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Cate Blanchett’s episode on Hot Ones is out now and you can watch Cate eat spicy chicken wings while she talks about TÁR and her career. The day Cate did the Hot Ones interview is also the day she visited the Criterion closet with Todd Field earlier this month while they are doing press tour in New York. You may also remember that blue blazer she wore during radio interview with WNYC that same day.
Now that TÁR is out everywhere in the US, more interviews are being released and you can watch or read them below.
Documentary Now’s Two Hairdressers in Bagglyport has already aired on IFC and you can stream it on AMC+.
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Criterion Closet Picks
Cate and Todd Field stopped by the Criterion’s office while they were in New York for the premiere of TÁR at New York Film Festival.
In Cold Blood
Devil in a Blue Dress
The Cranes are Flying
Letter Never Sent
Summer with Monika
Ingmar Bergman’s Cinema
A Man Escaped
A Master Builder
My Dinner with Andre
How Cate Blanchett Trained to Conduct an Orchestra Like a Maestro
Like so many people during the pandemic, Cate Blanchett used the time to nurture some new skills. She took piano lessons. She picked up some German. She learned how to conduct a top-tier symphony orchestra in Mahler’s Symphony No. 5.
The two-time Oscar winner developed these chops for her performance in the new film “Tár,” which has the actress in virtually every scene. It’s a portrait of the fictional Lydia Tár, a highflying orchestra leader whose hubris and manipulative ways lead to career meltdown. The conductor’s need for control, over everything from her bespoke suits to the secrets around her entanglement with a former protégé, is central to the film’s examination of power.
That’s what Ms. Blanchett wants audiences to ponder—not how much prep work the lead actress did to seem natural when playing her piano parts in the film.
“It’s a little bit like spinning plates, isn’t it?” Ms. Blanchett said of the various skills she practiced for the role, including some stunt driving. “You spin two plates, so you think, ‘I’m going to see if I can spin three. Let me spin four! Oh, my God, there’s seven!’ And as soon as you think, ‘I’ve got seven plates in the air,’ they all crash.”
“So you just can’t count plates, and hopefully the audience doesn’t count them either.”
When movie stars go to school for a role (training as a cowboy, dancer, boxer), or transform their bodies (packing on muscle, adding or shedding pounds), or disappear themselves in method acting, it draws attention because it helps explain the trick they’re attempting to pull off on camera.
“Tár” is a tantalizing example: an elite acting talent taking on a rarefied slice of the classical music world. The preparations Ms. Blanchett and her collaborators did behind the scenes mirrored aspects of the story, which involves the painstaking work of creation and rehearsal.
“It’s a process film,” Ms. Blanchett said.
She began her own preparation with the basics. She studied video recordings of master classes led by Ilya Musin, a Russian conductor more influential as a teacher than on the podium.
She rehearsed the fundamental hand gestures for keeping time in Zoom sessions with friend and conductor Natalie Murray Beale. She developed more expressive movements: borrowing from her own experience as a stage actor and from choreography, such as a Mikhail Baryshnikov piece that highlighted his hands. She practiced “wherever I was. In the bathroom, on a train, in this room,” she said during a video interview from her home office.
Ms. Blanchett’s character is the first woman ever to helm a major orchestra in Berlin. It includes Tár’s wife, the concertmaster (played by Nina Hoss) and a new Russian cellist (Sophie Kauer) whom the conductor appears to be grooming. As Tár prepares to launch a memoir and chips away at a new composition on a piano, she’s also preparing the orchestra for a recording of Mahler’s Fifth Symphony.
The live recording represents a crowning moment in a career as calculated as the portrait photo she plans for the album cover. The symbolism of the music suggests otherwise. The Fifth, created after a near-death experience for the Austrian composer and conductor in 1901, opens with a funeral march.
Ms. Blanchett wields a baton in only a handful of scenes in “Tár.” Instead of showing the conductor presiding over her orchestra in concert, Mr. Field used rehearsal scenes to get inside the power dynamics between maestro and musicians.
The real-life Dresden Philharmonic stood in for Tár’s Berlin orchestra in the film. Members of the Dresden ensemble were cast to play musicians involved in Tár’s workplace politics.
“I was lucky in that everyone was outside their comfort zone. The musicians had to act and I had to conduct, and in the middle we met,” Ms. Blanchett said.
Instead of using dramatic camera swoops to match the majesty of the Fifth, Mr. Field shot the rehearsals at floor level, in the ranks of the musicians. Tár controls them with sweeping arms and a squeezing hand. She chastises and coaxes them with phrases in German and lines such as, “It’s got to be like one person singing their heart out.”
“It’s like a sex scene in a way. What is the purpose or the psychology behind it?” Ms. Blanchett said. “I wanted to progress the narrative through those scenes, rather than, ‘Here I do a bit of conducting.’”
Ms. Blanchett’s piano-playing (dormant since her youth in Australia) served a similar purpose. In a scene where Tár leads a conducting seminar at Juilliard, she flays a student (played by Zethphan Smith-Gneist) who rejects Bach as a misogynist symbol of the white-European-male hegemony.
To make a point Tár squeezes next to him at a piano and plays the first prelude from Bach’s “The Well-Tempered Clavier.” The piece is a staple for piano students, but Ms. Blanchett plays it in shifting styles while delivering a monologue, with references to the Peanuts character Schroeder, Glenn Gould and the “humility” of Bach’s compositions.
The movie’s soundtrack is a concept album. It features recordings of Ms. Guðnadóttir’s music sketches and Ms. Blanchett’s rehearsal scenes in character. The album was released by Deutsche Grammophon, the same classical record label that Tár is gearing up to record for in the film.
The technical demands behind the role “gave me a sense of the stakes, of what a musician stands to lose when their instrument is taken away. It also gave me a real way into [Tár’s] rhythm and her inner life, and her compulsion to escape into the music,” Ms. Blanchett said, before trying to steer the interview elsewhere.
“I just want people to fall into the film, not how much homework I did.”
Cate Blanchett has been nominated for Outstanding Leading Performance for her role as Lydia Tár at 2022 2022 Gotham Awards. TÁR has been nominated in an total of five categories: Best Feature Film, Best Screenplay for Todd Field, and Best Supporting Performance for both Nina Hoss and Noémie Merlant. The movie will have wide release in the US this Friday.
The latest issue of International Piano magazine is out now and you can read the interview with Cate.
Two Hairdressers in Bagglyport airs on IFC tonight and is now available to stream on AMC+.
We are now nearing the US release of TÁR, the movie will have limited release on October 7th before it goes wide on October 28th. The tickets are now on sale. Meanwhile, a new still from Documentary Now! “Season 53” has been released ahead of its TV premiere. Pinocchio will have it’s US premiere on November 5th as part of AFI Fest.
Yesterday, Cate Blanchett, who is a founding member of Earthshot Prize made an appearance at the first Earthshot Prize Innovation Summit.
We have compiled updates on other Cate Blanchett-related projects and causes she supports, ranging from interviews, magazine scans, and recent or upcoming event appearances. You can check them below.
— UNHCR Goodwill Ambassador, Cate Blanchett has penned an piece for Politico urging global leaders to do more for the Rohingya refugees.
Rohingya: A life lived in limbo
It’s more important than ever that we don’t look away, despite other emerging humanitarian and refugee crises in the world.
Gul Zahar, a young Rohingya woman, was forced to flee her home in western Myanmar’s Rakhine State. Escaping brutality and widespread abuse, she and around 200,000 fellow Rohingya refugees sought safety in Bangladesh. That was in 1978.
After returning home, another wave of violence against the Rohingya forced her to seek safety in Bangladesh once more. That was in 1992.
Many years later, Gul and her four-generation family were among the 720,000 Rohingya who made that same desperate journey to safety, yet again forced from their homes by violence. Trekking through jungles and mountains and crossing the river, it was one of the largest and fastest refugee influxes the world had seen for decades.
That was five years ago, in 2017.
Today, over 925,000 Rohingya refugees live in the densely populated camps near Cox’s Bazar, Bangladesh. Over 75 percent are women and children.
The Rohingya are the largest stateless community in the world.
Although they have lived in Myanmar for generations, they aren’t recognized as citizens. And they face a host of discriminatory practices limiting their daily lives, in addition to the violence and persecution carried out against them.
When I visited Bangladesh in 2018 in my role as a goodwill ambassador for the U.N. Refugee Agency (UNHCR), I was not prepared for the depth of suffering that I saw.
I witnessed mothers enduring the unending pain of seeing their children live through these experiences. I sat with countless refugee children who had endured brutality and uncertainty, as I pictured my own children safe at home, joyful and carefree.
Following the influx in 2017, the emergency response to the refugee crisis, led by the government and people of Bangladesh, was exemplary. With the help of the international community, they provided medical assistance, food and relief items, and built makeshift shelters. Rohingya refugees were registered and issued with identity documentation — the first many had received in their lives.
Over time, however, the camps have developed their own fragile ecosystem, with their health care, water and sanitation facilities becoming severely challenged.
Rohingya refugees themselves play a vital role as the first responders in their community, including in the areas of emergency preparedness and disaster response, health, education, as well as community response and mobilization. During the COVID-19 pandemic, for instance, refugee volunteers took the lead in informing their community about health and hygiene, monitored signs of illness and connected refugees with critical health services. Their ingenious efforts saved countless lives.
Five years since that latest mass influx from Myanmar to Bangladesh, the collective effort in responding to the ongoing Rohingya refugee crisis — and the role undertaken by Rohingya refugees themselves — should be commended.
But despite this acknowledgment, we mustn’t be allowed to forget that the Rohingya shouldn’t be refugees at all — not the women, men and children who fled in 2017, nor those who fled in the successive waves of violence in previous decades.
The protracted exile of the Rohingya is simply unacceptable and unsustainable.
Diminishing hopes of returning home are pushing increasing numbers of Rohingya refugees, including children, to undertake perilous boat journeys in search of a future. Placing themselves at the mercy of smugglers and the treacherous waters of the Bay of Bengal, they are at risk of dehydration, starvation, physical and sexual abuse, and death. They do so, as many feel that they have little choice.
Today, it is more important than ever that we don’t look away from Rohingya, despite other emerging humanitarian and refugee crises in the world.
We must continue to support Bangladesh and other host communities in enabling Rohingya refugees to live full and dignified lives in exile. This includes providing them with greater access to education, skills training and opportunities for earning livelihoods.
Rohingya refugees, in particular the large proportion of youth among them, are resilient and resourceful. They want to rebuild their lives and ensure they are prepared for the future — including a return to their homes.
It is vital the international community continues to press for the rights of Rohingya in Myanmar.
They long for their homeland. They want to return but cannot do so unless conditions are safe, unless they can exercise their fundamental human rights — the right to move freely within their own country, the right to services such as education, livelihood and health care, and a clear pathway to citizenship — the rights so many of us take for granted.
In a conversation she had with the UNHCR in 2018, Gul had made clear what her wishes were: “I want to die on my soil,” she said.
Heartbreakingly, Gul passed away last year at the age of 94 in Bangladesh, her deepest yearning unrealized.
A life lived in limbo.
— Cate is also a council member of Earthshot Prize, which is “a global prize for the environment, designed to incentivise change and help to repair our planet over the next ten years”. There is going to be a summit in partnership with Bloomberg Philanthropies where Cate is confirmed as a speaker. It will be held on September 21st from 8:00am-12:30pm ET at The Plaza Hotel in New York City.
The Earthshot Prize Innovation Summit
The Earthshot Prize and Bloomberg Philanthropies previewed confirmed speakers and programming for The Earthshot Innovation Summit, which will take place on the morning of September 21, 2022 at The Plaza Hotel in New York City. The Summit, hosted by Michael R. Bloomberg, the UN Secretary-General’s Special Envoy on Climate Ambition and Solutions, will bring together heads of state, government and civil society leaders, philanthropists, business executives, and grassroots climate activists from around the world to spotlight emerging, systems-changing solutions and showcase the critical need to turbocharge ground-breaking climate innovations to address the world’s most pressing environmental challenges.
Global Australian Awards 2022
Cate alongside her friend and co-host of Climate of Change podcast, Danny Kennedy, were presenters at this year’s Global Australian Award. You can watch them present at around 43:19.
Global Goals Yearbook 2022
Vanity Fair European Edition
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Click the images to open the scans.
Vanity Fair France – September 2022
Vanity Fair Italy – September 2022
Vanity Fair Spain – September 2022
— Another movie with Cate that will be released this year is the stop-motion version of Pinocchio directed by Guillermo Del Toro and Mark Gustafson. Three episodes of Documentary Now premiered at Toronto International Film Festival last weekend.
On a sadder news, Pedro Almodóvar has pulled out of directing job in A Manual for Cleaning Women but Cate is still attached to star and produce under Dirty Films.
Meanwhile, TÁR continues to be part of film festival lineups. It will have it’s Australian premiere at Adelaide Film Festival, US West Coast premiere at Mill Valley Film Festival, it is also part of Orcas Island Film Festival lineup. There is a concept album to be released in October 2022 where Cate can be seen and heard conducting a rehearsal of Dresden Orchestra. Cate also did an interview with Swedish newspaper Dagens Nyheter while she was in Venice at the beginning of this month, the movie will be released on October 23rd in Sweden.
Cate voiced the monkey, Spazzatura. The movie will have it’s world premiere at London Film Festival on October 15th. You can buy tickets here.
Over the weekend, three episodes from the new season of IFC’s iconic mockumentary series Documentary Now! premiered at the Toronto International Film Festival (TIFF). And during a post-screening Q&A, it was revealed that we have Australia’s own Cate Blanchett to thank for its long awaited return.
In front of a sold out audience at the Scotiabank Cinemas, directors Alex Buono, Rhys Thomas, and co-creator and series regular Fred Armisen – all of whom met in the writer’s room on Saturday Night Live – talked about how Cate, who also appeared in the third series of the mockumentary, reached out expressing her interest in parodying an obscure British TV documentary.
Cate had taken a shining to the 1994 BBC documentary, Three Salons at the Seaside, which she discovered with her hair & makeup team while filming her FX series Mrs. America in Toronto, Canada.
The Cate Blanchett episode in question – “Two Hairdressers in Bagglyport”, which screened at TIFF – was filmed over four days at the original location of the documentary in Blackpool – redressed to match its original time period.
Having seen the episode, which unfolds like a beautifully written stage play, I can safely say that the persistence of Blanchett paid off – it’s one of the finest of the series to date. And, simultaneously, may be the most obscure documentary they’ve lovingly parodied.
Pedro Almodóvar departs A Manual for Cleaning Women
Oscar-winning Spanish filmmaker Pedro Almodóvar will not be making his first English-language feature directorial debut with A Manual for Cleaning Women, which has Cate Blanchett set to star and produce under her Dirty Films, Deadline has learned.
The filmmaker finally had all the elements to realize the magnitude of this future production. However, he came to the decision that he’s not ready to tackle such a monumental project in English. A search for another director is underway.
The feature project was first announced back in January based on Lucia Berlin’s 43-part collection of short stories, examining the lives of women working a wide variety of demanding jobs.
“It has been a very painful decision for me,” Almodóvar tells Deadline. “I have dreamt of working with Cate for such a long time. Dirty Films has been so generous with me this whole time and I was blinded by excitement, but unfortunately, I no longer feel able to fully realize this film.”
Dirty Films producers Blanchett, Andrew Upton, and Coco Francini tell us, “We have the utmost respect for Pedro and his extraordinary body of work, and while the stars may not have aligned this time, we hope to collaborate with Pedro and El Deseo on another project in the future. Dirty Films’ passion for A Manual for Cleaning Women and Lucia Berlin’s unique and searing voice – full of danger, joyousness and loss – has not dimmed, and we are excited to continue this project with our partners at New Republic.”
TÁR at Film Festivals
Mill Valley Film Festival World Cinema Lineup. Showings on October 7th and 8th, tickets can be booked here.
Australian premiere on October 21st as part of Adelaide Film Festival Special Presentation lineup. Tickets here.
Orcas Island Film Festival runs from October 6th-10th, festival passes are nowon salebut no scheduled showing yet for TÁR.
TÁR (Music from and inspired by the motion picture)
TÁR concept album is set to be released on October 21st, an LP version will be released on January 20th 2023. You can pre-order at Deutsche Grammophon, JPC, Roan Records or Amazon.
Deutsche Grammophon presents Hildur Guðnadóttir’s exciting new film project – a groundbreaking concept album for Todd Field’s new movie TÁR, starring Cate Blanchett in the title role.
The multi-faceted concept album features music from and inspired by the movie, including a series of stunning new tracks by Guðnadóttir, as well as extracts from major works by Elgar and Mahler. It complements the film by presenting completed, real-life versions of the music on which we see the fictional protagonist Lydia Tár working. One of the aims of the album is to reveal something of the complex process that goes on behind orchestral rehearsals and recordings.
“The tracks, like the film, are meant to invite the listener to experience the messiness involved in the making of music.” Todd Field
Written and directed by three-time Oscar-nominated filmmaker Field, TÁR tells the story of high-powered composer-conductor Lydia Tár, played by Cate Blanchett. The two-time Oscar winner immersed herself in every aspect of her character’s life and can be seen – and heard on the DG album – conducting rehearsals of a Mahler symphony with extraordinary skill. Her fellow cast members include talented young British-German cellist Sophie Kauer, whose playing also features on the concept album.
This is a Google translated interview from Swedish to English.
Cate Blanchett: “There’s a lot of unresolved anger in the wake of MeToo”
Almost 25 years ago, Cate Blanchett came to Venice for the first time with “Elizabeth”, where she made an unforgettable portrait of the 16th-century regent who “married England”. Now the Australian Hollywood star is back at the Lido with another majestic full-length portrait of a woman with enormous power in her world.
In Todd Field’s magnetic “Tár”, Blanchett plays a fictional star conductor who has mentor Leonard Bernstein at her back, stands at the peak of her career as a celebrated composer and is the first female chief conductor of the prestigious Berlin Symphony Orchestra. A demanding recording of Mahler’s Fifth Symphony is at hand. Lydia Tár is certainly married to the orchestra’s female concertmaster (played by the German Nina Hoss) but is much more loyal to her position of power – which she exploits wildly in private – than her wife.
Learning to conduct believably was the least of the challenges with “Tár”, says Blanchett.
– For me, “Tár” is not really so much about the conducting itself. For Lydia, it’s like breathing. It was simply about finding the right way to breathe. But it’s clear that I studied many conductors that I became quite obsessed with, from Carlos Kleiber who had such a tormented and ambivalent approach to his work – to women like Antonia Brica, Marian Alsop and my compatriot Simone Young, says Cate Blanchett at a hotel room with sea view on the festival island Lido.
She is dressed in a white summer suit that elegantly mirrors the expensive tailored suits her character wears in the film. Speaks enthusiastically in a voice that is slightly higher than Lydia’s deep voice.
– The most important thing was to understand the structures of the classical world and how orchestras work. It was so interesting to follow the development, from the autocratic times when the conductor’s word was law and then over the fall of the Berlin Wall when more democratic tendencies began to seep into this world as well. It’s clear that the classical music world is still very much about canon and hierarchies, but the dynamic has clearly changed.
Her character Lydia Tár stands in the middle of that process, and not unexpectedly ends up in a storm when she not only manipulates younger women for her own needs, but also suppresses students who question the canon, like Bach, for reasons of identity politics.
Was it time for a reverse method drama?
– There is a lot of unresolved anger to explore in the wake of MeToo, and it is something we are far from done with. The system still needs to be fundamentally changed. The cancel culture is part of this process. But for me it is still only one aspect of “Tár”. Todd, who also wrote the screenplay, did a huge amount of research for the film and I think he has found mined ground that is very exciting.
To the now classic question of whether you can separate the author from the work, Blanchett answers with an anecdote from the early nineties when she had just graduated from acting school in Australia.
– It is in many ways a generational issue. At 22, I was cast in a production of David Mamet’s “Oleanna” and was full of strong opinions about gender and power. The first time I read the play I threw it at the wall. Second and third time too. When we finally played it, it became an incredibly exciting and challenging debate among the audience. And probably a lot of divorces, laughs Blanchett.
– The lesson from that is that if we are to avoid everything that is controversial or disturbing in art, or authors who have behaved questionably, then we miss out on a lot, both experiences and a significant critical debate. God knows what went on in Picasso’s studio, but “Guérnica” is still one of the world’s most important works of art, and so on.
What is “Tár” above all about, for you?
– It’s almost hard to say, there are so many layers to it. Lydia is both perpetrator and victim of a system where men have been kings for so long that she constantly has to prove that she is capable. But I woke up this morning and thought that it is above all a meditation on power, she says and elaborates:
– It is not only about institutional power but also creative power. Conductors often call the orchestra their instrument, but at the same time it’s about many different individuals, says Blanchett, who received praise for her interpretation of the role.
– “Tár” depicts the trend breaking that takes place in a world where the collective has been hierarchically controlled but where the individual and how one identifies oneself has become a new factor of power, she says.
Having long run theater in Sydney with her husband Andrew Upton, she can easily identify with institutional power, but personally she is more interested in creative power and how to convey it to others.
– Often the most creative thing you can say is “I don’t know, yet” when people demand answers. But there’s a funny difference depending on who’s saying it. If a male director says it, people find it exciting. But if it’s a female director, people just get nervous, ha ha.
– That’s one thing I really appreciate about “Tár”. It asks questions, but does not judge.
TIFF (Toronto International Film Festival) has released their schedule. Documentary Now! premieres on September 10th at 9:15pm. Watch the trailer below.
Three new episodes from season four of the mockumentary series Documentary Now! — created by SNL alumni Bill Hader, Seth Meyers, Fred Armisen, and Rhys Thomas — receive their World Premiere.
In this world premiere, TIFF audiences will be the first to see three episodes from the upcoming season of Documentary Now! First up is a take on My Octopus Teacher, only this version stars English comedian Jamie Demetriou (Fleabag) as an animal-obsessed filmmaker in the episode titled “My Monkey Grifter.” Second is a warm-hearted homage to Agnès Varda, starring French actor Liliane Rovère (Call My Agent) portraying an aging director trying to recapture the thrills of her youth in “Trouver Frisson.” Third is a pet project of Cate Blanchett, who fell in love with the 1990s BBC documentary Three Salons at the Seaside, which she and co-star Harriet Walter fondly lampoon in “Two Hairdressers at Bagglyport,” about a beauty parlour full of secrets (that simultaneously evokes the Anna Wintour/Vogue doc The September Issue).
— Thom Powers, TIFF Docs Programmer
Documentary Now! TIFF Schedule. Click image to book tickets. Tickets go on sale for public on September 5th
According to La Biennale, press conference begins approximately at 11AM CEST. There will be two films in competition on September 1st, TÁR being the first to premiere. Todd Field has also released a director’s statement on La Biennale’s website about TÁR.
This script was written for one artist, Cate Blanchett. Had she said no, the film would have never seen the light of day. Filmgoers, amateur and otherwise, will not be surprised by this. After all, she is a master supreme.
Even so, while we were making the picture, the superhuman-skill and verisimilitude of Cate was something truly astounding to behold. She raised all boats. The privilege of collaborating with an artist of this caliber is something impossible to adequately describe.
In every possible way this is Cate’s film.
Another video from Armani Beauty for their LIP MAESTRO Campaign has been released, this time Cate Blanchett wears shade 214 of the lipstick. We also have magazine scans from Oggi No. 34 issue.
A full length trailer for TÁR was recently rated and the length of the trailer is 2 minutes and 25 seconds. It will likely be released this week or the week after which coincides with the world premiere of the movie at Venice Film Festival.
LIP MAESTRO Shade 214
Below is a part of the magazine article that is a google translated version from Italian to English. Original text can be found on the scans.
CATE THE WOMAN WHO LOVES WOMEN
At the Venice Film Festival, Blanchett will play Lydia Tár, a conductor who falls in love with two musicians. For other performances as a lesbian she has become a gay icon. But she says: “I also played an elf, yet I’m not immortal”.
Ferragamo shoes, tailor-made suits, scarf, Van Cleef & Arpels jewels, vintage handbag on the arm, chic, unresolved and courageous, yet also revolutionary: Cate Blanchett in Carol is a bourgeois close to divorce who falls in love with a saleslady, aspiring photographer, Therese, in the 50s. No wonder that they are waiting for her at the Venice Film Festival (31 August – 10 September): critics and cinephiles and the LGBTQ + community – all of them curious and anxious for her new film Tár, in competition at #Venezia79. Blanchett is Lydia Tár, one of the greatest conductors in the world and certainly the greatest in Germany. The environment is competitive and male chauvinistic. She must always prove that she is good, that she is up to the role, that she really knows the music. Plus she falls in love with two musicians. The trailer, recently posted on the web, does not speak of all this. On the contrary, it speaks of a pandemic, of bees, of the challenges that await us. There is no life of Lydia Tár who in the trailer dresses simple, in light green and appears unadorned, the opposite of Carol, with her wavy hairstyle. Biennale Cinema keep their mouths sewn together, but there is certainly this – that Blanchett will be very good in this new role of hers with (also) a homosexual theme.
Blanchett has been a gay icon since Carol’s day, very proud of it. When she posed with Nicole Kidman in a jacket and boyish pants in 2019, the web appreciated it a lot, they had butterflies in their stomachs, loving what is called her “lesbian aesthetics”. In a video from 2020, Blanchett jokingly said aloud: “I’m a lesbian.”. It happened during Instagram live with Sarah Paulson, a pansexual, star of American Horror Story, and co-star in Mrs America. Moreover, speaking of Mrs America (which tells the story of the US feminist movement), Blanchett has remained a gay icon, although in the series she plays the ultraconservative, Phyllis Schlafly, married for 44 years to the same man and mother of six children. Practically it is the only point of contact between the two. Blanchett has been married since 1997 (25 years of marriage) to playwright Andrew Upton, a bearded gentleman who looks like everyone’s neighbor, they have four children and live at Highwell House. They also have a wing dedicated to their art collection. One of the many times she was asked about her marriage, she replied: “With my husband I won the lottery and consequently with my family.”
It has been announced that three episodes of Documentary Now! season 4 is part of the Toronto International Film Festival (TIFF) Docs lineup. Also, check out another video from Armani Beauty for their LIP Maestro ad.
Documentary Now! at TIFF
One of the Documentary Now! episodes premiering at TIFF is Two Hairdressers of Bagglyport, which stars Cate Blanchett as a salon staff and Harriet Walter as the salon owner. The festival will run from September 8th to 18th with tickets for general public to go on sale on September 5th, full schedule will be released on August 23rd.
In a whimsical touch, Thom Powers (TIFF Docs Programmer) has tucked something unexpected into the TIFF nonfiction slate—episodes from the upcoming new season of Documentary Now!, the IFC comedy series created by Fred Armisen, Bill Hader, Seth Myers and Rhys Thomas that lovingly parodies the earnest rigor of documentarians and the documentary form.
“We’re going to be previewing three new episodes from season 4,” Powers says. “One of those episodes is called My Monkey Grifter, which is a take on My Octopus Teacher, with the British actor Jamie Demetriou who people will know from Fleabag and other shows. Fred Armisen also makes an appearance in My Monkey Grifter. The second episode is a really warmhearted homage to Agnès Varda, starring the French actress Liliane Rovère, who fans of Call My Agent! will know as the endearing older agent in that series. And she is just pitch perfect as Agnès Varda in that episode. And the third episode is a pet project of Cate Blanchett, who has previously appeared on Documentary Now! And we’re expecting several of the people involved with these episodes to be at TIFF.”
Powers continues, “To have Documentary Now! as part of the [TIFF] selection not only brings a smile to our face, but [the show] is also just such a deeply researched and deeply appreciative reverie about documentary filmmaking that I couldn’t resist inviting it to be part of the program.”
IFC has unveiled the first look at the latest season of Documentary Now! Cate will appear on Two Hairdressers in Bagglyport episode with Harriet Walter. The fourth season premieres on October 19th, 10pm at IFC and AMC+ with new episodes being released every Wednesday.
“Two Hairdressers in Bagglyport” will star two-time Academy Award®-winner and Documentary Now! alumni Cate Blanchett (Blue Jasmine, Carol), as well as Emmy®-nominated actress Harriet Walter (Succession, Killing Eve). Paying homage to documentaries 3 Salons at the Seaside and The September Issue, the episode is a fly-on-the-wall portrait of a hair salon owner (Walter) and her staff (Blanchett), in the small coastal village of Bagglyport as they prepare their yearly stylebook. Fred Armisen will also star as George the Postman.
We have our first look at Cate Blanchett as Catherine Ravenscroft in the upcoming Apple TV+ limited series Disclaimer which is directed by Alfonso Cuarón. They were filming at Portobello Road in Notting Hill, London on Friday.
Cate is returning this year for the fourth season of Documentary Now! which is set to premiere this fall.
Two-time Academy Award winner Cate Blanchett — who previously starred in Documentary Now!‘s Season 3 outing, “Waiting for the Artist” — is ready for an encore, in one of the half-dozen episodes premiering this fall on IFC and AMC+.
Co-created by Fred Armisen, Bill Hader, Seth Meyers and Rhys Thomas, and hosted by Dame Helen Mirren, Documentary Now “lovingly” pays homage to the world of documentaries.
“Two Hairdressers in Bagglyport,” starring Blanchett and Harriet Walter (Killing Eve), takes its cue from fashion documentaries 3 Salons at the Seaside and The September Issue as it offers “a fly-on-the-wall portrait of a hair salon owner (Walter) and her staff (Blanchett), in the small coastal village of Bagglyport as they prepare their yearly stylebook.” Armisen co-stars as George the Postman.
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