“We’re all God’s creatures in the dark.” It’s a mysterious, yet resonant, sentiment, a pebble of wisdom about humanity that one might roll over again and again, worrying its surface. This line — which gives Anna Rose Holmer and Saela Davis the title of their intimate family drama “God’s Creatures,” set in a blustery Irish fishing village — is one of the life lessons Sarah has accrued in her young, tough life. She shares it, ruefully, with Aileen (Emily Watson), her friend and manager at a fish processing plant, over a cigarette.
Sarah is referring to her abusive ex Francie when she speaks to Aileen, but the opaque statement, which straddles the line between the dark and the divine, an insight at once profound, ambiguous, and cutting, becomes a prophecy as “God’s Creatures” evolves into a subtly striking suspense thriller.
In 2015, Holmer and Davis collaborated on the critically acclaimed and award-winning “The Fits,...
Sarah is referring to her abusive ex Francie when she speaks to Aileen, but the opaque statement, which straddles the line between the dark and the divine, an insight at once profound, ambiguous, and cutting, becomes a prophecy as “God’s Creatures” evolves into a subtly striking suspense thriller.
In 2015, Holmer and Davis collaborated on the critically acclaimed and award-winning “The Fits,...
- 9/27/2022
- by Katie Walsh
- The Wrap
The Fits Team Anna Rose Holmer & Saela Davis to Direct Emily Watson & Paul Mescal in God’s Creatures
In the six years since the striking drama The Fits arrived, we’ve been waiting to see what the team of Anna Rose Holmer and Saela Davis would jump to next. There was a Natalie Portman-led project that didn’t move forward, but now a previously announced psychological drama co-directed by the duo is finally moving ahead.
Deadline reports A24 has backed the film, which is titled God’s Creatures and will star Emily Watson, Paul Mescal, Aisling Franciosi, Declan Conlon, Marion O’Dwyer, and Toni O’Rourke. With production already underway, the Shane Crowley-scripted film is set in a “rain-swept Irish fishing village, and focuses on a mother who lies to protect her son and the devastating impact that choice has on her community, her family and herself.”
The story comes from Crowley and Fodhla Cronin O’Reilly, who is also producing. Chayse Irvin is shooting the film with editing by...
Deadline reports A24 has backed the film, which is titled God’s Creatures and will star Emily Watson, Paul Mescal, Aisling Franciosi, Declan Conlon, Marion O’Dwyer, and Toni O’Rourke. With production already underway, the Shane Crowley-scripted film is set in a “rain-swept Irish fishing village, and focuses on a mother who lies to protect her son and the devastating impact that choice has on her community, her family and herself.”
The story comes from Crowley and Fodhla Cronin O’Reilly, who is also producing. Chayse Irvin is shooting the film with editing by...
- 5/12/2021
- by Jordan Raup
- The Film Stage
Exclusive: Emily Watson and Paul Mescal are set to star in the A24 psychological drama God’s Creatures, with Saela Davis and Anna Rose Holmer directing. This will mark the directing debut as a duo, after working together on the award-winning feature The Fits.
God’s Creatures, currently in production, also stars Aisling Franciosi, Declan Conlon, Marion O’Dwyer and Toni O’Rourke.
The film is a psychological drama set in a rain-swept Irish fishing village, and focuses on a mother who lies to protect her son and the devastating impact that choice has on her community, her family and herself. The screenplay is by Shane Crowley; story is by Fodhla Cronin O’Reilly & Crowley.
The Sixty-Six Pictures production is being produced by Fodhla Cronin O’Reilly, following her critically acclaimed films Ammonite and Lady Macbeth. Sixty-Six developed God’s Creatures with the support of Screen Ireland, BBC Film and A24.
Inbal Weinberg will be production designer,...
God’s Creatures, currently in production, also stars Aisling Franciosi, Declan Conlon, Marion O’Dwyer and Toni O’Rourke.
The film is a psychological drama set in a rain-swept Irish fishing village, and focuses on a mother who lies to protect her son and the devastating impact that choice has on her community, her family and herself. The screenplay is by Shane Crowley; story is by Fodhla Cronin O’Reilly & Crowley.
The Sixty-Six Pictures production is being produced by Fodhla Cronin O’Reilly, following her critically acclaimed films Ammonite and Lady Macbeth. Sixty-Six developed God’s Creatures with the support of Screen Ireland, BBC Film and A24.
Inbal Weinberg will be production designer,...
- 5/11/2021
- by Justin Kroll
- Deadline Film + TV
Welcome Dan, aka Comic Concierge, back to Nerdly with his new YouTube channel dedicated to all things comics. From weekly new releases to graphic novels. Comics are for everyone but the key is finding the right one. Comic Concierge is here to help with that journey, with a range of videos discussing everything from weekly pick-ups, dollar-bin dives, comic book theory, analysis and more!
Comics and Cinema: Kill or Be Killed and Blue Ruin – How They Approach Vigilantes Over Their Head
Welcome to a new series! When comparing comics and movies the conversation tends to be mostly focused on how they adapt the same material. This series is going to be doing something different. Digging a little deeper to pick a movie and comic that share something else in common. For this first installment, we are looking at the comic Kill or Be Killed and the movie Blue Ruin and...
Comics and Cinema: Kill or Be Killed and Blue Ruin – How They Approach Vigilantes Over Their Head
Welcome to a new series! When comparing comics and movies the conversation tends to be mostly focused on how they adapt the same material. This series is going to be doing something different. Digging a little deeper to pick a movie and comic that share something else in common. For this first installment, we are looking at the comic Kill or Be Killed and the movie Blue Ruin and...
- 5/4/2021
- by Dan Clark
- Nerdly
Just 10 days after 9/11, the United States Congress approved a bill to help compensate the families of the victims of the horrific tragedy. Despite the name of the bill — the September 11th Victim Compensation Fund — its aims weren’t only altruistic, as the bill sought to give tax-free, government-funded money to mourning families in exchange for their promise to not sue the airline companies involved in the terrorist act. Still, the bill was imagined as be for the good of all Americans: had the families sued the airlines, it was believed that the suits would crater the American economy, the aftershocks of the attack only further decimating the country. The first problem: how to calculate the payment for each film, a moral and financial conundrum that didn’t appeal to many lawyers. It did, however, appeal to attorney Ken Feinberg.
One part character study, one part journey through bureaucratic bullshit and political machinations,...
One part character study, one part journey through bureaucratic bullshit and political machinations,...
- 1/25/2020
- by Kate Erbland
- Indiewire
At this year’s Sundance, 118 features will make their debut. Here are five hotly anticipated films that will be in the mix and some of the artisans behind them.
Bad Hair (Midnight)
Costume designer Ceci reconnects with Justin Simien (“Dear White People”) on a satirical horror set in 1989 Los Angeles, where ambitious Anna (Elle Lorraine) hopes to be the next on-air talent for a music video TV show. Her new boss, Zora (Vanessa Williams) wants Anna to change her natural hair, and she acquiesces by getting a weave. One problem: The strands have a mind of their own.
Ceci fully developed the look of each individual role down to the smallest detail. “My intention is that the viewer can readily identify, relate or understand who the characters are and the story being told,” she says. “Before Anna gets her first weave, her wardrobe is reflective of her ethnocentric upbringing coupled with her homespun,...
Bad Hair (Midnight)
Costume designer Ceci reconnects with Justin Simien (“Dear White People”) on a satirical horror set in 1989 Los Angeles, where ambitious Anna (Elle Lorraine) hopes to be the next on-air talent for a music video TV show. Her new boss, Zora (Vanessa Williams) wants Anna to change her natural hair, and she acquiesces by getting a weave. One problem: The strands have a mind of their own.
Ceci fully developed the look of each individual role down to the smallest detail. “My intention is that the viewer can readily identify, relate or understand who the characters are and the story being told,” she says. “Before Anna gets her first weave, her wardrobe is reflective of her ethnocentric upbringing coupled with her homespun,...
- 1/24/2020
- by Daron James
- Variety Film + TV
Some filmmakers excel in telling stories; Jeremy Saulnier is better at setting moods. Oh, his movies have narratives: man wants revenge recently-released-from-prison killer of his family (Blue Ruin); punk rock band must get out of neo-Nazi stronghold or die tryin’ (Green Room). But what you tend to remember more than the A-to-b particulars of this 42-year-old Virginia native’s thrillers are the vibes that he marinates his tales of murder and mayhem and vengeance in — all variations of a sort of sickened, curdled sense of dread. He’s also remarkably good at staging moments,...
- 9/27/2018
- by David Fear
- Rollingstone.com
Never underestimate the power of an indie thriller. Some of the most suspenseful, thought-provoking and supremely satisfying thrillers of the past few years have come from unknown directors working on shoe-string budgets with no-name casts and only their ideas to guide them. Blue Ruin, from Jeremy Saulnier and starring Macon Blair, may not look like much on the surface – but trust me, this all-American tale of good, old-fashioned vengeance has the kick of a mule.
It’s different from other revenge thrillers almost immediately, opening with images of its gaunt, haggard protagonist that evoke horror and pity in equal measure. Dwight (Blair) is not your typical hero – he’s a beach bum, a vagrant, deeply troubled and twisted in ways that he can’t comprehend but that are plain to see from his sunken eyes, slightly open jaw and messy beard. In no way is this is a guy who...
It’s different from other revenge thrillers almost immediately, opening with images of its gaunt, haggard protagonist that evoke horror and pity in equal measure. Dwight (Blair) is not your typical hero – he’s a beach bum, a vagrant, deeply troubled and twisted in ways that he can’t comprehend but that are plain to see from his sunken eyes, slightly open jaw and messy beard. In no way is this is a guy who...
- 7/24/2014
- by Isaac Feldberg
- We Got This Covered
Blue Ruin
Written and directed by Jeremy Saulnier
USA, 2013
Stories of revenge aren’t hard to find in American cinema; most are grim shoot-‘em-ups with less interest in the aftermath than in pushing their ultra-determined heroes to pull the trigger and reach a bloody catharsis. So the new independent picture Blue Ruin stands apart from the rest of this thriller subgenre; at the outset, it appears to be but a mild twist on the general notion of a lone wolf seeking vengeance on faceless bad guys who’ve done him wrong. By the end, it morphs into a thoughtful and intense meditation on the consequences of revenge as opposed to a bloodthirsty achievement of the same.
Dwight (Macon Blair) is a vagrant killing time on the shores of Delaware; as Blue Ruin opens, he scours the state’s beaches for meager trinkets and baubles, rifling through dumpsters to keep himself fed.
Written and directed by Jeremy Saulnier
USA, 2013
Stories of revenge aren’t hard to find in American cinema; most are grim shoot-‘em-ups with less interest in the aftermath than in pushing their ultra-determined heroes to pull the trigger and reach a bloody catharsis. So the new independent picture Blue Ruin stands apart from the rest of this thriller subgenre; at the outset, it appears to be but a mild twist on the general notion of a lone wolf seeking vengeance on faceless bad guys who’ve done him wrong. By the end, it morphs into a thoughtful and intense meditation on the consequences of revenge as opposed to a bloodthirsty achievement of the same.
Dwight (Macon Blair) is a vagrant killing time on the shores of Delaware; as Blue Ruin opens, he scours the state’s beaches for meager trinkets and baubles, rifling through dumpsters to keep himself fed.
- 5/2/2014
- by Josh Spiegel
- SoundOnSight
One film that I can’t wait for fans of the revenge genre, really any genre fan, to see in 2014 is Jeremy Saulnier’s Blue Ruin. It is one of my favorite films that I had seen at 2013. I actually saw it twice at Fantastic Fest. We will have an interview to post in a few months when I sat down with director Saulnier & actor Macon Blair. Originally rejected by Sundance for its 2013 edition, which Saulnier said was a blessing in disguise since it gave him more time to tighten up the film, the film will be showing at the Sundance Film Festival tomorrow night.
Dissolve got to exclusively premiere the poster, which I have also included below. Even in the article, there are comparisons to the Coen Brothers’ films like Blood Simple and Fargo. Unlike the author of the Dissolve post, Matt Singer, I disagree with his comment that...
Dissolve got to exclusively premiere the poster, which I have also included below. Even in the article, there are comparisons to the Coen Brothers’ films like Blood Simple and Fargo. Unlike the author of the Dissolve post, Matt Singer, I disagree with his comment that...
- 1/16/2014
- by Andy Triefenbach
- Destroy the Brain
Film editor Julia Bloch has been awarded the Sally Menke Fellowship in editing, and will attend the Sundance Institute Directors Lab in June as an assistant editor, working with the Sundance team to craft the films of eight lab filmmakers.
Based in New York, Bloch studied editing in Denmark, then joined Zentropa Productions where she worked with Lars von Trier and Thomas Vinterberg. An assistant editor on “Notorious,” associate editor on “The Tree of Life,” and editor of a music video for R.E.M., Bloch’s first feature film editing credit will be on “The Cold Lands,” slated for production later this summer.
Sally Menke, a mentor for the Sundance Institute’s labs and screenings, passed away in September, 2010. Known primarily for her work editing all of Quentin Tarantino’s features, Menke was nominated for Oscars for “Pulp Fiction” and “Inglourious Basterds.”
Search Terms Leading to This Post: sundance julia bloch,...
Based in New York, Bloch studied editing in Denmark, then joined Zentropa Productions where she worked with Lars von Trier and Thomas Vinterberg. An assistant editor on “Notorious,” associate editor on “The Tree of Life,” and editor of a music video for R.E.M., Bloch’s first feature film editing credit will be on “The Cold Lands,” slated for production later this summer.
Sally Menke, a mentor for the Sundance Institute’s labs and screenings, passed away in September, 2010. Known primarily for her work editing all of Quentin Tarantino’s features, Menke was nominated for Oscars for “Pulp Fiction” and “Inglourious Basterds.”
Search Terms Leading to This Post: sundance julia bloch,...
- 5/20/2011
- by admin
- Moving Pictures Magazine
Film editor Julia Bloch has been awarded the Sally Menke Fellowship in editing, and will attend the Sundance Institute Directors Lab in June as an assistant editor, working with the Sundance team to craft the films of eight lab filmmakers.
Based in New York, Bloch studied editing in Denmark, then joined Zentropa Productions where she worked with Lars von Trier and Thomas Vinterberg. An assistant editor on “Notorious,” associate editor on “The Tree of Life,” and editor of a music video for R.E.M., Bloch’s first feature film editing credit will be on “The Cold Lands,” slated for production later this summer.
Sally Menke, a mentor for the Sundance Institute’s labs and screenings, passed away in September, 2010. Known primarily for her work editing all of Quentin Tarantino’s features, Menke was nominated for Oscars for “Pulp Fiction” and “Inglourious Basterds.”
Search Terms Leading to This Post: sundance julia bloch,...
Based in New York, Bloch studied editing in Denmark, then joined Zentropa Productions where she worked with Lars von Trier and Thomas Vinterberg. An assistant editor on “Notorious,” associate editor on “The Tree of Life,” and editor of a music video for R.E.M., Bloch’s first feature film editing credit will be on “The Cold Lands,” slated for production later this summer.
Sally Menke, a mentor for the Sundance Institute’s labs and screenings, passed away in September, 2010. Known primarily for her work editing all of Quentin Tarantino’s features, Menke was nominated for Oscars for “Pulp Fiction” and “Inglourious Basterds.”
Search Terms Leading to This Post: sundance julia bloch,...
- 5/20/2011
- by admin
- Moving Pictures Network
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