Disclaimer Set Photos & Glastonbury 2022
Posted on
Jul 16, 2022

Disclaimer Set Photos & Glastonbury 2022

Happy weekend, everyone!

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.

Last month, Cate attended Glastonbury Festival. She was seen watching the set of HAIM with her husband Andrew Upton. She also watched the set of Sir Paul McCartney and was interviewed by BBC. You can watch the interview below.

On set of Alfonso Cuarón’s Disclaimer

Filming of Disclaimer at Notting Hill

Glastonbury 2022



Disclaimer Update & Not Now, Not Ever Book
Posted on
Jun 14, 2022

Disclaimer Update & Not Now, Not Ever Book

Hi, everyone! It has been slow news day as we await for release of Cate’s projects this year and other news — according to Screen Daily the AppleTV+ series, Disclaimer, is still filming in London. On a more recent news, former Prime Minister (Australia) Julia Gillard is releasing a new book which would have a contribution from Cate and other feminist figures.


Leslie Manville was recently announced as part of the cast of the 7-episode AppleTV+ series. Italian newspaper, il Fatto Quotidiano, is reporting that two episodes of the series will be filmed at Forte dei Marmi in Tuscany, Italy.

Here’s the list of characters the announced cast will be playing in the series:

Cate Blanchett – Catherine Ravenscroft; a successful and respected television documentary journalist whose work has been built on revealing the concealed transgressions of long-respected institutions.

Kevin Kline – Stephen Brigstocke; a widower who wrote an intriguing novel that was sent to Catherine Ravenscroft which reveals a story she had hoped was long buried in the past.

Sacha Baron Cohen – Robert Ravenscroft; Catherine’s husband who is a lawyer (role is not confirmed yet).

Kodi Smit-McPhee – Nicholas Ravenscroft; Catherine and Robert’s son (role is not confirmed yet).

Hoyeon Jung – Kim; Catherine’s assistant who is ambitious, hardworking and eager-to-please, she knows that working for Catherine is going to be her big break.

Louis Partridge – Jonathan Brigstocke; a teenager on his gap year traveling through Italy who allows himself to give in to his deeper desires with unexpected consequences.

Lesley Manville – Nancy Brigstocke, a woman devastated by her young son’s untimely death. Her life has been defined by her grief, and she lives a quiet life with her husband, Stephen.

Not Now, Not Ever Book

Julia Gillard has just announced her explosive new book Not Now, Not Ever set for release this year on 5 October 2022.

Ten years on from her famous Misogyny Speech, Gillard’s new book explores the history and culture of misogyny, while laying out a roadmap for the future. While the past ten years have undeniably seen many changes – and improvements – there is still a long way to go.

With contributions from several authors and experts, the book explores the reality of misogyny in 2022 and provides a look back at how the Misogyny Speech has inspired women since 2012.

With plenty to explore, the book is a well-rounded and highly-anticipated read for anyone hoping to understand the effects of misogyny on modern society. Kathy Lette looks into how the speech has resurfaced on TikTok, while Cate Blanchett, Brittany Higgins and more recall their first time hearing it. Next-generation feminists Sally Scales, Chanel Contos, and Caitlin Figuerado provide inspiring insight, and of course, the echoes of the rallying cry ring through each page: Not now, not ever!

Sources: ScreenDaily; il Fatto Quotidiano; Penguin Books; Variety

Cate Blanchett: “I want to spend more time being myself”
Posted on
Mar 13, 2022

Cate Blanchett: “I want to spend more time being myself”

Happy Sunday, everyone!

A new interview with Cate has been released. This is a Google translated interview from Spanish to English.

Cate Blanchett: “I spend most of my time being someone else. I want to spend more time being myself.”

Other than her two Oscars, Cate has added in recent weeks from Europe the first International Goya and a César for her entire career. Actress, producer, and farmer, the versatile Australian performer, also an ambassador for Armani fragrances, she confesses that with age she feels more limitations when it comes to acting. She laments that she is sometimes still the only woman on a shoot and she fears that the platforms will become monopolies.

Cate Blanchett (Melbourne, 52 years old) thinks there are too many awards. And she knows what she’s talking about. Because she has almost all of them: two Oscars, three Baftas, three Golden Globes and three from the Screen Actors Guild. As if they weren’t enough, she has now embarked on the conquest of Europe. She has just received an Honorary César in Paris and a month ago she picked up the International Goya from Pedro Almodóvar, with whom she is going to shoot the first film in English by the Spanish director, A Manual for Cleaning Women. She welcomes us in Valencia, hours before hugging him and thanking him for a recognition that serves to strengthen ties with the Latin film industry. She wears trainers and a metallic pink suit by Giorgio Armani, the firm whose line of fragrances is an ambassador. Under the jacket, the skin, and around her neck, several golden chains with padlocks and snake heads that she plays with as she speaks. After premiering Nightmare Alley last February under the direction of Guillermo del Toro and dazzling the world with her false teeth in Don’t Look Up, she says she wants to spend more time playing herself. Normal: the character is exciting.

In an interview Julia Roberts did for Interview Magazine, you said that as you gets older, you find acting more and more humiliating.

It gets more difficult. Why? I think that when you work in the artistic field — also if you are, for example, a writer—, this field becomes more and more entangled in your life. I spend most of my time being someone else, and I think I want to spend more time being myself. Also, as an actor you are very exposed. I do not know how to explain it. Six years ago [photographer and artist] Cindy Sherman started using digital effects to create her works [in which she often appears]. And people threw their hands in their heads because she had always used prosthetics and had worked her body as if it were a malleable object. She simply explained that she had reached an age where she was less malleable. And that she had to resort to digital technology to maintain the same skill.

Is it the same as an actor?

You feel a bit the same, that your palette is getting smaller and smaller. But the truth is that I am not very interested in digital advances. What I like are magic tricks, I still scream when someone does one in front of me. Because with magic you become an accomplice: you know you are being deceived, but in the digital universe you don’t know what is real and what isn’t. It’s like when you see Gary Oldman without prosthetics or digital treatment, the interpretation of him is something that he builds from the inside and you believe it. He is really inspiring. I’ve worked with digital retouching on The Curious Case of Benjamin Button and, yes, it can be liberating, but in the end, as you get older, you face more and more of your limitations, and that’s humbling.

Is the film industry easier for women now than when you started?

If we keep talking about it, the problem still exists. But we have to keep talking and working on it until it is no longer a topic of conversation. Sometimes I keep walking on set and there are 30 men and I’m the only woman, and I think, “This is so out of sync with what’s going on in society. How is it possible for us to connect with the audience like this?” When you’re in a predominantly male or white work environment, it feels old-fashioned and you feel like it’s also starting to be irrelevant. I think there has been a big change. But you have to stand firm and understand that changes are very fragile, as is democracy. So you have to persevere.

You were artistic director of the Sydney Theater Company. Has that experience influenced your way of understanding her work as an actress?

We were not only artistic directors [and her husband, screenwriter and playwright Andrew Upton], but also CEO, so we were responsible for the financial and creative health of the company. And many times these two aspects are conceived as mutually exclusive. But they don’t have to be: throughout my career I’ve worked with producers who are amazing at keeping finances in order while also helping with creative decisions.

Is that producer profile in danger of extinction?

Yes, unfortunately, because it is something I aspire to. It’s not all about being in front of the camera. I don’t feel obligated. No longer. I’ve already done it. I’ve bored the audience enough already. I do not need it. No more.

Throughout your career you have played everything from action characters to femme fatales, through comedic roles or even men, such as Bob Dylan. How do you choose your characters? Is there any kind of woman you would never play?

Many decisions are based on instinct and timing. I have a wonderful and great life, with a lot of commitments and things that interest me, starting with my farm, with my sheep, my pigs, my cows, and with my children, of course. So sometimes not all projects fit into my schedule. But nothing happens. There is no need to bleed for it. You have to let them go. It’s one of the best things the film industry has taught me.

The fact that?

You make a film and you let it go because after your work comes post-production work and finally, if you’re lucky, it reaches the public. And by that time you will have already done one or two other things. And that film happens to become a kind of second cousin. And then, hopefully, you can see it again with fresh eyes and appreciate it.

What do you expect now from A Manual for Cleaning Women, your project with Almodóvar?

We had talked many times about working together, but it was never the right time. He is a man of incredible taste and insight. He is very precise and, like his films, very free. We are very aligned and excited about the project. I love it because he works with his heart and with his hands. And with his head, of course. He is a person very connected with what happens in the world, but at the same time someone who follows his own path. So I think this project will be unique. His work has a clearly Spanish framework, but it has always transcended and has been recognized internationally because it connects very well with American concerns: the family, being outside the majority culture, being an outcast. I think it’s going to be a fascinating journey in search of that hybrid between the American and the Latin experience.

You have a master’s degree in that Latino perspective. You have worked with Alejandro Cuarón, Guillermo del Toro and now Almodóvar. Is there something that differentiates Latino directors from the rest?

They all have incredible hearts and a certain brutality, but not in the bad sense of the word. I mean they don’t run away from things that others prefer not to name. And they are profoundly plastic artists. His intellectual pursuits are very sumptuous to digest visually. Latino and Australian directors have a very special, unique vision of the world, and that is why they have more and more weight in the US film industry.

I said before that Almodóvar was a very precise director. Is he the kind of director you like to work with, someone who gives a lot of directions and controls every detail?

I think the project is what dictates how you have to work. For me, the perfect thing is to have a clear line of communication with the director based on trust, because there are moments in the shoot when you have to say that something is rubbish, and you have to know that it comes and is said from respect. Rehearsals and filming are not always friendly. They are not disrespectful, but sometimes you have to fight a thing to the bottom and it’s not comfortable.

Woody Allen even told you on the first day of shooting Blue Jasmine that the take was horrible, and so were you.

But in the end I realized that the location was wrong, the camera was wrong… so we changed everything. And then the scene was cut, it was never in the final footage. You can’t take it personally, you have to listen to it and think that it’s teamwork, that sometimes a director can say something challenging but it doesn’t necessarily have to be about you, but about the product.

How do you feel that the film and fiction industry has changed in recent years with the emergence of platforms and the rise of series? Are you interested in that new channel?

Well, I did Mrs. America (Hulu) with a group of fabulous women. And there are a couple of projects in development that look very good. But in the end, what interests me are really lasting experiences, although only time can tell which ones will be. On the one hand, streaming platforms represent a wonderful opportunity for the audience and also for a lot of people in the industry who have stayed afloat for these two years thanks to them. But this model cannot go forward without being examined.

What is the perceived risk?

It is necessary to analyze the potential monopolies that are emerging from this format, and that are not good for anyone. They are not good creatively and neither for the public. And, of course, they have never been good for the industry. We do not want to replicate the old studio system in a more radical and irrevocable way. I am worried about this. Very worried.

Do you think this system of monopolies is accelerating?

Yes, and I think the public can perceive it. Because everything looks alike. The offer is uniform. There is nothing special anymore. However, going to the movies is still an event.

But after the pandemic, due to fear or routine, cinemas continue to lose viewers, at least that is what is happening in Spain.

Yes, and also in the United States there are a lot of small theaters that have been acquired by the platforms to project their content. But there are still places like a small theater in Pittsburgh called Row House and that has only 50 seats where retrospectives of Tarkovsky, of Wes Anderson are shown… I am confident in that differential value that the cinema can continue to offer and that people appreciate you can still be interested.

The pandemic has changed our consumption patterns, but also other industry tools such as awards and red carpets. Do they still make sense?

I think there are too many prizes. They all look the same and people are tired. But this was already happening before the pandemic. So I think we have to be critical. We have a very good opportunity to change things: to ask ourselves what we want to do, what we want it to look like and, above all, if bigger is always synonymous with better. And I’m not just talking about red carpets, but events in general. We don’t want to go back to that old narrative. I personally don’t want to go back to the good old days because I think they weren’t really that good.

But in the end the old physical events have their magic. Even Giorgio Armani, the first designer to suspend a show due to COVID, has returned to the physical catwalk with guests.

It is a live event. That is why the performing arts are so special. When you walk into a room and you can see the fabrics, hear the music, you are there. You remember. But I think the key is the same in fashion as it is in film. Mr. Armani is always aware of every detail. Even at his age, he is a tireless worker and his control over the quality of the products is incredible. He thinks the more you do, the less special he is. And this happens in all industries, including the film industry.

Source: EL PAÍS

Cate Blanchett to star in Apple TV Series ‘Disclaimer’; & Nightmare Alley premiere
Posted on
Dec 2, 2021

Cate Blanchett to star in Apple TV Series ‘Disclaimer’; & Nightmare Alley premiere

Hi, Blanchett fans!

Cate has signed up to do another TV series which will be directed by Alfonso Cuarón. The cast of Don’t Look Up, where Cate plays Brie Evantee, has been nominated for Best Ensemble at Hollywood Critics Association. Nightmare Alley had it’s world premiere at Alice Tully Hall in New York last night. Unfortunately, Cate is not able to attend the red carpet premiere but she popped in for the Q&A after the screening. You can see the videos and photos plus the reviews and reactions on the movie below. Enjoy!

Special thanks to Cate Blanchett fans on CBF Chat for the links!

Cate Blanchett & Kevin Kline To Star In Alfonso Cuarón Thriller Series ‘Disclaimer’ For Apple

Alfonso Cuarón is adapting Renee Knight’s novel Disclaimer as a series for Apple TV+ with Cate Blanchett and Kevin Kline starring.

The project marks the first series from the Roma filmmaker since he signed an overall deal with the streamer in 2019. It also marks a series debut for Sophie’s Choice and A Fish Called Wanda star Kline.

Cuarón to write, direct and executive produce all episodes of the series, marking the first time that he has written and directed all episodes of an original series. Blanchett also exec produces.

Blanchett plays Catherine Ravenscroft, a successful and respected television documentary journalist whose work has been built on revealing the concealed transgressions of long-respected institutions. When an intriguing novel written by a widower, played by Kline, appears on her bedside table, she is horrified to realize she is a key character in a story that she had hoped was long buried in the past. A story that reveals her darkest secret. A secret she thought was hers alone.

Disclaimer is produced by Cuarón’s Esperanto Filmoj and Anonymous Content. Academy Award-winner Emmanuel Lubezki (Gravity) and Academy Award nominee Bruno Delbonnel (The Tragedy of Macbeth) will serve as directors of photography on the project. Cuarón serves as executive producer alongside Esperanto Filmoj’s Gabriela Rodriguez and Anonymous Content’s David Levine, Dawn Olmstead and the late Steve Golin. Renee Knight serves as co-executive producer.


Don’t Look Up Nomination

Nightmare Alley Post Screening Q&A, Reviews and Reactions

Guillermo Del Toro’s Carnival Noir Is Stylish As Hell, With A Standout Cate Blanchett Performance

As good as the first half of “Nightmare Alley” may be, it really comes to life when Lilith shows up, played by Cate Blanchett. Blanchett was born to be a femme fatale in a film noir, and del Toro knows it. Dan Laustsen lights her in a consistently alluring way — there are multiple shots where the top half of her head, including her eyes, are bathed in shadows, and those shadows follow her around as if she had control over them. And from that darkness, those eyes sparkle with menace. Blanchett, with her deliberate way of speaking and the seductive way she breathes cigarette smoke, is simultaneously hot as hell and icy cold, and everything she does here is dynamite. She’s pretty poison in an ornate bottle.

As sumptuous as all of this is, “Nightmare Alley” does suffer from problems of pacing. Blanchett’s introduction to the film is so fierce that when the film starts focusing on anyone other than her, the story starts to feel like it’s dragging. Stan’s con game with Ezra goes on a little too long (although it’s worth noting it goes on even longer in the book), and del Toro and Morgan’s script fails to make this section of the story particularly interesting. At least not at first. However, “Nightmare Alley” does manage to eventually right itself, heading into a climax bursting with brutal violence and shocking twists. More than that, it’s all building up towards an ending that burns its way into your very soul. Without giving anything away, let me just tell you the final shot of this movie is an all-timer, and even if the film as a whole doesn’t work for you, I’m confident you’ll walk out of the theater haunted by those last moments.

— Full review on Slashfilm

Bradley Cooper disappears as Nightmare Alley’s lead, but Cate Blanchett is the true stunner

Commanding the role in its various phases, Bradley Cooper’s character is pushed in some ways we’ve seen before in Nightmare Alley, but it’s delivered with the actor aligning the ferocity we’ve seen him exhibit previously along with key doses of restraint. And yet, when it comes to the true stone cold stunning talent of this poisonous drama, you need not look further than Cate Blanchett’s Dr. Lilith Ritter.

Blanchett and Cooper’s pairing is one of the cinematic joys of 2021, as right from their first moments together on screen it’s absolutely what you would have expected and hoped for. The audience is going to obviously go into this movie with ideas in regard’s to Lilith’s motivations in Nightmare Alley, but whether those notions are fulfilled or not is incidental, as Blanchett’s pitch perfect performance supersedes such matters and culminates as a beautiful knockout. 

— Full review on Cinema Blend

Nightmare Alley Is Another Strong Oscar Contender for Guillermo del Toro

Nightmare Alley screened simultaneously across the country on Wednesday evening, a huge event to rev up its campaign. (A virtual Q&A with the cast followed the main premiere.) The movie itself lands as a rock-solid, potentially across-the-board player, bolstered by impeccable craft below the line and a superb ensemble in top form. It’s a darker movie than Shape of Water, though, and one that feels relatively conventional by modern standards, with a classic kind of antihero wading through a murky, suspensefully engineered tale of ambition and deceit. It’s hard to see this one stirring enough passion to go all the way.

Adapted from William Lindsay Gresham’s 1946 novel—which was previously made into a 1947 film—Nightmare Alley tells its story in two halves. The first is set at a traveling carnival, where we meet Stan Carlisle (Bradley Cooper), a loner fleeing a hazy and fiery past. He develops a talent for trickery and manipulation under the guidance of carnie couple Zeena (Toni Collette) and Pete (David Strathairn), who jointly run a psychic show. He refines his act with love interest Molly (Rooney Mara), before the back half of the film finds him in an arrangement with mercurial psychiatrist Lilith Ritter (Cate Blanchett), which culminates in a plot against the wealthy tycoon Ezra Grindle (Richard Jenkins).

The narrative moves smartly and efficiently, with del Toro’s knack for artful entertainment on full display; the brutal, sharp ending neatly ties its two parts together. Based purely on the movie’s particular merits, as a strong commercial play with high craft-category potential—a combination not shared by many contenders this season—it’s easy to see Nightmare Alley pulling in one of the larger overall nomination hauls, with above-the-line recognition most likely in best picture and director. (The adapted screenplay, which del Toro penned with his wife, the critic Kim Morgan, is also in play.)

As to whether it can establish itself as an overall front-runner, the film is lacking in emotional pull—a central quality of recent winners, including The Shape of Water—which will be a significant obstacle. And while the cast is terrific, there’s no obvious acting nominee. Cooper’s work gets stronger and deeper as it goes, culminating in a pitch-perfect closer, but it’s quieter for much of the run time, a hindrance in a best-actor field dominated by capital-b Big performances. Running in supporting, Blanchett similarly holds her cards close until a corker of a final scene for her character; on the male supporting side, both Strathairn and Jenkins are superbly affecting whenever onscreen—it’s just that there may not be enough of them. At this stage it feels equally wrong to say no Nightmare actor will be nominated and that any of them will. Blanchett, who is particularly fantastic, likely stands the best chance.

Nightmare Alley arrives at an interesting point for del Toro, a filmmaker known for top-tier supernatural works and who was more admired than decorated until recently. He’s also a true student of noir who’d been attracted to this title for a long time. He finally got his chance to make Nightmare Alley, and put his stamp on the material with flair. Now that he’s an Academy darling, how far can that take him?

Vanity Fair

Bradley Cooper and Cate Blanchett in Guillermo del Toro’s ‘Nightmare Alley’

The first half of Nightmare Alley, Guillermo del Toro’s blood-dark jewel of an American saga, is set within the itinerant subculture of carnies, at the tail end of the Great Depression. “Folks here, they don’t make no never mind who you are or what you done,” Willem Dafoe’s carnival barker assures a newbie, Stanton Carlisle. That’s good news for Stan, who’s played by Bradley Cooper with an inscrutable chill, and who has drifted into the carnival after a long bus ride from some things he’d rather forget.

Shifting gears after the Cold War romantic fantasy The Shape of Water, del Toro burrows deep into the margins, both low and high, with his new film. His adaptation, with co-writer Kim Morgan, of William Lindsay Gresham’s novel Nightmare Alley is a more expansive version than the first film iteration of the book, a 1947 black-and-white feature that’s one of the most distinctive noirs ever made. Tyrone Power spearheaded that project, determined to leave behind the light adventure fare he was identified with and delve into more complex territory, and he delivered his finest screen performance. But audiences weren’t ready to see their silver-screen swashbuckler in antiheroic mode, an obstacle that Cooper, who has played his share of tarnished types, won’t face.

His performance takes a while to fully grab hold, no doubt as intended, and when it does, it’s riveting, at once alluring and repellent, holding the center of a superb cast. Not just a quick study but a coolly aggressive one, Stanton rises through the ranks of the low-rent carnival shows, with their lurid come-ons (mind-blowing creatures!) and soul-salving enticements (mind-reading psychics!). But whatever the carnies’ ruses and sleights of hand, it isn’t until Stanton becomes a star in the big city, where he meets an impossibly glamorous psychologist who’s named Lilith Ritter and played by a smooth-as-satin Cate Blanchett, that the real grifting begins.

The story opens in 1939, when the wounds of the Great War are still festering and another conflagration is on the horizon. One of Stan’s first lessons in the carnival involves the geek, whom he confronts in the House of Damnations. For a quarter, customers can witness sheer human debasement: The hopeless alcoholic who’s been lured into the job, and driven to madness, dutifully bites the head off a live chicken. (The original film’s offscreen treatment of these gruesome acts is more powerful than the graphic depiction del Toro provides.)

The barker Clem Hoatley (Willem Dafoe), who has assembled a collection of pickled fetuses, most of them human, that he calls the Unborn Wonders of Nature, shows Stan the carnival ropes. Mind-reader Zeena (Toni Collette) shows Stan a very personal welcome, while her dipsomaniac husband, Pete (David Strathairn), warns about the dangers of believing your own lies — words of wisdom that Stan ignores. He’s focused instead on the book containing the elaborate verbal code Zeena and Pete developed for a mentalist act they no longer perform. His ambition is ignited by his attraction to Molly (Rooney Mara), who is as low-key and sincere as her high-voltage act — she’s a human conductor of electricity — is flamboyant. In a quietly wrenching throwaway line, Molly, who has been under the protective eye of Bruno (Ron Perlman), declares her virginity to Stan, but with a devastating asterisk.

Stan will find his ticket out of the carnival circuit, and with Molly he’ll create a mind-reading act, performed for the upper crust in an elegant Buffalo nightclub. If the first half of the film does a bit too much explaining about the world of the carnies, the second, set in 1941, bursts into ultra-stylized noir (and art deco splendor). Blanchett’s Lilith enters the drama as a velvet-sheathed challenger to Stan’s act, her lips blood-red and gleaming, her double entendres dusky-voiced and occasionally on the razor’s edge of camp.

Cooper’s performance hits a deeper vein as Stan recognizes a kindred spirit. “You run a racket, same as me,” he tells Lilith. In no time they’re putting her confidential knowledge of the emotional lives of Buffalo’s elite to use in pricey private consultations for the likes of a judge’s wife (Mary Steenburgen) who’s mourning her soldier son. Stan knows he’s hit the jackpot when industrialist Ezra Grindle (an almost unrecognizable Richard Jenkins, in a compelling change of pace from his usually sympathetic roles) seeks his services. Grindle is a man so wealthy and hypocritical that he believes he can buy his redemption, and ultimately represents everything that Stan hates.

The fluent camerawork by Dan Laustsen and the designs of Tamara Deverell and Luis Sequeira create two vivid worlds, beginning with the dust and smoke of the carnival midway, with its theatrical outfits and the lights of the Ferris wheel against a middle-of-nowhere night sky. The film’s vision of snowy Buffalo, with its imposing brick edifices, is a refreshingly unfamiliar movie setting, and one that del Toro uses eloquently to convey a sense of municipal power and wealth — and of a world closing in on Stanton Carlisle precisely when he believes he has it in the palm of his hand. The interiors Deverell and her team created for this portion of the film are exquisite, notably the lush jade tones of Stan and Molly’s hotel suite and the jaw-dropping geometry of Lilith’s office, with its burnished wood paneling, a room inspired by the Weil-Worgelt Study.

Sequeira’s costumes range from the threadbare to the outré to the elegant, and by the time we find Stan in bespoke suits and smoking jackets, he has forsaken the carny code, with its sense of family and personal integrity. In Mara’s lovely and understated performance, we know that Molly doesn’t lose sight of these values.

Part of the power of Gresham’s story, and of del Toro’s film (and Edmund Goulding’s in 1947), is the recognition that shtick and showbiz trickery don’t preclude real spiritual connection. Zeena’s tarot card readings, for one, tap into Stan’s fate with an uncanny clarity (and Collette’s strong, self-knowing performance deepens that clarity). Back on the midway, Stan showed an impressive talent for reading people, but in the big city he’s been blinded by the light of his own success — not to mention the glare from Lilith’s mirthless smile.

Stan is an unlikable character, and one who’s offered no redemption in this telling, whose ending is truer to the source material than the Tyrone Power movie was (it was saddled with an obviously tacked-on note of hope, imposed by the studio). If we ever root for Stan, it’s only in moments when he’s set against Lilith’s ice-queen evil. Cooper never plays for audience sympathy, making the film’s final moments all the more raw and powerful.

The screenplay can at times be too literal, but Nathan Johnson’s score never fails, creating a potent fusion of the majestic and the uneasy, and encapsulating the dueling impulses in del Toro’s vision. With a semi-playful nod to the 1945 film Detour and more than a few rain-drenched streets, Nightmare Alley pays tribute to noir. But it’s also its own dark snow globe, luminous and finely faceted, and one of del Toro’s most fluent features.

The Hollywood Reporter

Nightmare Alley Reactions

“Right next to him[Bradley Cooper] is two-time Oscar-winner Cate Blanchett, shepherding grace and a hypnotic trance that has the viewer hanging on every single word she releases. With another impressive turn in Adam McKay “Don’t Look Up,” she’s another contender in what is easily our strongest field of supporting actress contenders in the last 30 years.” — Clayton Davis (Variety)

Empire – December 2021 Issue Scan; & new Apple+ TV series directed by Alfonso Cuaron
Posted on
Oct 27, 2021

Empire – December 2021 Issue Scan; & new Apple+ TV series directed by Alfonso Cuaron

Hello, blanchetters!

New stills from Nightmare Alley has been released and scan from Empire UK – December 2021 Issue is now available where Nightmare Alley and Don’t Look Up are featured. At the recent Rome Film Festival, director Alfonso Cuaron said that Apple will be releasing more information about their new series where it is mentioned Cate will be starring in with Gary Oldman.

Empire – December 2021 Issue

We have also upgraded these two images to higher resolution:

Nightmare Alley: Guillermo Del Toro On Creating An ‘American Nightmare’ Noir

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From the caverns inhabited by the Pale Man in Pan’s Labyrinth, to the ghostly apparitions of Allerdale Hall in Crimson Peak, to the jaw-flapping Reapers in Blade II, chances are something that Guillermo del Toro has created has conjured up nightmares for you at some point in time. But with his next movie, the appropriately-titled Nightmare Alley, he’s creating a different kind of nightmare – a noir movie without any literal monsters, but filled with characters who might be considered monstrous. Take, for instance, Bradley Cooper’s central Stanton Carlisle and Cate Blanchett’s Lilith Ritter – a carnival worker and psychologist, respectively, who are caught up in a twisted plot.

Speaking to Empire in the upcoming Spider-Man: No Way Home issue, del Toro spoke about how his adaptation of William Lindsay Gresham’s 1946 novel strays differs from the former film version that came hot on the book’s heels in 1947 – and how he’s imbuing it with his own nightmarish sensibilities. “We’re wilfully allowing that movie to exist in its own space,” the director explains. “One of the things we decided is to not watch that movie again. We both liked what existed in it, we think it has terrific things in it, but what I wanted to do was, no pun intended, closer to a nightmare. It belongs to a genre only in that it deals with the underbelly or the flip side of the American Dream, which is always a nightmare.”

Don’t Look Up

As McKay tells Empire in the Spider-Man: No Way Home issue, Streep’s character is “an amalgam of all the ridiculous, ineffective Presidents that the United States has had over the past 40, 50 years.” And she’s far from the only big name in an astonishingly star-studded cast – one that features leads in Leonardo DiCaprio and Jennifer Lawrence (an astronomer duo warning of an approaching comet), plus Jonah Hill, Mark Rylance, Tyler Perry, Timothée Chalamet, Cate Blanchett, Himesh Patel, and appearances from Ariana Grande and Scott ‘Kid Cudi’ Mescudi.

It’s a stacked line-up that even McKay can’t believe. “Of course, it’s great to get tremendous actors in your movie, but I never expected it to be this many, and to this degree,” he says. “Initially I had a couple of people in mine – ‘Well, if we could get them, that would be great’ – and it just kind of kept snowballing.”

Source: Empire, Empire – DLU

Cate Blanchett to star in the upcoming Apple TV Mini-Series directed by Alfonso Cuarón

Oscar winner Alfonso Cuarón was a guest at the 16th Rome Film Fest: in the capital to talk about his relationship with Italian cinema, the director made a preview of Guillermo Del Toro’s Nightmare Alley , but also talked about the cinema of Federico Fellini, Paolo and Vittorio Taviani, Marco Ferreri, up to the contemporaries Emanuele Crialese, Valeria Golino and Alice Rorwacher.

On the red carpet of the Rome Film Fest 2021 he told us that soon Apple will announce something more detailed about the TV series, starring Cate Blanchett and Gary Oldman, which is making for the streaming platform AppleTV +.

We also asked him if he has seen his friend and colleague Guillermo Del Toro’s film Nightmare Alley before and the answer is yes: “It’s a masterpiece! Nightmare Alley is a wonderful masterpiece. I think it’s Guillermo Del Toro at his best: he really is. marvelous.”

Source: MoviePlayer