Cosmos Zulawski
T he final film of the director Andrzej Żuławski – who died in February, best remembered for 1981's Isabelle Adjani freakout Possession – proves a characteristically eccentric undertaking, adapted from Witold Gombrowicz's novel set within a mildewing B&B. One half-funny gag: that our writer hero (Jonathan Genet, resistible) is only as dotty as his fellow guests. Yet with all the actors operating some distance off the leash, even the sharper scenes soon clot into an impenetrable layer of gibberish tics. Cultists can claim it as proof Żuławski was doing his own thing until the end, but the film didn't need releasing so much as sectioning for public safety. Cosmos film trailer
Cosmos zulawski review
And even if she can't guess who did it, she'll still be ashamed of the cat, which is her cat... our cat. That wasn't the real murder! How could this beauty, so perfect and out of reach, unite with me through lying? See more » Connections References The Red and the Black (1954) Details Release Date: 3 December 2015 (Portugal) Box Office Opening Weekend USA: $3, 807, 19 June 2016 Cumulative Worldwide Gross: $34, 393 See more on IMDbPro » Company Credits Technical Specs See full technical specs » Prime Video has you covered this holiday season with movies for the family. Here are some of our picks to get you in the spirit. Get some picks
The Daily Beast Chet Hanks Joined Clubhouse. Then All Hell Broke Loose. On Wednesday night, Chet Hanks joined Clubhouse and created the chatroom "All Love. " The actor, who's a descendant of Hollywood royalty and perpetual fave Tom Hanks, is one of five or six recognizable names you might find browsing Clubhouse—the audio-only, invite-exclusive platform—on any given Hanks has made a decent career of his own after stumbling out of the blocks the way most children of famous people do. He is neither the youngest Hanks, nor the oldest; neither the most famous, nor the most talented son (Colin fills that role). For what it's worth—and so far, it hasn't been much—he does understand how to command the spotlight. At the Golden Globes in January, Hanks set social media ablaze with a clip of him mimicking Jamaican patois on the red carpet. Chet is also an aspiring musician who, according to his Instagram, had spent a chunk of time in Jamaica going on a "dancehall deep dive, " to paraphrase him.
The credits reveal the camera set-ups behind various scenes, while tidbits of plot continue to dribble out, almost as though Żuławski were confessing that his movie suffers from the same mystified state that he seeks to diagnose. Grade: B "Cosmos" premiered this week at the Locarno Film Festival. It is currently seeking U. S. distribution. READ MORE: Locarno Film Festival Announces Lineup for Its 68th Year, Awards Edward Norton on Opening Night Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
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Hanks meant no harm, they opined, and everyone was taking his foray into Black culture and Jamaican language "way too serious. " What those coddling takes miss, however, is the history and context of unpaid service and absent attribution. When Western white culture discovers any survival tool or act of creativity from the people it oppresses, it quickly finds ways to steal and multiply the effect. That happens on an individual level, like Elvis Presley or Vanilla Ice thieving songs and language for fame, and it happens at a systemic level, like corporations using Black English to feed their brand impression goals on Twitter. Although Hanks and others would like to believe that identity is fungible and there for the taking, the long history of erasure is finally coming to bear in the present. Clubhouse can't exist in a vacuum, and the more it grows, the more its inventors will have to face the same prickly debates of comments Hanks exited the room last night, several others formed to debrief.
Alfama Films will release the title in France and is in charge of international sales. For the record, Paolo Branco's Paris-based outfit has two other movies in post-production: L'astragale [ + see also: trailer film profile] by Brigitte Sy (starring Leïla Bekhti and Reda Kateb – read the article – set to be released on 8 April) and Fou d'amour [ + see also: trailer film profile] (formerly Vénus ouverte) by Philippe Ramos (see the news). (Translated from French) Did you enjoy reading this article? Please subscribe to our newsletter to receive more stories like this directly in your inbox.
The responses to his antics ranged from genuine delight at him amplifying Jamaican culture in this decidedly not-Jamaican space to taunts about the middle Hanks' seemingly endless, winding journey into Black identity. (During his tenure as the rapper "Chet Haze, " he freely used the N-word, and later apologized for it. )As he kicked off his "All Love" room, however, he faced the critique from Jamaicans and others that he was using what's considered Black lingo without meaningfully engaging with Black struggle. It's a problem many white admirers (and usurpers) of Black culture face: how can they benefit from the cool factor that the culture endows while paying none of the cost? YouTube Star Gabi DeMartino Accused of Selling 'Child Porn' Video of Herself on OnlyFans for $3Clubhouse faces a similar dilemma. In the past week alone, Black celebrities like Tyrese Gibson, Jermaine Dupri, Kevin Hart, and Tiffany Haddish have injected rocket fuel into its growth. What was once an experiment in changing the shape and tenor of social media conversation has quickly transformed into: "What is Clubhouse, and how can it make a billion dollars? "
Locarno Review: Andrzej Zulawski's First Film in 15 Years, 'Cosmos, ' Delivers the Crazy READ MORE: Locarno Review: Lesbian Drama 'Summertime' Takes 'Blue is the Warmest Color' to the Countryside Polish auteur Andrzej Żuławski may be best known worldwide for his 1981 body horror whatsit "Possession, " in which Sam Neill and Isabelle Adjani play a couple whose relationship crumbles in increasingly bizarre, expressionistic terms. For the outrageous dark satire " Cosmos, " his first feature in 15 years, Żuławski savages a much broader target — the inherent chaos and desperation of human consciousness. It's often hilarious, confounding and downright strange; if not the director's most polished work, it nevertheless delivers a demented philosophical puzzle that's fun to scrutinize in all of its baffling uncertainties. Żuławski's French-language production, which adapts the 1965 novel by Polish writer Witold Gombrowicz, follows a crazy-eyed law school dropout named — for symbolic purposes that immediately endow the material with meta quality from the start — Witold (relative newcomer Jonathan Genet, a lanky man with a piercing gaze).
To the extent that anything drives the action, it is Witold's determination to solve the mystery of the sparrow he found suspended from a cable in the woods: Birds do not hang themselves, after all, and this particular avian casualty seems to have done so more than once. Later, it is joined by a hanging block of wood and (animal lovers beware) the family's beloved housecat. Could these be omens that one of the human characters might be next? Or, more to the point, can anything reasonably be interpreted as an omen at all? Witold and Fuchs are determined to believe as much, reading significance into every detail, from the position of an ax handle to the shape of a water stain in the corner of the room (granted, the latter looks undeniably vaginal). That way lies insanity, and the film grows increasingly difficult to interpret as their investigation progresses, eventually taking them to a seaside cottage where things get really weird. Though individual details may defy explanation (a new character dresses exactly like Belgian comicbook hero Tintin, a hitchhiking priest unzips his pants to unleash a cloud of bees), Zulawski maintains such expert control of the film's look and tone that there can be no question that each choice has been deliberate, whatever the significance.
These developments grow increasingly fragmented as the movie goes on, with the ensemble bickering over various worldly topics while Witold alternately slaves over his vaguely-defined novel and lurks around the property. Longer dialogue exchanges tend to drag more than the outrageous tangents that form the bulk of the appeal. Visually, Żuławski doesn't do anything too sophisticated aside from various telling closeups of his zany characters, though the abrupt editing choices of the perplexing finale is a masterwork of disorientation. Yet the plot of "Cosmos" has a kinship to Luis Buñuel in its ongoing affinity for probing the pithy concerns of bourgeois society, not to mention the limitations of the human mind to comprehend its circumstances. Witold, with his ongoing attempts to speak in high-minded terms while remaining generally clueless, forms something of a recurring punchline himself. The movie offers no moment more comically potent than Witold saying the words "the savage power of a stupid thought" over and over again to himself in a fairly accurate Donald Duck impersonation, as if ridiculing his own shortcomings.