernatural town in New Hampshire.

In the Mouth of Madness pays tribute to the works of author H. P. Lovecraft in its exploration of insanity, and its title is derived from the Lovecraft novella At the Mountains of Madness.

Color Out of Space (2019) -- is an American science fiction Lovecraftian horror film directed and co-written by Richard Stanley, based on the short story "The Colour Out of Space" by H. P. Lovecraft. It stars Nicolas Cage, Joely Richardson, Elliot Knight, Madeleine Arthur, Brendan Meyer, Q'orianka Kilcher and Tommy Chong. 

The Gardner family moves to a remote farmstead in rural New England to escape the hustle of the 21st century. They are busy adapting to their new life when a meteorite crashes into their front yard, melts into the earth, and infects both the land and the properties of space-time with a strange, otherworldly colour.

The Void (2016) -- is an Canadian Lovecraftian horror film written and directed by Steven Kostanski and Jeremy Gillespie, and produced by Jonathan Bronfman and Casey Walker. It stars Aaron Poole, Kenneth Welsh, Daniel Fathers, Kathleen Munroe, and Ellen Wong.

In the middle of a routine patrol, officer Daniel Carter happens upon a blood-soaked figure limping down a deserted stretch of road. He rushes the young man to a nearby rural hospital staffed by a skeleton crew, only to become trapped by a gathering of hooded cultists, and grotesque creatures.

The Lighthouse (2019) -- is an American film directed and produced by Robert Eggers, from a screenplay he wrote with his brother Max Eggers. It stars Willem Dafoe and Robert Pattinson as nineteenth-century lighthouse keepers in turmoil after being marooned at a remote New England outpost by a wild storm.

Cold Skin (2017) -- is a French-Spanish science fiction-horror film directed by Xavier Gens and based on the 2002 novel of the same name by Albert Sánchez Piñol.

On the edge of the Antarctic Circle, a ship approaches a desolate island, far from all shipping lanes. On board is a young man who is on his way to assume the post of weather observer and live in solitude at the end of the earth. He finds no trace of the man he has been sent to replace, just a deranged castaway who has witnessed a horror he refuses to name. For the next twelve months, his entire world will consist of a deserted cabin, trees, rocks, silence and the surrounding sea.

Note: I wasn’t planning on including this, but after watching The Lighthouse, I figured—why not? It definitely fits the theme.

Underwater (2020) -- is an American science fiction action horror film directed by William Eubank. The film stars Kristen Stewart, Vincent Cassel, Jessica Henwick, John Gallagher Jr., Mamoudou Athie, and T.J. Miller.

After an earthquake destroys their underwater station, six researchers must navigate two miles along the dangerous, unknown depths of the ocean floor to make it to safety in a race against time.

Offseason (2021) - is an American supernatural horror film written and directed by Mickey Keating. It stars Jocelin Donahue, Joe Swanberg, Richard Brake, and Melora Walters.

Upon receiving a mysterious letter that her mother's grave has been vandalized, Marie quickly returns to the isolated offshore island where she's buried. Just as she arrives, the island closes for the season as the bridges get raised until springtime. Left stranded, Marie soon realizes that something is not quite right as she has one strange interaction after another. She must now unveil the mystery behind her mother's troubled past to make it out alive.

Annihilation (2018) -- is a science fiction psychological horror film written and directed by Alex Garland, based on the 2014 novel of the same name by Jeff VanderMeer. It stars Natalie Portman, Jennifer Jason Leigh, Gina Rodriguez, Tessa Thompson, Tuva Novotny, and Oscar Isaac.

The story follows a group of explorers who enter "The Shimmer", a mysterious quarantined zone of mutating plants and animals caused by an alien presence.

Lena, a biologist and former soldier, joins a mission to uncover what happened to her husband inside Area X -- a mysterious quarantined zone that is expanding across the American coastline. Once inside, the expedition discovers a world of mutated landscapes and creatures, as dangerous as it is beautiful, that threatens both their lives and their sanity.

Event Horizon (1997) -- is a science fiction horror film directed by Paul W. S. Anderson and written by Philip Eisner. It stars Laurence Fishburne, Sam Neill, Kathleen Quinlan and Joely Richardson.

Set in 2047, it follows a crew of astronauts sent on a rescue mission after a missing spaceship, the Event Horizon, spontaneously appears in orbit around Neptune, only to discover that a sinister force has come back with it.

The Mist (2007) -- (also known as Stephen King's The Mist) is an American science-fiction horror film based on the 1980 novella The Mist by Stephen King. The film was written and directed by Frank Darabont. The film features an ensemble cast, including Thomas Jane, Marcia Gay Harden, Nathan Gamble, Andre Braugher, Sam Witwer, Toby Jones, Frances Sternhagen, Buck Taylor, Robert Treveiler, William Sadler, Alexa Davalos, David Jensen, Chris Owen, Andy Stahl, and future The Walking Dead stars Jeffrey DeMunn, Laurie Holden, Melissa McBride, and Juan Gabriel Pareja.

After a violent storm, a dense cloud of mist envelops a small Maine town, trapping artist David Drayton and his five-year-old son in a local grocery store with other people. They soon discover that the mist conceals deadly horrors that threaten their lives, and worse, their sanity.

The Cellar (2022) -- is an supernatural horror film written and directed by Brendan Muldowney. It's an international co-production between Ireland and Belgium. It also starsElisha Cuthbert and Eoin Macken.

It follows a family whose daughter mysteriously vanishes in the cellar of the large estate they have just moved into.

Glorious (2022) -- is an American comedy horror film directed by Rebekah McKendry, and starring Ryan Kwanten and J. K. Simmons.

The film involves a heartbroken man who encounters a strange, all-knowing entity in a rest stop bathroom stall.

Bonus:

Non-film media that's either based on Lovecraft’s works, heavily influenced by his style, or unintentionally evoke a strong Lovecraftian vibe.

Guillermo del Toro's Cabinet of Curiosities (2022): The anthology series explores various horror themes, but several episodes have strong Lovecraftian elements, particularly those dealing with cosmic horror, forbidden knowledge, and ancient, unknowable forces. Del Toro is known for his deep appreciation of H.P. Lovecraft's works, and this influence is evident in the show.

The Rig (2023): Set on a remote oil rig in the North Sea, the show taps into themes of isolation, ancient unknowable forces, and the eerie environment of the deep ocean. As mysterious events unfold, the characters face something beyond their comprehension, which parallels many of Lovecraft's ideas about humans being insignificant in the face of larger cosmic forces.

Stranger Things (Season 2): While influenced by 80s pop culture and science fiction, Season 2 leans more heavily into Lovecraftian elements.

The Terror (Season 1): A historical horror series based on the real-life Franklin expedition, captures the sense of dread, isolation, madness, and humanity’s powerlessness against forces beyond their understanding—core elements of Lovecraftian horror.

True Detective (Season 1): Though not based on Lovecraft, the philosophical themes, atmosphere, and references to the "Yellow King" evoke Lovecraftian dread and nihilism.

Outer Range (2022–): This series blends Western themes with supernatural mystery and cosmic horror. The show builds a sense of tension and unease, tapping into themes of the unknown without giving too much away. It’s perfect for those who like stories with mysterious, otherworldly elements that slowly unfold, keeping you on edge.

[crankydevon]

Deva Cassel (16 I think) - daughter of Monica Bellucci and Vincent Cassel. She looks a lot like her mother, who also did modeling in the past. I'm just curious how Vincent Cassel could have contributed to this beautiful young woman. Like... how?!? He's a great actor, but his face is kind of a train wreck. Unique and strong, but bizarre. I heart you, Vincent, but you are freakish looking. Meanwhile, enjoy some pics of the lovely Deva.