Connect with us

Video

Blu-ray Review: Gone Girl

It typifies Fincher’s style while pushing him in new creative directions, and the minimally loaded BD wisely leaves the film open for spirited debate.

4.0

Published

on

Gone Girl

The most remarkable aspect of David Fincher’s choice of projects is that he consistently finds intimate, often first-person narratives to filter through his detached, clinical perspective. Part of what makes Gillian Flynn’s Gone Girl such a fascinating adaptation is how easily it fits the director’s usual method despite the raw nature of its structure. At first glance, the novel’s narrative, rooted in the overlapping perspectives of Nick Dunne’s (Ben Affleck) raging id and Amy Dunne’s (Rosamund Pike) calculating superego, has a ragged, scorched-earth tone that clashes with Fincher’s cold frames. But it also touches on a number of social commentaries that might interest the filmmaker: the self- and social perceptions of men and women; the role of contemporary media in not simply documenting a story, but creating it; millennial resentment for the micro- and macroeconomic ruin inherited from their parents; and marriage as both the demilitarized zone and the frontline of the battle of the sexes.

Naturally, Fincher’s film eschews the morass of Nick and Amy’s duplicitous viewpoints for a clearer view of the knotty mystery behind Amy’s sudden disappearance. Yet it also dispenses with the more broad-minded critiques that would suit the director, instead homing in on the more personal aspects of the story, despite the absence of nearly all the book’s internal monologues. Gone are the misogynistic rampages of Nick’s expressed thoughts, replaced by the surface tension of Affleck’s physical acting, all hunched, simian shoulders and plastic smiles that express Nick’s deep discomfort with the mounting investigation. The book calls attention to Nick’s awareness of the fact that most of the people scrutinizing him are women, but the film merely places women around Nick and lets his own awkward, testy confrontations with them reveal the cracks in his veneer of politeness, suggesting his loathing instead of foregrounding it. By burying Nick’s explicitly repellent nature, the film leaves the task of discovering his defects to the accurate observations and misleading confirmation biases of the other characters. Fincher achieves this with an array of cross-cuts that dart with lightning speed from Nick making a mistake—an ill-timed smile, the wrong tone of voice, a convenient lapse of memory—to doubters and supporters nearby registering the moment with a flare of the nostrils or an exasperated, slow blink. Gone Girl isn’t really a thriller, but this patchwork of gestures and glances gives the film a paranoid edge on the level of Fincher’s last few procedurals.

Flynn herself adapted the book, and her screenplay displays a remarkably judicious whittling process, as well as a keen notion of what would and wouldn’t play on the screen versus the page. Both she and Fincher smartly craft the film as if expecting most of the crowd to know the big second act twist going in, and that frees her to focus on the various knife twists that imbue even the most tossed-off exchanges with menace and suspicion. Flynn’s willingness to gut her own material is commendable, and she not only consolidates the plot to feature length, but reworks the entire framework to alter the perception of the leads. Even the device of Amy’s diary, used in the novel to firmly elicit the reader’s sympathy for the as-yet-seen woman, is rendered with a blatantly ironic bent, both scripted and delivered in a sing-song innocence so fake you can practically hear Amy’s lips curling into a sneer.

Both the writer and director cede much of the final authority of the film’s emotional and intellectual resonance to the actors, all perfectly cast not only to their talents, but their images. Affleck, the breakout smart kid who got sidelined into paycheck gigs and felt unappreciated, doesn’t play himself so much as the dismissive view of him. Neil Patrick Harris plays Desi, an old hanger-on from Amy’s past, the way that his How I Met Your Mother character might be in life, a flashy lothario whose air of superiority is controlling and suffocating. Tyler Perry shows up as a sleazy lawyer who specializes in defending husbands accused of murder, a man who knows exactly what market to target and who coaches Nick on what to say like a director, lobbing gummy bears instead of calling “cut.” The closest the film has to moral characters, Nick’s sister, Margo, and the suspecting but nonetheless fair-minded detective Boney, are played, respectively, by character actresses Carrie Coon and Kim Dickens, who use their relative anonymity to their advantage. In a film that picks over how bystanders all the way up to the national media will scrutinize every move, the A- and B-list stars all have to play to and against their image, while Coon and Dickens are free to be people, flawed but insightful and trying to do the right thing.

Pike, too, has the benefit of minimal exposure in America, and she uses it not to emphasize the mystery around Amy, but the character’s capacity to be anything in any situation. If nothing else, Pike toys with the notion of the British actor as the fundamentally superior product to highlight how much of an actor Amy, like any sociopath, really is. Pike speaks the diary lines with teasing insouciance, and her often silent pantomimes in the diary visualizations display the edge behind her plays at being the perfect housewife. Flynn’s book portrays Nick and Amy as evenly matched in repulsiveness, two toxic people destined to rot together. But the film hinges on Affleck’s schlub routine and the almost lustful zeal with which Fincher, overthinking gamesman that he is, dotes on Amy’s schemes, never once suggesting that Nick could be Amy’s equal in anything, even base evil. This Amy is a kind of divine reckoning, and though the movie omits most of the novel’s nastiest bits, it feels even more perverse for mildly suggesting that Nick should feel honored to be deemed worthy of her education.

Image/Sound

David Fincher’s film gets a predictably great transfer from its original theatrical condition. The director’s perpetually icy frames have rarely looked more hermetically sealed, and Fox’s Blu-ray deftly captures the gradually suffocating purity of the cinematography, as well as its frequent plunges into uncrushed blacks. The audio is just as impressive, teasing out the nuances in Trent Reznor and Atticus Ross’s score, a deceptively simplistic hum of new-age tone clusters that hosts all kinds of disruptive quirks like bursts of glitch and a love theme that sounds as if played on sonar. As distributed in the 7.1 track, the score is a crucial aspect of a film all about the unease lurking below manufactured, placid surfaces.

Extras

In a cute promotional gimmick, the Blu-ray comes with an Amazing Amy book, one of the overly precious, wishful-thinking children’s tales sold by Amy’s wealthy parents in the film. It’s an odd thing to include with the movie, though, considering how drastically the film scales back any mention of this aspect of Amy’s upbringing. More pertinent is the inclusion of one of Fincher’s always entertaining commentaries, which begins in fine form with the director mocking the Regency production logo for being so old and includes some generous praise for the actors. It’s not as technical as some of his other tracks, but Fincher makes up for it with delightful digressions like his love for the film’s cat, which was so laidback it would stay in the same spot for all the director’s takes.

Overall

Gone Girl typifies David Fincher’s style while pushing him in new creative directions, and Fox’s minimally loaded Blu-ray wisely leaves the film open for spirited debate.

Cast: Rosamund Pike, Ben Affleck, Neil Patrick Harris, Tyler Perry, Carrie Coon, Kim Dickens, Patrick Fugit, Missi Pyle Director: David Fincher Screenwriter: Gillian Flynn Distributor: Fox Home Entertainment Running Time: 150 min Rating: R Year: 2014 Release Date: January 13, 2015 Buy: Video

Advertisement
Comments

Video

Blu-ray Review: Forty Guns

Samuel Fuller’s libido-fueled, feverishly stylized B western gets a lavish reincarnation on home video courtesy of Criterion.

4.0

Published

on

Forty Guns

Though shot in a drum-tight 10 days, and on a low budget, writer-director Samuel Fuller’s raw, punchy noir-western Forty Guns isn’t a film of half-measures. As it acquaints us with Tombstone, Arizona, the parched Cochise County town where its action takes place, the 1957 film does so with an unbroken dolly shot that runs the entire length of main street, taking in something like 50-plus actors in choreographed motion and encompassing both an exposition dump and a startling zoom-and-pan reveal.

When Jessica Drummond (Barbara Stanwyck), the territory’s domineering land baroness, conducts her daily business via horseback, she does so with all 40 of her grizzled hired hands in tow, a thunderous spectacle trotted out for matters both large and small. And when a tornado rips over the hills, realized by Fuller and his crew as a high-powered dust storm that renders the landscape a grainy, swirling abstraction, Stanwyck is right in the middle of the fray; the script called for Jessica to be dragged along with the hoof of a runaway horse, and Stanwyck insisted on performing the daredevil maneuver herself, much to the chagrin of producers.

Bold expressionism and brawny physicality were staples of Fuller’s filmmaking career—qualities surely indebted in some part to his experiences as an infantryman and cameraman during World War II—and in Forty Guns the entire cast is synchronized with that sensibility. The film is possessed of an earthy eroticism, evident in a number of scenes dedicated to watching Tombstone’s men bathe openly under the afternoon sun, as well as in an insistent streak of sexual innuendo in the dialogue, wherein any talk of a man’s gun is quite transparently an allusion to his cock.

Upon the arrival of pacifistic U.S. Marshal Griff Bonell (Barry Sullivan), carrying a warrant for the arrest of Jessica’s rotten brother, Brockie (John Ericson), in town with siblings Wes (Gene Barry) and Chico (Robert Dix), the townsfolk’s dormant sexual energies are expulsed, with Wes angling for local gunsmith Louvenia (Eve Brent) and Griff himself going after Jessica. In a place where gunfire is the prevailing expression of emotion, violence and sex thus become intimately entangled—a link visually represented when Wes and Louvenia’s mutual desire is consummated by an eccentric down-the-rifle-barrel POV shot that Jean-Luc Godard would crib for Breathless only three years later.

This suggestive visual punnery aside, the structure of Forty Guns ultimately accommodates a shift from lewd flirtation to emotional vulnerability, with the at-first caricatured threat of violence becoming a real and deadly threat indeed, as new bonds are sewn and prior allegiances are fissured. Griff, having vowed to retire his six-shooter, awakens Jessica’s sensitive side in the process of spending time with her, breaking down her desperado roughness with his nonviolent, levelheaded enforcement of the law.

The moment when Jessica seems to have fully emerged as a more complicated woman than she initially appeared is among the film’s most beautiful: When she and Griff find shelter from the aforementioned tornado in an abandoned barn, a lilting crane shot descends from the rafters to find the lovers entangled from head to toe in a pile of hay, the camera finally landing in an intimate two-shot to survey their nostalgic exchange without a single cut. It’s a scene of aching tenderness in the midst of bawdy farce and jolts of brutality, but such a commiseration of souls proves fleeting in a land of hardened alliances and quick triggers, and it’s this very union that acts as the catalyst for an accumulating body count.

The film’s tonal swing from goofiness to severity is best exemplified in the three Tombstone ambushes conducted by Brockie. The first, seemingly the result of a drunken whim, is a maniacal shooting spree played mostly for shock laughs (save for the mood-puncturing casualty of an innocent blind man), and concluded by Griff’s swift pistol-whipping of the terrified Brockie. Mirroring this is a more coordinated attack later in Forty Guns when a wedding is interrupted by a surprise bullet, immediately throttling the mood from revelry to tragedy—and leading to a hymnal-led funeral scene to rival those in John Ford westerns. Finally, the third ambush in Tombstone finds Griff again marching calculatedly toward a menacing scene, only this time unsure of the whereabouts of the aggressors. Fuller stages the scene as a high-wire standoff between three disparate points of threat, juicing the dramatic irony to a breaking point until Griff expertly diffuses the situation, but not without preventing another death.

Shot in black-and-white CinemaScope at a time when the format was largely reserved for color productions, Forty Guns‘s deep chiaroscuro anticipates the characters’ deadly impulses and the grave directions that the drama takes. It all leads to a climactic showdown of remarkable savagery that seems to confirm an irrepressible violence within the hearts of even the most upstanding among us—though it’s followed then by a studio-mandated corrective to it, a scene that partially aims to clear the dust churned up by such a bleak capper. Fuller includes a line of dialogue that complicates the uplift, but even if he hadn’t, Forty Guns‘s damning treatise on gun infatuation and the incapacity to transcend one’s nature had already landed its heaviest blows, leaving a bitter aftertaste that no smearing of schmaltz could quite undo.

Image/Sound

Studio-shot interiors are granted a superb degree of contrast, with the deep, inky shadows doing full justice to the film’s celluloid origins, in addition to mirroring the bottled-up anxiety and rage in the characters. Meanwhile, location work in the foothills of Arizona is awesomely vivid. When Barbara Stanwyck or Barry Sullivan ride across the landscape on horseback, the subtle gradations and tones of the arid ground are as compelling as the action being depicted. And suitably for a film at least partly about the destructiveness of firearms, the howling gun blasts heard on the audio track are enough to get the attention of the neighbors, if not too loud to overwhelm the at-times hushed dialogue and gentle desert ambiance.

Extras

The meatiest supplement here is “A Fuller Life,” Samantha Fuller’s affectionate feature-length tribute to her father’s experiences as a journalist, infantryman, and filmmaker, unconventionally presented as a series of readings from his autobiography, A Third Face, by directors and actors who knew him. Not all these participants seem equally enthusiastic about the project, and the documentary consequently has some dry, overly wordy passages. But the access to Fuller’s treasure trove of personal material—clips from his old bylines, footage from WWII, and production files—makes it never less than a fascinating excavation for acolytes of the artist.

Similarly rewarding in this regard are the three other bits of deep-dive Fuller content: an entertainingly candid 1969 interview with the director that can be played as a commentary track, a printed excerpt from A Third Face that goes into some detail about Forty Guns‘s production, and a newly shot interview with Fuller’s second wife, Christa Lang Fuller, and daughter that plays like a heartfelt stroll down memory lane. Rounding out the package is an essay by film scholar Lisa Dombrowski and a new interview by critic Imogen Sara Smith, who, in a welcome pivot from all the attention lavished elsewhere on Fuller, conducts a fairly thorough examination of Barbara Stanwyck’s performance in Forty Guns, hailing it as an impassioned summation of a career that was on the decline by the late ’50s.

Overall

Samuel Fuller’s libido-fueled, feverishly stylized B western gets a lavish reincarnation on home video courtesy of Criterion.

Cast: Barbara Stanwyck, Barry Sullivan, Dean Jagger, John Ericson, Gene Barry, Robert Dix, Jidge Carroll Director: Samuel Fuller Screenwriter: Samuel Fuller Distributor: The Criterion Collection Running Time: 80 min Rating: NR Year: 1957 Release Date: December 11, 2018 Buy: Video

Continue Reading

Video

Blu-ray Review: Let the Corpses Tan

The solid audiovisual transfer will allow home viewers to fully experience Hélène Cattet and Bruno Forzani’s unrelenting, expressionistic assault on the senses.

3.5

Published

on

Let the Corpses Tan

Hélène Cattet and Bruno Forzani’s Let the Corpses Tan might rekindle a familiar debate regarding style and substance in art and whether the distinction matters in discussions of aesthetics. Riffing on 1970s-era Italian crime films, Cattet and Bruno Forzani get so lost in their catalogue of fetishes that they lose grasp of the snap and tension that drive even a mediocre heist narrative. That’s partially the intention here, as the married Franco-Belgian filmmakers are aiming for a wandering bloodbath that stews in their characters’ obsessions, which presumably parallel their own, but those obsessions often feel trivial, distracting from the abstract plot.

In Let the Corpses Tan, Cattet and Forzani announce their self-consciously derivative intentions with explosions of paint that suggest blood as well as the act of ejaculation. This link—between art, sex, and violence—is the thread purportedly uniting the film’s various shoot-outs, sexually and religiously inflected fantasy sequences, and odd camera angles, lurid color stocks, and splintered editing. Luce (Elina Löwensohn) is a painter living out among the jagged and sunbaked cliffs presumably somewhere along the Mediterranean, where she drinks, works, sunbathes, fucks, and keeps the company of a traditionally motley collection of misfits. Some of these misfits have just robbed a truck carrying hundreds of kilos of gold, brutally killing several guards and police officers in the process. These acts are played nearly for comedy, with explosions of blood that echo Luce’s splattering of paint against canvases. And the crimes bring the police upon Luce’s desert idyll, triggering a shoot-out that spans the majority of the film’s running time.

The film’s desert setting is memorably beautiful and punishing, and Cattet and Forzani milk it for quite a bit of its erotic potential, gazing at Luce’s often nude body as she sweats in the sun while the coterie of grizzled thugs ogle her. Pleasurable for their own sake, such scenes also affirm the notion of the gold heist as a re-channeling of unfulfilled sex. A little of this symbolism goes a long way, and amusingly so, though Cattet and Forzani keep indulging jokey metaphors, from a lamb roasting sensually on a spit to a martyr fantasy in which Luce is tied nude to a stake, her breasts lactating champagne.

The latter sequence offers a juxtaposition of cruelty and sadomasochistic sex that might’ve been startling in a film less grab-bag in nature—if, say, the scene had been allowed to serve as a narrative culmination, suggesting that the heist and hostage situation inspires in Luce a reckoning with forbidden desires. In this context, however, it feels as if Cattet and Forzani are merely adding another whimsy to their woodpile in order to certify their bona fides as cult rebels. There’s another violent and sexual fantasy sequence later in the film, which seems present just to give the audience a nude shot of another actress, and the images are festooned with leather, guns, insects, skulls, and seemingly endless close-ups of the bad-ass bank robbers’ faces.

Let the Corpses Tan is diverting when watched for 10 minutes—and which 10 minutes you choose doesn’t really matter, as the film runs in circles, re-digesting its conceits as characters stalk and kill each other. In the end, Cattet and Forzani’s pastiche is less reminiscent of Italian crime films than of Quentin Tarantino’s own brand of orgiastic cinephilia, and this contrast elucidates why Let the Corpses Tan feels so hollow. Though Tarantino is also a trickster enthralled with formalist gimmicks, his best films have emotional texture, expressing the longing that drove him to movies to begin with. Cattet and Forzani are too cool for such vulnerability.

Image/Sound

On the whole, Kino Lorber’s transfer leans a bit on the dark side, leading to more muted reds, greens, and golds, especially throughout the film’s daytime sequences. Still, the graininess of Manuel Decosse’s 16mm cinematography is ably preserved; the acute textural details found in the film’s endless array of close-ups of sweaty, expressive faces and objects in motion are beautifully rendered. The nighttime sequences, often shot with a blue filter, still offer ample contrast between the deep black shadows and carefully lit bodies that move gracefully in and out of them. The 5.1 surround and stereo sound tracks are particularly impressive, offering an evocatively layered and full-bodied mix that highlights the film’s intricate sound design. The crackle of fire, creaking of leather, and bursts of gunfire sit forward in the mix, replicating the sensorial overload of the theatrical experience.

Extras

Film critic Alexandra Heller-Nicholas and Queensland Film Festival Director John Edmond, who have known each other for years, evince an amiable rapport on their engaging audio commentary, and while this frequently leads them into light-hearted digressions, they do manage to cover a large amount of ground regarding the cinematic influences that inform Hélène Cattet and Bruno Forzani’s aesthetics. Their discussions of ’70s Italian crime films, gialli, and spaghetti westerns are informative if a tad predictable. More fruitful and compelling are the stretches where their talk veers into the unexpected, such as the influence of Satoshi Kon on the filmmakers’ sense of narrative structure and the film’s playful warping of time through rapid-fire editing. Perhaps most enlightening is when Heller-Nicholas and Edmond link Let the Corpses Tan, for its plethora of associative metaphors and reliance on sexual and religious iconography, to George Bataille’s Story of the Eye and the work of Kenneth Anger. The only other extra included is a theatrical trailer.

Overall

Kino Lorber’s edition of Let the Corpses Tan is fairly slim on extras, but the solid audiovisual transfer will allow home viewers to fully experience Hélène Cattet and Bruno Forzani’s unrelenting, expressionistic assault on the senses.

Cast: Elina Löwensohn, Stéphane Ferrara, Bernie Bonvoisin, Michelangelo Marchese, Marc Barbé, Marine Sainsily, Pierre Nisse, Marilyn Jess Director: Hélène Cattet, Bruno Forzani Screenwriter: Hélène Cattet, Bruno Forzani Distributor: Kino Lorber Running Time: 92 min Rating: NR Year: 2018 Release Date: January 8, 2019 Buy: Video

Continue Reading

Video

Blu-ray Review: A Dry White Season

This powerful apartheid drama still burns with outrage and conviction, and it receives an excellent A/V transfer from the Criterion Collection.

4.0

Published

on

A Dry White Season

The opening shot of A Dry White Season depicts two young South African boys, one black and one white, laughing and merrily playing ball with each other. This moment of harmony, a tacit reminder that racism is learned, is soon torn asunder by the viciousness of South Africa’s apartheid system. The forces of division at work in the country are charted after the tranquil opening, with the black child, Jonathan (Bekhithemba Mpofu), arrested and brutally caned for attending a peaceful student protest and the white boy, Johan (Rowen Elmes), seen playing rugby with schoolmates who are, of course, all white. Soon we learn that Jonathan’s father, Gordon (Winston Ntshona), works as a gardener for Johan’s father, Ben (Donald Sutherland). When Ben sees the bloody cane marks on Jonathan’s buttocks, he immediately begins rationalizing the actions of the police, unable to admit that they acted irrationally. Johan, upon glimpsing the same wounds, can only gape in horror.

Director Euzhan Palcy spends much of the film’s first act visually delineating the extent to which South Africa has been divided under apartheid. In the black townships of Soweto, for example, there’s scarcely any vegetation to be found in the drab, arid ground. Meanwhile, Ben’s home and other white communities are verdant with irrigated, perfectly manicured lawns. And while Ben has a friendly rapport with Gordon, he never forgets his assumed superiority to the man, who must address his boss as Mr. Ben in even their most informal moments. Ben’s initial inability to consider that the police crossed a line with Jonathan changes when the boy is killed and buried in an unmarked location. When Gordon attempts to find the whereabouts of his son’s body, he too is abducted, tortured, and murdered, leaving Ben so stunned that he’s shaken from his oblivious privilege.

The remainder of the film tracks Ben’s attempts to get answers for these shocking events and the fallout it brings to both Gordon’s family and his own. Seeking justice for Gordon, Ben takes his case to a human rights lawyer (Marlon Brando, giving perhaps his weariest and least showy performance), who can only solemnly urge the man to drop this case, as it will never be upheld by an apartheid judge and will only bring him misery. This grim prophecy soon proves true as Ben’s increasingly zealous quest to broadcast the atrocities of the government earns him the enmity of a brutish police captain (Jürgen Prochnow), alienates his wife (Janet Suzman) and daughter (Susannah Harker), and enrages Ben’s colleagues and friends. It even brings further horrors onto Gordon’s surviving family, who are systematically harassed and evicted from their home in retaliation for Ben’s behavior.

In maintaining her focus on both families rather than just Ben’s, Palcy traces the pervasiveness of apartheid’s methods of reinforcing the status quo using everything from social stigma to outright violence. That Ben, riddled with guilt and horror, tries to honor his dead friend and ultimately makes things worse for Gordon’s widow is held against the man, but the director nonetheless foregrounds the near-impossibility of an individual resisting a regime devoted to an ideology like racism. Palcy does occasionally confront Ben with his ignorance, as when he wistfully tells his black driver, Stanley (Zakes Mokae), how they’re both equally African as he reminisces about growing up on a farm, only for Stanley to sarcastically bring up other aspects of “real” African life, such as having to carry one’s ID papers everywhere or being thrown in prison. Ben, embarrassed, trails off and falls silent. Yet Ben is consistently presented with complexity and empathy as he slowly becomes politically aware, and if A Dry White Season ultimately illustrates the high cost of true allyship in a system of segregation, it nonetheless also respects the willingness to make that sacrifice in the face of injustice.

Image/Sound

Sourced from a 4K restoration, Criterion’s transfer retains the thick grain of the film but marks a significant upgrade in color depth and texture from previous home-video editions. In particular, the bright shades of the white communities pop in comparison to the impoverished and infertile soil of drab Soweto townships, and the blood spilled by bullets and torture looks especially vivid. The lossless stereo track nicely balances the predominantly dialogue-driven soundtrack with the occasional bursts of chaotic violence in the police’s crackdowns on demonstrations, losing no fidelity at any point.

Extras

A half-hour interview between director and co-writer Euzhan Palcy and critic Scott Foundas digs into the former’s life, from her childhood cinephilia to her art studies in France and early support from François Truffaut. Palcy offers copious insights into her career and her approach to A Dry White Season, from building out the source novel’s black characters to her clandestine trips to Soweto to interview survivors of security force arrests and torture. Palcy also contributes an interview in which she breaks down five of the film’s scenes from the research went into them to her filming. Impressively, Criterion unearthed a long-sought interview that Palcy conducted with President Nelson Mandela on the first anniversary of his election in which she questions him on the future he envisions for South Africa. A 1989 interview with Donald Sutherland is also included, as is footage of a 2017 South African National Honors Awards ceremony in which Palcy was bestowed with the Order of the Companions of O.R. Tambo for her work in illuminating the anti-apartheid struggle to the international community. Finally, a booklet contains an essay by film professor Jyoti Mistry, who explicates how Ben is developed as a genuinely moral agent and not simply a bystander to atrocity.

Overall

This powerful apartheid drama still burns with outrage and conviction, and it receives an excellent A/V transfer from the Criterion Collection.

Cast: Donald Sutherland, Janet Suzman, Jürgen Prochnow, Zakes Mokae, Susan Sarandon, Marlon Brando, Winston Ntshona, Thoko Ntshinga, John Kani, Susannah Harker, Rowen Elmes Director: Euzhan Palcy Screenwriter: Colin Welland, Euzhan Palcy Distributor: The Criterion Collection Running Time: 106 min Rating: R Year: 1989 Release Date: December 12, 2018 Buy: Video

Continue Reading
Advertisement

Donate

Slant is reaching more readers than ever, but as online advertising continues to evolve, independently operated publications like ours have struggled to adapt. We're committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, please consider becoming a Slant patron:

Patreon

You can also make a donation via PayPal.

Newsletter

Giveaways

Advertisement

Trending