> Chapter1-Take1: November 2017

The Mercy: Colin Firth Lost at Sea #book2movies

‘‘Life must be lived. The question becomes what can you do to give it all meaning.’’

The Mercy staring Colin Firth and Rachel Weisz has opened in Portugal (11/23) and is slated for release in the Netherlands in December. While the UK and most countries are releasing it in early 2018, there is still no specific opening date for the US. Based on a true story, as told in the book The Strange Last Voyage of Donald Crowhurst. I’ve been waiting for this one since I heard about it last December

The logline
Yachtsman Donald Crowhurst’s disastrous attempt to win the 1968 Golden Globe Race ends up with him creating an outrageous account of traveling the world alone by sea.
As a Colin Firth fan, I’ll just have to satisfy myself with the trailer for now. How about you?

Colin Firth in A Single Man

Check out more British news and reviews at Joy Weese Moll's British Isles Friday

Catch 22: I'll be happy to see George Clooney in my living room. #book2movies

Another reason to stay home and watch what we used to call the boob tube. George Clooney is set to produce, direct and act in a six-episode adaptation of Joseph Heller's Catch-22

Clooney is not taking the lead part of Captain Yossarian—played by Alan Arkin in Mike Nichol’s 1970 movie—instead, he’ll take on the role of Colonel Cathcart. I’ll definitely need a refresher course on Catch 22, maybe read the book again and re-watch the original which also starred Richard Benjamin,  Art Garfunkel, Jack Gilford, Buck Henry, Martin Sheen, Paula Prentiss, Jon Voight and the list goes on. It was one of those movies where they use big names all over the place, including Orson Welles.  

Remember the story?

About the book

Catch-22 is like no other novel we have ever read. It has its own style, its own rationale, its own extraordinary character. It moves back and forth from hilarity to horror. It is outrageously funny and strangely affecting. It is totally original. 
It is set in the closing months of World War II, in an American bomber squadron on a small island off Italy. Its hero is a bombardier named Yossarian, who is frantic and furious because thousands of people he hasn't even met keep trying to kill him. (He has decided to live forever even if he has to die in the attempt.)
His problem is Colonel Cathcart, who keeps raising the number of missions the men have to fly.
The others range from Lieutenant Milo Minderbinder, a dedicated entrepreneur (he bombs his own airfield when the Germans make him a reasonable offer: cost plus 6%), to the dead man in Yossarian's tent; from Major Major Major, whose tragedy is that he resembles Henry Fonda, to Nately's whore's kid sister; from Lieutenant Scheisskopf (he loves a parade) to Major -- de Coverley, whose face is so forbidding no one has ever dared ask him his first name; from Clevinger, who is lost in the clouds, to the soldier in white, who lies encased in bandages from head to toe and may not even be there at all; from Dori Duz, who does, to the wounded gunner Snowden, who lies dying in the tail of Yossarian's plane and at last reveals his terrifying secret. 
Catch-22 is a microcosm of the twentieth-century world as it might look to someone dangerously sane. It is a novel that lives and moves and grows with astonishing power and vitality. It is, we believe, one of the strongest creations of the mid-century.
Shall we watch the trailer for the 1970 film just for fun? 

Mudbound: How the Director Cast the Award Winning Ensemble #book2movies [review]

Congratulations to director Dee Rees and the cast of Mudbound for winning the ensemble prize at the Gotham Awards. If you’ve seen the film—you can watch it on Netflix—you know why. Below is my original post after seeing the movie and a Q&A with the director. She shares her reasons for sharing each member of the prize winning ensemble.

I had the pleasure of seeing Mudbound with my husband at a DGA screening earlier this year. Short version: we both loved it. 

The screening was for both DGA and SAG members and with its incredible cast: Carey Mulligan, Garrett Hedlund, Mary J. Blige, Jason Mitchell, Jason Clarke and Jonathan Banks it’s easy to see the film getting nominated for its ensemble in addition to individual actors for their outstanding performances. 

Mary J. Blige, Garrett Hedlund and the director, Dee Rees, participated in a Q&A after the screening. They were all received with thunderous applause and a standing ovation.

I shared how much I loved Hillary Jordan’s book yesterday, so powerful in its telling this difficult story of racism. Key to the book’s success was the technique the author employed of having the characters tell the story from their point of view in alternating chapters. Director Dee Rees, working from a script she co-wrote with Virgil Williams, followed suit, using multiple viewpoints to tell the story. The film was faithful to the book in a major and unexpected way, relying heavily on voice over, usually a technique decried in the film world. That method worked beautifully here, allowing the audience to see into the characters’s heads.

In my take on the book, I said it was a beautifully written novel about racism, about ptsd, about love, about denial and delusion. A book that makes you hurt and makes you think. The director, using her own familial and historical perspective, took that novel carefully in her hands and turned it into a stunning, deeply moving film.

Key was casting. 

Rees told the audience that she selected Mary J. Blige to play Florence for what she knew would be her ability to inhabit the space of the strong, silent woman, feeling much but saying little. 

For her part Blige said she had much of Florence in her already. As a child she spent summers at her grandmother’s farm in Georgia, she knew that way of life, watching her grandmother kill chickens with her bare hands, as her character did. Blige also said she knew what it was like to be a silent wife, and that she accepted the role because she knew something big had to change. That her life was preparing her. Curious, and knowing nothing about Mary J. Blige’s private life, I looked it up this morning. 

While she was filming Mudbound, Blige was in the process of discovering her husband was spending hundreds of thousands of dollars traveling with his mistress.
“I used a lot of my own heaviness from my own misery that I was living in that horrible marriage,” Blige told Variety. “I was just dying in it. I knew something was wrong. I just couldn’t prove it. I just had all the heaviness of not feeling right, not feeling good. I gave it to Florence.”
Rees had loved Hedlund in Inside Llewellyn Davis where he was mostly silent. Rees said she had to have him for Jamie, the younger brother who returns badly damaged from the war. She made a joke about how gorgeous he was. He is! Exactly the kind of man that ‘makes the girls sparkle’ as the older brother Henry (Jason Clarke) describes him.

Hedlund felt the material personally relevant to his life too, having grown up on a small farm in Minnesota. In addition to the hard work that a life of farming entails, he talked about ‘company’ coming to visit and his grandfathers sitting around drinking and telling their war stories, key to his character of the returning vet. That background informed Hedlund’s rehearsal process when Australian Jason Clarke—cast for his essential powerful whiteness, basically the entitled way of throwing his weight around—asked that they visit the south and spend some time together. The pair stayed at some roadside cabins near Greenville, Mississippi where they went deep into their Delta accents at night with conversations fueled by alcohol.

For Laura, Rees wanted an actress who could be two women, one who could sit, straight backed at the piano and another who would be the woman Carey Mulligan becomes, hunchbacked at the farm, chewing off her own calluses.

Jason Mitchell, who plays the eldest son of the black sharecroppers, newly returned from serving as a sergeant in WWII, interested Rees for his solidity. There’s a key scene where that solidity is in full view, the ending of his storyline had me wiping my tears away furiously. 

Rob Morgan, who worked with Rees on Pariah, gives a heartbreaking performance as the head of the family, responding to the boot on his neck in the only possible way a black man in the Jim Crow south could respond. As Blige indicated, it’s painful to see that in some ways, so very little progress has been made in the racial divide.

Jonathan Banks has the most thankless role, that of Pappy, cast because Rees had seen him in Breaking Bad. He is truly evil incarnate, a despicable pig of a racist character, sadly all too relevant today.

 ‘When I think of the farm, I think of mud.’ Looking at the movie, that mud is a constant, an effect not easily achieved as they were shooting in the heat of summer. Rees talked about bringing in water trucks to wet down the fields which would then dry out, baked in the sun, and would have to be wet down yet again.

 As Laura says, she began to ‘dream in brown’ the mud was so ever present. The cinematography by Rachel Morrison—who has just completed shooting Black Panther— is gorgeous in capturing the harsh beauty of the landscape, the rust and grime and dirt in contrast to blue automobiles, shirts and sometimes sky. Tamar-Kali Brown who has worked with Rees on past project Pariah and Bessie is responsible for the soundtrack, rich in gospel music, while production design by David J. Bomba struck the perfect note of authenticity. 

Mudbound is an exquisite film—which many real critics have stated in review after review during its successful festival run—my only criticism is that it’s coming to Netflix on November 17th. I’m a fan of Netflix, I love watching films on the platform, but it saddens me that so many people will see the film on a smaller scale than the theater screen where its cinematic beauty can truly shine. Big sigh. Please, please, just don’t watch it on your phone.

Here’s the trailer ...

The Hollywood Reporter Actress Roundtable: The Women On Equal Pay & Harassment in Hollywood #book2movies #TimesUp *

The Hollywood Reporter has started releasing short snippets of their Roundtables which they publish in full in February, closer to the Oscar awards.

This year THR gathered Mary J. Blige (Mudbound), Jennifer Lawrence (Mother) Saoirse Ronan (Lady Bird) Emma Stone (Battle of the Sexes) Allison Janney and Jessica Chestain (Molly’s Game) for the Actress Roundtable. Naturally the subject of the continuing state of inequality and mens’ harassment of women came up. Each of these video is about 5 minutes long, focusing on each of these remarkable women. 

I love what Jessica Chastain shares from a conversation with Aaron Sorkin, the writer/director of Molly's Game. He had been telling his young daughter to scream and shout and defend herself if a man ever tried to take advantage. She asked him why he was teaching her to defend herself instead of teaching these guys not to be creeps. Watch.

Saturday Matinee: The Age of Innocence starring Winona Ryder, Michelle Pfeiffer & Daniel Day-Lewis #book2movies

Today’s Saturday Matinee goes back to 1993. Another film that came out the year my son was born, hence I missed the movie based on the classic piece of literature by Edith Wharton. I’m not sure I ever read the book either, not even in college. Forty lashes.
A tale of nineteenth-century New York high society in which a young lawyer falls in love with a woman separated from her husband, while he is engaged to the woman's cousin.

What I find interesting is that it stars a trio of actors whose careers are very much in the public conversation right now: Michelle Pfeiffer who at almost sixty and after a brief hiatus is back to acting with a vengeance. In the last couple of years she’s been lauded for her work in The Wizard of Lies, Mother and most recently Murder on the Orient Express.

Winona Ryder, after a spectacular career in the 1990’s, mostly as a young woman in her twenties—she received a Best Actress Oscar nomination for her work in The Age of Innocence—disappeared for awhile after turning thirty in 2001. She was also arrested for shoplifting at the time, an event which she calls misunderstood but agrees it was a call to slow down. Ryder has been working her way back slowly over the last decade, and with Stranger Things she is, in a big way.

Daniel Day Lewis—also sixty—is often called one of the, if not the, finest actors of his generation, has announced he is calling it quits as an actor. The upcoming Phantom Thread, in which he plays a 1950’s fashion designer will be his last. He hasn’t said why but at sixty, I know from personal experience, one does tend to focus and feel the need to make sure that the last third or so of one’s life allows you to check off this and that from the bucket list. It may be the desire to spend more time with the family, it may be to pursue dreams that have been put by the wayside. A long held desire to paint or write or travel while one is still young enough to be able to. Or perhaps direct. All actors want to direct, don’t they?

In any case, three fine actors, very much doing some of their finest work then, and now, twenty five years later still knocking it out of the park. 

Directed by Martin Scorsese, The Age of Innocence is notable for its gorgeous cinematography by Michael Balhous—it strikes me as being very painterly—and Academy Award winning costume design by Gabriella Pescucci. The movie was also nominated for its screenplay, score by Elmer Bernstein and production design (art direction and set direction) by Dante Ferretti.

Did you read the book? See the movie? I’d love to hear your thoughts in the comment section.

You can stream the movie on Amazon, Vudu, iTunes and GooglePlay. As always, check Netflix.

The book is one of those classics you can read online FREE courtesy of The Project Gutenberg where you can also download it free of charge to your Kindle. 
You’re welcome.

A Discovery of Witches starring Matthew Goode & Theresa Palmer: First Look #book2movies

The first official images for A Discovery of Witches have been released along with a snippet of a trailer, a teensy 20 second teaser that should send Matthew Goode fans hearts aflutter. Check it out below and weigh in with your thoughts in the comment section. Are you one of author Deborah Harkness’ longstanding fans or a new devotee? 

Agatha Christie's Death on the Nile Remake: Branagh Rumored to be Onboard #book2movies

If you liked Murder on the Orient Express—and some of us did—you won’t be surprised to learn that Twentieth Century Fox Film is developing Agatha Christie’s Death on the Nile.

Remember that line near the end of the movie when one of the characters asks Poirot where he’s off to next, and he responds that he’s headed to Egypt, there’s been a ‘death on the Nile.’ The audience my husband and I saw the film with snickered, ‘Aha! A sequel in the works.’ The only problem is that with Christie’s Death on the Nile—last adapted in 1978— the death on the Nile takes place on a cruise ship while Poirot is already aboard, on vacation. 

The murder is the result of a love triangle gone bad. How that translates to this version remains to be seen. Oh well, screenwriter Michael Green, already hired after scripting Murder the Orient Express to return, has his work cut out for him, I guess. Although nothing has been etched in stone, Kenneth Branagh is expected to return as both director and detective Hercule Poirot.

Death on the Nile which features Poirot on a vacation in Egypt, discovering a murder on the Nile River as a result of a love triangle gone bad was adapted into a 1978 movie with Peter Ustinov as Poirot along with Bette Davis, Mia Farrow, Maggie Smith, Angela Lansbury, George Kennedy, Jane Birkin, Jack Warden, and David Niven.

While not a huge hit—many critics were ... critical—this year’s Murder on the Orient Express did just fine at the box office with $50 million domestically plus $100 million internationally so another venture with Branagh wearing Poirot’s shoes moustache isn’t all that surprising. Have you seen it? Are you in?

Wonder: The French trailer #book2movies

I’ve been gushing over this movie every since I saw it a few days ago. I shared my complete thoughts about Wonder on Saturday. Naturalmente, seeing that it may be one of the last times I play along with Paulita Kincer’s Dreaming of France meme—Paulita is going to stop dreaming and make the big move any time now—I thought I’d share the trailer en français. No matter what language, it’s a lovely message. One of inclusion and kindness. The book is also available in French, in paperback, or to download on your Kindle or Nook.
Based on the New York Times bestseller, WONDER tells the incredibly inspiring and heartwarming story of August Pullman, a boy with facial differences who enters fifth grade, attending a mainstream elementary school for the first time.
Auggie is played by Jacob Tremblay in Wonder

It’s the story of a boy who transcends what makes him different and teaches us—in a non preachy way—how to practice kindness. 

Here are two of the french-dubbed bande annonce, followed by the english language trailer. Whatever language you see it in, see it. It really is a special film, putting us in touch with a young man representative of people we’re usually much more comfortable pretending not to see. 

Wonder: My take on the movie starring Julia Roberts, Owen Wilson & remarkable Jacob Tremblay [review] #book2movies

Based on the New York Times bestseller, WONDER tells the incredibly inspiring and heartwarming story of August Pullman, a boy with facial differences who enters fifth grade, attending a mainstream elementary school for the first time.

After sharing with you that some of those in the craniofacial syndrome community had issues with the film I was a little hesitant about seeing the movie which opened today. Based on the book by R.J. Palacio, August (Auggie) Pullman is played by young actor Jacob Tremblay (he was remarkable in Room), with the help of prosthetics and makeup. Some of the complaints I read expressed regret that Auggie wasn’t played by a real 10 year old boy who had the syndrome themselves who couldn’t take off what amounts to a mask. We heard a similar response to the casting of Sam Claflin as the paraplegic Will Traynor in Me Before You. Why cast an able actor to play a disabled person?

I understand the sentiment and feel sorry that it feels insulting but those complaints don’t take into account how acting really is an art, it’s a skill that takes talent. Extraordinary talent if the film is to work. I don’t know if the producers or director Steven Chbosky searched for a young boy who both had the syndrome and the acting ability, but he would be quite a find. What I think matters most is the light that Wonder shines on the syndrome, and in doing so increases our understanding of what those who have it, go through. As Auggie, Tremblay breaks your heart with his honest portrayal of a brave little boy challenging himself to break out from behind his self imposed mask, the helmet that protects him from the stares and cruelty of children and others. The book was meant for the young and the movie similarly slanted, delivers a ‘be kind’ message without falling into uncool, preach-y territory.

Julia Roberts—who isn’t actually of hispanic descent as the mother in the book is, another complaint—plays Isabella, Jacob’s understandably worried and protective mom. She brings star power to the movie, and star power is what gets movies green lit. ‘‘I hope they’re nice to him’’ she says on his first day of middle school, while we all know they won’t be. At least, not at first. Owen Wilson as his dad is funny and adorable and endearing as a man who takes a back seat to his wife. In the Pullman family, it’s Mother Knows Best, not father, although dad does pull off a couple of genius moves, one which has to do with Auggie’s helmet. New-to-me Izabela Vidovic is lovely as Auggie’s sister Via who tells us Auggie is the son/sun and the rest of the family revolves around him. An issue many kids with disabled siblings understand all too well. 

Noah Jupe (Suburbicon) and Jacob Tremblay become friends

As you might expect, the story begins with Auggie feeling rejected by his classmates who frankly haven’t seen anyone like him before, and by the end of the movie, due to his persistence and the kindness of a few, he’s embraced and loved by all. That’s not a spoiler, you knew that, right? How could a heart-warming movie for kids end any other way? 

The thing is, Wonder spreads an important message, when you have a choice, Be Kind. For me, it echoes my own beliefs, not in a particular religion but in the practice of following the Golden Rule. I hope plenty of kids have a chance to see this movie in their formative years, to help them understand that they will encounter people in their lives who will be different than them. People who may be disabled, physically or mentally, or perhaps people who look different in terms of their skin color or who may be from a different country, people who may ‘speak funny’ or wear strange clothing. People who scare us because we don’t know them, and the unknown is always scary. And when they encounter those people that seem scary at first, to take a breath, be brave and be kind. End of lecture but one note. Every year studios spend gazillions of dollars sending out DVDs to industry award voters. My husband receives them from the DGA, thousands of actors receive them from the Academy, so why not send them out to schools around the country and the world. Really spread the Be Kind message. Okay, now the lecture really is over.

In addition to Julia Roberts, Owen Wilson and the film’s young star, the cast of Wonder includes Mandy Patinkon as the caring school principal, Daveed Diggs—Thomas Jefferson/Marquis de Lafayette in the original Broadway cast of Hamilton—as Auggie’s gifted teacher and the acclaimed Sonia Braga in a teensy part as the kids grandma.

Here’s the trailer in case you’ve missed it

Alicia Vikander & James McAvoy meet cute on a deserted beach in Submergence #book2movies

I’m adding a second clip to the Submergence file, all thanks to the Submergence fan page! Earlier I shared a clip featuring James McAvoy as James More in the film based on the J.M. Ledgard book. 

This second clip includes Alicia Vikander as Dani and shows the two characters ‘‘meeting cute’’ ... as they say in the rom-com world. Of course, Submergence is no rom-com! 

Here’s the movie’s logline ...
In a room with no windows on the eastern coast of Africa, an Englishman, James More, is held captive by jihadist fighters. Thousands of miles away in the Greenland Sea, Danielle Flinders prepares to dive in a submersible to the ocean floor. In their confines they are drawn back to the Christmas of the previous year, where a chance encounter on a beach in France led to an intense and enduring romance.

Thanks @submergencefan! Directed by the legendary Wim Wenders (Wings of Desire) the film has been picked up by Samuel Goldwyn Mayer Films so plan on seeing Submergence in theaters sometime in the new year. Lots of time to read the book first!

Watch Submergence Clip #1 featuring James McAvoy

Submergence starring James McAvoy & Alicia Vikander: Watch the clip! #book2movies

You’ve gotta love the internet. Yesterday I said I wish there was a trailer for Submergence starring James McAvoy & Alicia Vikander. Today I was tweeted a short clip from the movie by the creators of a Submergence fan page! They created the page after seeing the movie for themselves at the San Sebastian Film Festival this September in Spain. Thanks for sharing @submergencefan!

The clip is a tiny teasing look at a moment from this wide-ranging film. I’m so intrigued! Apparently it’s a love story entangled up in a bundle of ideas. Based on J.M. Ledgard novel, these ideas, according to the Guardian, are messily handled.  
"Submergence feels like a clumsy melange, a confused adaptation made by people who don’t seem quite sure exactly what they have on their hands’ ... Alicia Vikander and James McAvoy." There’s a lot going on in Wim Wenders’s latest, and arguably most accessible, film, Submergence. It’s a love story, it’s a spy thriller, it’s an underwater adventure, it’s about terrorism, it’s about climate change, it’s about being ghosted by text (!). But ultimately – sadly, predictably – it’s also a bit of a mess."
Which may be why we haven’t seen a trailer! I took a look online, hoping to find more positive reviews but time and again I came up with negative viewpoints.

From Variety: 
Wenders has never let go of the languid reflective pacing, the morosely droopy scenes that dither and digress, the long-and-winding structure that theoretically holds a movie together but is too abstract to lend it a real shape. 
From IndieWire:
Choked by overwrought trappings and suffocated by an unforgiving narrative structure, Wim Wenders’ “Submergence” is only bolstered by a pair of sterling performances from stars Alicia Vikander and James McAvoy, both of whom somehow rise above the lackluster film they’re sunk into. Based on J.M. Ledgard’s novel of the same name and adapted by screenwriter Erin Dignam (who previously penned Sean Penn’s much-maligned “The Last Face”), the film revels in playing up hinky parallels that rarely coalesce into anything of much substance. It sinks. 

Then I found this from the Hollywood Reporter. Light at the end of the dark tunnel!
James McAvoy and Alicia Vikander play separated lovers in Wim Wenders' romance, his most broadly accessible fiction film in ages.
A study of longing in conditions both desperate and profound, Wim Wenders' Submergence follows lovers who, having known each other just a day or three, must endure a separation that may never end. James McAvoy and Alicia Vikander make a photogenic pair in this sometimes sweepingly romantic film, the most roundly satisfying fiction feature Wenders has made since, well, that first one about the angel so in love he gives up immortality. More conventional than Wenders' best-loved work, it should manage to please some old fans while reaching — thanks to star power — younger moviegoers who've never heard of him.
More thematically restrained than some of Wenders' grander films, this one is only about love, the origins of life, the increasing scarcity of natural resources and the conflict between the West and radical Islamist terrorism. But where he has occasionally had a weakness for clunky allegory or let his narratives' themes spin out of control (as in the thought-provoking but hydra-like Until the End of the World), this one, with Erin Dignam's script adapting a novel by J.M. Ledgard, finds natural places for its concerns. Its intelligent pairing of real-world crises with heartache calls to mind Fernando Meirelles' adaptation of John le Carré's The Constant Gardener, though this film lacks that one's involving mystery.

As we learned yesterday, Samuel Goldwyn Mayer has picked up the distributor rights so we will be seeing Submergence here in the states. Will there be re-editing or will the legendary Wim Wender’s work stand as is? For those of us who are fans of McAvoy, Vikander or both, surely this is a welcome addition to their canon. 

Let’s take a look at what director Wenders and James McAvoy had to say about the film at TIFF.

You can also follow the Submergence fan page on Facebook, where they take the critics’ attacks and share their counterpoint, one by one. This is definitely a film I want to see for myself. Fingers crossed, we’ll get the chance early in 2018. Anybody out there a fan of the book and/or movie already? 

Can't wait to see the trailer for Submergence starring James McAvoy and Alicia Vikander #book2movies

 Submergence starring James McAvoy and Alicia Vikander screened at TIFF earlier in the fall, the Wim Wenders’ directed film lacked an American distributior. Samuel Goldwyn Mayer has stepped in to fill that gap, promising to bring the movie to US movie goers in 2018. I love what Wenders says about the film:

“Our film has global dimensions and shows all the beauty of our planet, but also its conflicts and violence. I had Dr. Martin Luther King’s words in capital letters on the front page of my script: 'You cannot drive out darkness with darkness. Only love can do that.' That’s why the love story is our driving element. I’m happy we’re in the hands of Samuel Goldwyn Films for our American release."

Here’s the lowdown on the 2011 book by J.M. Ledgard: 

In a room with no windows on the coast of Africa, an Englishman, James More, is held captive by jihadist fighters. Posing as a water expert to report on al-Qaeda activity in the area, he now faces extreme privation, mock executions, and forced marches through the arid badlands of Somalia. Thousands of miles away on the Greenland Sea, Danielle Flinders, a biomathematician, half-French, half-Australian, prepares to dive in a submersible to the ocean floor. She is obsessed with the life that multiplies in the darkness of the lowest strata of water.

Both are drawn back to the previous Christmas, and to a French hotel on the Atlantic coast, where a chance encounter on the beach led to an intense and enduring romance. For James, his mind escapes to utopias both imagined and remembered. Danny is drawn back to beginnings: to mythical and scientific origins, and to her own. It is to each other and to the ocean that they most frequently return: magnetic and otherworldly, a comfort and a threat.
Boy, do I want to see this! In the meantime, a trailer would be great but I haven’t seen hide nor hair of one. Have any of you festival goers out there seen this one at either TIFF or the Hamburg Film Festival or the Warsaw Film Festival in October? Tell us about it.

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