In a year brimming with cinematic milestones, numerous films capturing award recognition are fueled by their filmmakers’ intense desire not only to direct but also to craft the stories themselves. This ardent dedication propels them to seek out projects that cry out for unique visual expression – from script to screen. The distinctive essence these films acquire as a result, hopefully fosters stronger emotional resonance with viewers.
As a passionate cinephile, I find myself captivated by Mohammad Rasoulof’s dramatic masterpiece, “The Seed of the Sacred Fig.” This profound work revolves around a family man and judge in Tehran’s Revolutionary Court who grapples with both personal turmoil and societal unrest during a time of nationwide political upheaval. To heighten the drama, Rasoulof seamlessly integrated real-life images of Iranian protests into his fictional tale, a move that stirred anger among Iranian authorities, leading to an eight-year prison sentence for the filmmaker and forcing him into exile.
Rasoulof emphasizes that storytellers should recognize how the real world influences their creative journey, particularly during tumultuous periods. He notes, “Restrictions and censorship strike deep, and frequently, you produce something more significant, exceptional, and impactful than the perceived terror, which is stronger than fear itself.” Rasoulof suggests that the driving force behind artistic creation is the questions an artist ponders, and uncovering the answers to those questions is the motivation – which shapes your approach.
Focusing on the post-WWII immigration experience of Holocaust survivors who sought a fresh start in America, Brady Corbet’s film “The Brutalist” initially seems like a standard Oscar-style production, narrating its grand tale with a focus on personal aspects. Penned by Corbet and his writing partner, Mona Fastvold, “The Brutalist” follows the story of fictional Hungarian architect László Tóth (played by Adrien Brody). According to Corbet, “The creative process takes time to develop and bring scripts to life between each project, slowing overall productivity but allowing for personal growth and, ideally, preventing us from repeating ourselves.
Corbet has become familiar with the process of trusting his gut feelings, even though he knows that venturing beyond his comfort zone often brings unforeseen difficulties. The ambitious scope of “The Brutalist” is evident from its lengthy script to the technical challenges of shooting on 70mm film stock, reportedly on a budget of $10 million. The writing phase, involving extensive research and learning, helps us deeply understand the project’s themes. Raising funds for the project is always the most challenging part for any filmmaker, but once that’s accomplished, the work can proceed with relative ease and freedom when cameras start rolling, many years after the initial idea was conceived.
Sean Baker’s upcoming film, titled “Anora,” tells a raw, unconventional story about a young stripper (Mikey Madison), who unexpectedly marries a flamboyant heir (Mark Eydelshteyn) to a Russian oligarch’s son. As each of Baker’s films gain him wider recognition, his stubborn independence allows him to maintain a unique and truthful cinematic style. “Anora” deviates from typical narratives, and Baker often chooses lesser-known actors over A-list stars for his roles, he explains. Despite his admiration for A-list actors, Baker believes in casting the most suitable person for each role.
He expresses his frustration when, while conversing with colleagues about a potential project, the initial query is almost always, “Who is involved?” rather than “What’s the project about?
As a movie enthusiast, I’ve found myself captivated by ‘Emilia Pérez,’ a unique masterpiece reimagined by French filmmaker Jacques Audiard from his own opera, inspired by Boris Razon’s 2018 novel ‘Écoute.’ This film challenges the norms of a musical movie, with its story revolving around a Mexican lawyer assisting a notorious cartel boss in their transformation into a woman. Throughout this genre-defying journey, I could feel the pulse of my creative instincts beating strongly as I delved into the project. In my own words, ‘I’m inspired by stories that resonate with me and reflect our times.’ I trust my intuition, my curiosity about humanity, and the world we inhabit drives me. My deepest belief is that cinema serves as a powerful tool for healing and reconciliation.
In “September 5,” director Tim Fehlbaum, alongside co-writers Moritz Binder and Alex David, delves into the 1972 Munich Olympics hostage crisis from an unanticipated angle – that of the ABC Sports news crew who found themselves unwittingly entangled in a worldwide event as one of the few international media outfits present to deliver real-time coverage. As storytellers, we felt it was our duty to faithfully and compassionately portray not just the harrowing events, but also the role of the press on that fateful day. To achieve this, we conducted extensive research to ensure accuracy, and our goal was to shed light on the complex relationship between media and reality during a crisis. As a filmmaker who usually pens my own scripts, I can attest that this story’s significance resonated deeply with us from the very start.
Despite not appearing with a writing credit on “Conclave”, director Edward Berger played an integral part during the early stages of the creative process alongside screenwriter Peter Straughan, who adapted Robert Harris’ novel. The movie revolves around a cardinal (Ralph Fiennes), who must organize a conclave to elect the next pope while uncovering secrets and scandals surrounding each candidate. Berger explains that he prefers to be involved from the outset to ensure a strong connection with the project, as it allows him to feel personally invested. He admires Straughan’s writing skills, having read some of his previous works, and considers him among the top writers globally due to his ability to weave intricate and captivating narratives. However, Berger believes that Straughan’s work goes beyond mere storytelling; it has depth and an emotional resonance that makes one care for the characters in the story.
Additionally, drawing inspiration from prior works like “The Piano Lesson,” the first film by Malcolm Washington, was jointly adapted with screenwriter Virgil Wilson from August Wilson’s original play set during the Great Depression. The title artifact in question, adorned with carvings made by a forebear who was once enslaved, significantly influences the Charles family members. Washington explains that he aimed to capture the intense emotions evoked by Wilson’s text as he transformed it for the screen. He emphasizes that working from a place of intuition represents the pinnacle of creativity he aspires to achieve, and he usually approaches his projects with a focus on conceptualization, taking into account historical and cultural context. To delve beyond intellectual thoughts and tap into a more intuitive state is crucial for him.
Washington remarks that there are moments when it’s intimidating, yet, it’s this very aspect that gives the script and movie a life-like essence.
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2025-01-08 21:18