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After causing quite a stir with his horror film The Witch, which was divisive, to say the least, director Robert Eggers is staying firmly in the genre which put him on the map. That’s because he’s set to remake the classic horror flick Nosferatu. He’s been attached to it for a while now, actually, but it was only recently that he confirmed he’d be doing it as his next project.
“[It’s shocking] to me,” Eggers said. “It feels ugly and blasphemous and egomaniacal and disgusting for a filmmaker in my place to do Nosferatu next. I was really planning on waiting a while, but that’s how fate shook out.”
Unfortunately, there hasn’t been much progress on the pic in a while now, but tonight, we’ve got a pretty big update, as we’re learning that the director will be reteaming with Anya Taylor-Joy after working together on The Witch. »
- Matt Joseph
Themes of isolation have regularly permeated vampire stories in popular culture for years, and why wouldn’t they? Vampires are arguably the quintessential outcasts in horror, a concept explored on film in various ways, from 1922’s Nosferatu all the way to 2014’s A Girl Walks Home Alone at Night. On the surface, Michael O’Shea’s dark drama The Transfiguration feels like another understated take on the […] »
- Ari Drew
Jim Carrey’s career has zigged and zagged in a number of directions over the years, but he’s never taken a role as strange as the one he tackles in “The Bad Batch.” The actor surfaces early in Ana Lily Amirpour’s dystopian Western, almost unrecognizable beneath a scruffy beard, and never speaks a single word. While he only appears in a handful of scenes, The Hermit is one of a few memorably outlandish characters in Amirpour’s dark vision, a silent, nomadic figure who roams the desert with a shopping cart and winds up rescuing the film’s amputee heroine (Suki Waterhouse) after she escapes a gang of cannibals.
This cool and risky performance is a world away from the hyperbolic delivery of Ace Ventura, and suggests the physicality of slapstick comedy folded into a post-apocalyptic milieu. But so far, Carrey hasn’t said a word about it. »
- Eric Kohn
Despite the somewhat lackluster response to Ana Lily Amirpour’s latest film “The Bad Batch,” it’s hard still to shake the excitement that her first feature, the 2014 feminist, vampire, western film “A Girl Walks Home Alone at Night” inspired in us. The film demonstrated her ability to build a vast and detailed world while also creating characters that we could root for and engage with, all the while creating some iconic imagery.
- Ally Johnson
Things are looking up at the specialty box office as two festival hits, Sundance breakout “The Big Sick” (Amazon/Lionsgate) and Sofia Coppola’s Cannes director-winner “The Beguiled” (Focus Features) both beat all the 2017 limited openings to date. With $87,000 and $60,000 per theater averages respectively, they both accomplished something only one platform film (“Cafe Society”) achieved all last summer. And they did so the same weekend in some of the same theaters.
This shows that core specialty audiences are starving for cinematic nourishment they aren’t getting from mainstream studio fare.
The Big Sick (Lionsgate) – Metacritic: 87; Festivals include: Sundance, South by Southwest, Seattle 2017
$435,000 in 5 theaters; PTA (per theater average): $87,000
Amazon strikes again with its $12-million Sundance acquisition marking the biggest limited opening of the year, »
- Tom Brueggemann
In Ana Lily Amirpour’s “The Bad Batch,” Keanu Reeves plays The Dream, the slick ruler of a post-apocalyptic encampment called Comfort, where social rejects party late into the night. He’s one of a few key characters in a dramatic story that finds Arlen (Suki Waterhouse) escaping an encampment of cannibals led by Miami Man (Jason Momoa) before she falls in love with him. With a bit part for Jim Carrey as a mute desert hermit and violent confrontations that leave you wondering who the real hero is, the movie offers a lot of entry points for discussion. That was evident on its opening night at New York’s IFC Center, when Reeves made a surprise appearance for the Q&A and found himself in the unexpected position of pitching the movie.
See MoreAna Lily Amirpour Responds to Racism Charges — But Won’t Apologize For Making You Uncomfortable
- Eric Kohn
23 June 2017 2:53 PM, PDT | The Hollywood Reporter - Movie News | See recent The Hollywood Reporter - Movie News news »
Iranian-American screenwriter and director Ana Lily Amirpour, who grew up in a Farsi-speaking household in Bakersfield, CA, first garnered buzz at Sundance in 2014 for her vampire spaghetti Western A Girl Walks Home Alone at Night. (The idea came to her when she realized that a woman in a chador can resemble a bat.)
Her second feature, The Bad Batch, was produced by Annapurna Pictures and Vice Media and premiered at Venice in 2016. It stars Suki Waterhouse as a woman who is ejected into a dystopia where members of the “bad batch” must kill or be killed (cannibalism is involved).
- Laura van Straaten
Ana Lily Amirpour seems like the ultimate counterpunch to Hollywood’s diversity problem. She’s an Iranian woman director raised in America, directing inventive genre movies with an anarchic sensibility all her own. While much of the country celebrated the feminist leanings of “Wonder Woman,” Amirpour had already finished “The Bad Batch,” her horror-sci-fi-western hybrid about a dystopian world in which a young woman battles cannibals in a desolate wasteland. The movie, which premiered at the festivals last fall, confirmed Amirpour’s capacity for exploring marginalized figures through the empowering lens of ferocious female characters first seen in her acclaimed debut, “A Girl Walks Home Alone at Night.”
Which was why, eight months into her promotional tour for “The Bad Batch,” Amirpour was astonished to find herself accused of racism. During a post-screening Q&A for “The Bad Batch” in Chicago, Amirpour was confronted by a woman named Bianca Xiunse, »
- Eric Kohn
If you ever wanted to listen to the directors of “A Girl Walks Home Alone at Night” and “Looper” talk about cinematic boners, today’s your lucky day. Ana Lily Amirpour and Rian Johnson discuss all that and more — namely, their upcoming films “The Bad Batch” and “Star Wars: The Last Jedi,” respectively — on the latest episode of the Talkhouse Film Podcast. Amirpour gets quotable early on when she goes in depth about being excited for a project: “I’ll just be like, ‘I’ve got no boner,’ or like, ‘My boner is at half mast — something is wrong, this lens is wrong…’ And you’ve got to listen to the boner.”
That isn’t the only filmmaking metaphor she uses; “The Shawshank Redemption” comes into play as well: “I always »
- Michael Nordine
Three years ago, Ana Lily Amirpour burst onto the movie scene with her exceptional film debut A Girl Walks Home Alone at Night, and Iranian vampire Western that captivated audiences and critics alike. With a 95% on Rotten Tomatoes and an 81 score on MetaCritic, the film was an outstanding feature film for the first-time director. […] »
- Trace Thurman
Arlen, the central character in Ana Lily Amirpour’s second feature, “The Bad Batch,” may be a girl, but she’s no Girl. Whereas the protagonist in the writer-director’s widely praised debut, “A Girl Walks Home Alone at Night,” is shrewd, Arlen is vapid. The Girl is a vigilante; Arlen fights predominantly when she needs to get out of a tight spot. But probably the most important difference is that the Girl is unmistakably feminist. Arlen? She’s a naive brat whose only act of thoughtfulness or responsibility is minding a lost little girl. And, of course, Arlen’s done something bad. »
- Tricia Olszewski
MaryAnn’s quick take… Filmmaker-to-watch Ana Lily Amirpour again shakes up a familiar genre — here, the postapocalyptic adventure — in unexpected ways, but stumbles a bit in the process. I’m “biast” (pro): I’m desperate for stories about women; loved Amirpour’s first film
I’m “biast” (con): nothing
(what is this about? see my critic’s minifesto)
Writer-director Ana Lily Amirpour’s followup to A Girl Walks Home Alone at Night once again takes a familiar genre — the postapocalyptic adventure — and shakes it up in unexpected ways, riffing on such classics as Escape from New York and Mad Max and giving them a somber spin; even the odd poignancy that hangs over this story is a cold one.
Unlikely companions at the ass end of the world…
In the near future, “bad batch” prisoners are locked in a fenced-off American desert to fend for themselves: there is no parole, »
- MaryAnn Johanson
If you can't build a Trump-sized wall to stop immigrants and undesirables from "polluting" America the Beautiful, just send them out into a wasteland outside of Texas to fend for themselves. That's the premise driving The Bad Batch, a dystopian fable from writer-director Ana Lily Amirpour, whose stunning 2014 debut feature – an Iranian feminist vampire western called A Girl Walks Home Alone at Night – showed promise that this follow-up only partially lives up to.
The filmmaker puts the focus on society's rejects, each tattooed with a "bad batch" number and then »
Real credit where it’s due, Ana Lily Amirpour’s self-confessed "Iranian Vampire Spaghetti Western" A Girl Walks Home Alone at Night must have been a hell of a tough act to follow, so props to Amirpour for pulling it off in such style. Her latest offering is a very different beast too, and never looks back over its shoulder unnecessarily. Gone is the gorgeously stylized black-and-white footage and tense, cocaine-fuelled atmosphere of that last masterpiece. In their place comes much more of an LSD aesthetic, full of neon lights and a vibrant colour palette that wouldn’t seem out of place on California’s Long Beach. The Bad Batch also has an absolutely killer soundtrack, including stuff like Die Antwood’s Fish Paste, which is certainly not the kind...
[Read the whole post on screenanarchy.com...] »
Say what you want about The Bad Batch, but you can’t deny that it’s distinctive. As she did in her 2014 debut, A Girl Walks Home Alone At Night, director Ana Lily Amirpour builds an immersive world, this one with an offbeat look best described as “’90s trash raver,” full of colorful late 20th-century castoffs strewn across the deserts of inland California. (Speaking of the ’90s, a practically unrecognizable Jim Carrey even makes an appearance as a sunburnt drifter.) Its aesthetic is so current that it’s oddly ahead of its time, and it’s easy to imagine stoners in the year 2035—or whenever ’10s nostalgia comes around—admiring the film in between hits on their 3-d-printed bongs.
Trouble is, it’s still 2017, and although our culture keeps getting more intensely ironic all the time, we’re not quite yet to the point where »
- Katie Rife
One of my favorite movies out of Fantastic Fest 2016 (read my review here) was Ana Lily Amirpour’s The Bad Batch, which follows a young woman named Arlen (Suki Waterhouse), who is released from a secretive prison into the desert and must fend for herself against a group of cannibals led by Miami Man (Jason Momoa). Once she escapes their clutches, she finds respite at a nearby commune called “Comfort,” which is overseen by the enigmatic figure known only as “The Dream” (Keanu Reeves, who couldn’t be more perfectly cast in this role).
But as Arlen struggles with her new existence and her own rage, she makes some terrible decisions one fateful afternoon that sets off a dangerous chain of events. Arlen will stop at nothing to find a way to make amends with those she’s wronged, and figure out just how she fits into the world, forever branded as “Bad Batch.”
At the recent press day for The Bad Batch, Daily Dead had the opportunity to sit down and chat with both Amirpour and Waterhouse about their collaboration, and during the interview the pair discussed everything from Amirpour’s unusual storytelling approach to finding purpose in life, to how desensitized audiences have become to violence over the last few years (and much more).
Watching Bad Batch a second time, I completely fell in love with this movie all over again. Sometimes, you see a movie at a festival, and you're like, "Okay, was I just on the festival high or something?" But watching it again, I loved it even more because I got to pick up on a lot of details that I'd missed that first time. So, again, congratulations
Ana Lily Amirpour: Thank you.
Ana, I know we talked about the fact that there was limited dialogue in the film, but for your character, Suki, I think what is so amazing is the first 20 minutes or so, I don't even think you speak other than we hear you scream. How daunting was that for you coming into this, knowing that this is a character, who, for most of it, was going to be more of a physical performance than a vocal one.
Suki Waterhouse: Yeah, I didn't think about that too much, and then Jason [Momoa] said something interesting in Venice. He was like, "It's actually quite hard to not speak a lot," because you're just like, "I'm not fu**ing doing anything. I'm just not doing anything." And it was true. When I watched it, it's like, "No, you didn't need to speak," and it actually gives so much more room for everyone to decide what they want to decide when you're not talking.
That scene was the first day, and then, when I was getting my arm chopped off, I didn't know how I was going to do it. I was just like, "Okay, she's sawing my arm." Like, "Ah," and then just kept screaming and screaming and going fu**ing mental until I wanted to pass out, basically. So yeah, it was just guttural screaming.
Ana Lily Amirpour: Yeah, because once you're chained up even, and you're actually chained up, to some degree, so it's like, "Oh, okay." It was a pretty terrifying situation to find yourself in. I was showing her, thinking in terms of what kind of movie was going to be made, movies by Sergio Leone, westerns, and even El Topo. Because, a lot of the time, you're taken into a visual world, where there's other elements than dialogue, as far as how you interact with the world.
I love your stylistic choices between this and A Girl Walks Home Alone at Night. Do you feel like it's a bigger challenge for you as a director to make films like this, where you pull back from the dialogue? Because I've seen movies that over-explain everything, and they just exposition you to death sometimes. Do you feel like, for you, it's a bigger challenge coming into something like this, where you have a lot of these ideas that you have to make work on a visual level, and then get people to connect with them?
Ana Lily Amirpour: I mean, honestly, I can't answer that, because it would be like trying to understand the whims of every person. If you think of music, there's many different kinds, and if we suddenly only had mass-produced radio pop music, that wouldn't be great. I'm not saying there's anything wrong with that, but it's cool to have different feelings and different places to disappear inside of.
And I guess, for me, I'm just doing what feels like a place I want to be, and want to create and exist, for the story. And then you just hope that people get welcomed into the experience and go on the ride. You know what I mean?
Definitely. And what I think is really interesting about Arlen, for as much as she's a hero, you have to remember, she was in “Bad Batch” for a reason. It was interesting, going back and watching the decisions that she makes, and how part of this journey then becomes about her making amends for those decisions. Can you talk about going into that headspace and finding this character, because she's not just a black and white character, She does make some questionable decisions at times that have really major implications on a lot of different characters.
Ana Lily Amirpour: Yes, she does some fu**ed up shit.
Suki Waterhouse: Yeah, she has dark and light in her. And it's explored as we go through this story, and it’s not like that necessarily all goes away at the end, either. But I think we all have that. We all have multitudes inside of us. And it's a little bit of a coming of age, in that she is incredibly selfish in the beginning, and, for me, it was a lot about finding purpose. I was struggling with that at the time of filming, or before, and it’s something I still struggle with personally all the time, where it's like, "What am I here for? What am I doing to be a solution for something?"
Ana Lily Amirpour: She does do hideously heinous things from her choices. I think a lot of characters do. It's interesting that Miami Man brutally kills and eats two people in the span of the film and you somehow see him, as like–
Suki Waterhouse: An anti-hero, in a way.
Ana Lily Amirpour: Yeah, as a good guy.
Suki Waterhouse: Exactly.
Ana Lily Amirpour: So, I think it's really interesting how manipulative a movie can be. Because she does some heinous things–
Suki Waterhouse: But we don't hate any of them.
Ana Lily Amirpour: I don't, and I hope audiences don’t, either. I feel like the system, if you track back from any individual, you can find something about their story that took them to where they are. And it's more about, is there a way to get to a point where you break your own cycle of behavior and just choose something different than what you've been doing? And Arlen starts doing that in the movie, and that's what I find, ultimately, really brave about her character.
And I think what's interesting is that we have all made stupid decisions. And for me, that's the most compelling part, is that end with Miel [Jayda Fink], Miami Man’s daughter, I just love that in the end it's almost like this whole film is about her, because of what Keanu says. He says, “The dream is life.” And In the end it's all about this little girl, and it didn't hit me the first time, but last night watching, I was like, "Oh my God, that's beautiful." I also think it helps ground these characters who maybe make bad decisions, and you realize that maybe they're doing it for the right reasons.
Ana Lily Amirpour: Yes, I wrote that. It's weird because I've had really interesting conversations where people who are wondering about, how can she be so bad, and what's up with the morality, and want answers or something. Sometimes, I just think it's interesting because I feel like, as a movie watching culture or population, imagine, in the last week, I don't know how many movies you've seen, or TV shows, how many deaths were there? And how many violent scenes were there? A shitload, right?
Yeah, for sure.
Ana Lily Amirpour: And like, how many did you clock and register and feel? We're desensitized to death, and to violence, in a way that's so incredibly interesting to me. I think it's interesting if you force a monkey wrench into that, and you're like, "You're going to feel this in a different way than you normally would."
But don't get me wrong, I go to movies for many different reasons, and I love movies, I love Tarantino movies where they talk the whole time to each other. I love Nancy Meyers movies, cause I just want to be in a nice kitchen and watch these privileged people figure out how to deal with their divorce. I love that, though. It's comfort food. I like different movies for different reasons. I think it is interesting, though, the good and bad thing, because in The Bad Batch, I don't think there’s an easy answer as to who's good or bad. Well, except the Hermit, maybe.
What's interesting, too, is that Arlen goes to Comfort, because it sounds like the place you want to be. It sounds like the life you want, if this is where you have to exist, and yet you realize soon enough that it's all a façade. And really, what Comfort is, is you figuring out what it is you want out of life. And I just thought that was really cool because you can either live with a façade of a life, or you can really go and ask yourself hard questions and figure things out. And I just thought it was a really compelling way to pull it all together in the end.
Ana Lily Amirpour: That's joyously accurate to how my mind was thinking about everything. So that's like—you're my people. That's pretty much exactly some of the stuff that I was thinking and saying about that scene. You totally got it.
Before we go, I want to ask you, Suki, in terms of being out in the desert and wearing the leg brace thing, how much did that help you go deep into the character of Arlen? Because it's one thing to maybe read a script at home, and you're in your own environment, but now you're out there and you're in the middle of this desert, and you really have to put yourself out there for this character?
Suki Waterhouse: Yeah, of course, you put all of it on in the morning, and it's a big process. You get all muddied up and tattooed and get your big brace on and your gummy arm, and you look in the mirror, and you're like, "Wow, okay." But even before we started shooting, I felt like, it's weird, you look in the mirror and I started seeing myself change. I don't know, it's really creepy. I started looking like someone I didn’t even recognize, so I think that process really helped me.
- Heather Wixson
Plot: In a post-apocalyptic Texas landscape, a young woman wanders around finding cannibals and cult members. Only it's not nearly as bizarre and fun as it sounds. Review: After the critical success of Ana Lily Amirpour’s acclaimed A Girl Walks Home Alone At Night, it’s unfortunate that her follow-up film is The Bad Batch. Described on IMDb as “a... Read More »
Chicago – The dystopia – or negative future world – is a genre staple, from “Soylent Green” to “Max Max.” The latest film to ponder the possibilities is “The Bad Batch,” from writer/director Ana Lily Amirpour. This is her sophomore feature, after “A Girl Walks Home Alone at Night,” and features Suki Waterhouse in the lead role.
“The Bad Batch” is set in Texas, where persons branded with the film title are banished into a desert-like existence. A young woman name Arlen (Waterhouse), struggles to survive after her banishment, and finds out that a renegade society has formed within the harsh environs. She is captured, and is tortured into bodily harm, but manages to escape to another place-within-the-place, run by a leader named The Dream (Keanu Reeves). Arlen becomes intent on revenge, and in that state of emotion gains an enemy, the mysterious Miami Man (Jason Mamoa). The world is also populated with characters portrayed by Diego Luna, Giovani Ribisi and Jim Carrey, which means the Bad Batch just got badder.
Photo credit: Neon
The mind of writer/director Ana Lily Amirpour is awash in alternative subjects. Her first feature film, after a number of short film efforts, was “A Girl Walks Home Alone at Night” (2014), and was described as “the first Iranian vampire Western.” Amirpour’s family has roots in Iran, but she was born in England and raised in the United States. She had been making films since she was 12 years old, and graduated from the UCLA School of Theater, Film and Television. HollywoodChicago.com talked to her during a promotional tour of Chicago for the film, and divides that talk between a Q&A transcript and an audio portion, that both delve into her one-of-a-kind perspective.
HollywoodChicago.com: There have been many dystopian societies in art, from ‘Brave New World’ to ‘Mad Max.’ When you were creating your take on it, how did you want to characterize it that distinguished it from any other fictional dystopia?
Ana Lily Amirpour: I don’t consider it dystopia, I look at it as reality. Everything is dystopia, and there is no such thing as utopia. Works like ‘Brave New World’ and ‘The Handmaiden’s Tale’ develop their atmosphere from a movement or a revolution, as if the world has ended and has come out to this other side. When I wrote ‘The Bad Batch,’ I thought that the world outside the gates that confine the ‘bad’ characters is simply our world today. So if we’re pushed a little bit farther, in the sense of protection or resources, who are we? How do we define what is good or bad? What is the morality of human behavior?
HollywoodChicago.com: There are parallels to ‘Alice in Wonderland’ in this film. What do you think is most surreal in this particular rabbit hole, and what instinct do you believe Arlen uses best in her need to survive?
Amirpour: I only noticed this after I had finished the film, and watched it again a few months later… she is kind of like a shark because she keeps on moving forward. I do feel that in modern society that still is the best way to survive. Whatever it is, just keep doing something, because complete stillness or inactivity is more like death than death. But sometimes it’s reckless, and sometimes Arlen moves forward before thinking, that is the thing about her.
HollywoodChicago.com: The lead role of Arlen needed a lot of particular performance qualities. What did Suki Waterhouse bring to you in her audition that nailed those undefined qualities that was necessary for Arlen, as you created her?
Amirpour: I don’t personally do that many castings, in this film and in my first film. But I did get involved in “The Bad Batch,” because we couldn’t think of an actress that was a 3-D embodiment of the character. But when I saw Suki on tape, I knew she was ‘it.’ And I can’t describe that any more than to say that I never had to really express to her the the ideas that were on the page, she just instinctively embraced it. She was Arlen, and I didn’t want to f**k it up. Her instinct was just it.
Director Ana Lily Amipour (in Pink) Sets the Scene in ‘The Bad Batch’
Photo credit: Neon
HollywoodChicago.com: One of the more interesting lines in the film is in regard to the ‘economy of comfort’ that develops in the bad batch society. Since that economy also makes a fortune for pharmaceuticals, the liquor industry and legal/illegal marijuana trade in our current society, what do you think the economy of comfort says about us?
Amirpour: That’s a big question, and I don’t have the answers, even though I ask the question in the film. It involves human colonization, how it develops, and it’s an observation based on that development. I don’t have an answer, but it just the way things work. It’s cool that you bring it up, because I find that most participants in that economy don’t think beyond it.
HollywoodChicago.com: You had many notable stars in smaller, almost cameo roles. What intrigued them all about participating in this film, did you get feedback as to why, for example, Jim Carrey decided to take the role?
Amirpour: I believe that every character I create is in their own film, that happens to overlap with the main film. There are complete and real characters, even though we only spend only a little time with them. In the approach to what those entities are, that always appeals to an actor. What are they, since they are going to embody this character? I knew that Jim was going to do it, for example. It’s that thing about the character, where he was that thing. He became the kind, gentle soul of this universe.
It was the same with Keanu. When I came up with the concept of ‘The Dream,’ on the surface he just seemed like another creepy bad man or villain. It had to be played by someone larger than life, but not malicious. And Keanu is that person to me, and he was The Dream like I wanted The Dream. [laughs]
In the audio portion of the interview, Ana Lily Amirpour talks more in-depth on the themes in her created society of “The Bad Batch,” her family background from Iran to America, and the source of her personal philosophy.
“The Bad Batch” has a nationwide release on June 23th, including in Chicago at the Music Box Theatre, 3733 North Southport. See local listings for theaters and show times. Featuring Suki Waterhouse, Diego Luna, Jason Momoa, Yolanda Ross, Keanu Reeves and Jim Carrey. Written and directed by Ana Lily Amirpour. Rated “R”
By Patrick McDONALDWriter, Editorial CoordinatorHollywoodChicago.firstname.lastname@example.org
© 2017 Patrick McDonald, HollywoodChicago.com »
- email@example.com (Adam Fendelman)
Following up one of the most buzzed-about debuts in years, A Girl Walks Home Alone At Night, Ana Lily Amirpour has a lot to live up to with her sophomore film, The Bad Batch. Not that she cares. Frank, foul-mouthed, uncommonly inquisitive, and admirably unconcerned with what anyone thinks of her, Amirpour is a true artist for whom the only thing that matters is challenging herself and her audience with every new work.
That’s more than evident in her new post-apocalyptic road-trip movie The Bad Batch, starring Suki Waterhouse as a young woman who is set loose into a lawless desert cannibal colony that’s home to the undesirables known as “the bad batch.” There, she meets weirdos like Jason Momoa’s “Miami Man” and a very well-disguised Jim Carrey, on her way to confront Keanu Reeves’ creepy cult leader who rules over an isolated patch of paradise known »
- Katie Rife
In a season of sequels, franchises, and bloated blockbusters, Ana Lily Amirpour‘s “The Bad Batch” feels like a cinematic oasis. The director behind “A Girl Walks Home Alone At Night” returns with a bold, post-apocalyptic vision, but one that isn’t afraid to have some groove to it as well.
Starring Suki Waterhouse, Jason Momoa, Keanu Reeves, and Giovanni Ribisi, the film is set in a dystopian future United States, in which a young girl condemned to wander a desert wasteland is captured by a community of cannibals.
- Kevin Jagernauth
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