The Tenant (1976) - News Poster



It Came From The Tube: The Devil’S Daughter (1973)

What’s your earliest horror memory, the moment you were irreversibly scarred yet knew you had to see and know more? Which one imprinted on you at a stupidly impressionable age? Do you remember? Because I never could; save for one indelible image burned on my psyche at the age of five, I have searched, asked, and pleaded with so many people what possible movie could have done this to me as a child. Until last night that is, when I stumbled upon The Devil’s Daughter (1973), an ABC TV movie that finally put a name to the image, even if I did somewhat misremember it. Time plus kindertrauma equals new memories, I guess? Yay to ongoing decrepitude!

Originally airing on January 9th as an ABC Tuesday Movie of the Week, The Devil’s Daughter was up against Hawaii Five-o over on CBS while NBC rolled out their own Tuesday Night at the Movies.
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Whoa! Shamita Shetty gets inked, albeit for a role in The Tenant

Whoa! Shamita Shetty gets inked, albeit for a role in The Tenant
Shamita Shetty, who had taken a liking towards TV shows, is back to films. She has been signed for an international film The Tenant, which is directed by Sushrut Jain. Sushrut has his roots in India and his next directorial features Shamita as the leading lady. Although not much is known about the film, itRead More

The post Whoa! Shamita Shetty gets inked, albeit for a role in The Tenant appeared first on Bollywood Hungama.
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Review: Kaleidoscope Is Beautiful and Fragmented

Lots of mentally fragile guys are obsessed with their mothers, especially when it comes to cinematic tropes. Of course, there's Psycho, a giant of a film and a close cousin to Rupert Jones' debut feature, Kaleidoscope. Out today on VOD and in select theatres from IFC MidnightKaleidoscope is the tale of an ex-con who's having trouble re-integrating into society. Jones' brother, the always-terrific Toby Jones (Harry Potter, Atomic Blonde, The Hunger GamesBerberian Sound Studio), plays the disturbed man Carl, who we follow through his apartment, some memories, and perhaps misremembered events. Elements of Psycho echo within Kaleidoscope, but so too does Stanley Kubrick's masterful The Shining, Roman Polanski's The Tenant, and Spider (David Cronenberg's 2007 film centering on a schizophrenic man also re-entering society played by Ralph Fiennes).  Carl meets up with...

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Sanfic: Alicia Scherson Adapts Roberto Bolaño’s ‘Third Reich’ in ‘1989’ (Exclusive)

Sanfic: Alicia Scherson Adapts Roberto Bolaño’s ‘Third Reich’ in ‘1989’ (Exclusive)
Santiago De Chile — Teaming up with producer Isabel Orellana at Araucaria Cine (“Nunca vas a estar solo”), Alicia Scherson (“Family Life,” “Il Futuro”) is tackling the world of men for the first time in her second adaptation of a Roberto Bolaño novel after “Il Futuro,” her 2013 screen adaptation of the Chilean novelist’s “Una Novelita Lumpen.”

“Most of my films have displayed a more female perspective; it was a challenge to immerse myself in the world of a male, one obsessed with war games, to boot,” said Scherson.

After struggling with the script for a year, changing the original setting from Spain in Bolaño’s novel “The Third Reich” to Chile made all its disparate elements fall into place.

Scherson’s “1989” takes place in Chile during a time of transition after military dictator Augusto Pinochet has stepped down but before a democratic government has established itself.

“It’s a time of great uncertainty, the
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‘Thirst Street’ Trailer: Lindsay Burdge Stalks In A Wry Psycho Sexual Drama

Of all the films I saw at the 2017 Tribeca Film Festival, Nathan Silver’s “Thirst Street” was easily the best one. Starring Lindsay Burdge (“A Teacher”), the movie is influenced by the erotic 1970s dramas of Rainer Werner Fassbinder, but gives a deviously funny edge (think Roman Polanski’s “The Tenant”) to what is a delicious psycho sexual drama.

Continue reading ‘Thirst Street’ Trailer: Lindsay Burdge Stalks In A Wry Psycho Sexual Drama at The Playlist.
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Crypt of Curiosities: Boundary-Pushing British Psychological Thrillers of the 1960s

When it comes to discussing ’60s British horror, most conversations usually begin and end with Hammer’s gothics and their sleazy derivatives. Mind you, it’s not hard to see why—the studio practically revived the genre in the UK during the late ’50s, and competitors would have to be fools to not want to ride their coattails, creating their own bloody (and occasionally brilliant) gothics chock-full of sex and violence. But the ’60s also saw the rise of a different, darker sub-genre—the modern psychological thriller, birthed from Alfred Hitchcock’s visual vocabulary and directors focused less on the supernatural and more on the depths of human cruelty and depravity. These thrillers are violent, sexual, and no stranger to controversy, and on today’s entry of the Crypt of Curiosities, we’ll be looking at three of the best and most noteworthy films.

The first big British thriller of
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Lindsay Burdge Sparkles In The Delicious Psycho Sexual Thriller ‘Thirst Street’ [Tribeca Review]

To keep it indie 100 for a minute and hopefully not sound too obscure, if indie filmmaker Alex Ross Perry was to Roman Polanski what his paranoiac feature “Queen Of Earth” was to Polanski’s “The Tenant,” then director Nathan Silver is to Rainer Werner Fassbinder what “Thirst Street” is to the German New Wave director’s “Lola.” Plus, well, throw in a little additional devilish Polanski for good measure, too.

Continue reading Lindsay Burdge Sparkles In The Delicious Psycho Sexual Thriller ‘Thirst Street’ [Tribeca Review] at The Playlist.
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The Audacity of ‘Get Out’: A Racial Horror Film That Dares to Be a Real Movie

The Audacity of ‘Get Out’: A Racial Horror Film That Dares to Be a Real Movie
In the last 30 years, has any movie form been debased and degraded more than the horror film? Most fans of the genre probably wouldn’t agree, but it always astonishes me the extent to which mainstream horror movies have become blood-soaked funhouse video-game rides full of lurching logic, driven by shocks and jolts and soundtrack gongs and the same old “Amityville”-meets-“Exorcist” devil-in-the-haunted-house tropes.

The first revelation of “Get Out,” Jordan Peele’s exquisitely creepy and fun African-American nightmare movie, is that while it does have its moments of extreme violence (your jaw will drop, your spine will shudder), it’s a classical piece of old-school moviemaking: a drama of pace and suspense and motifs and relationships and three-dimensional space and psychology. In telling the story of Chris Washington (Daniel Kaluuya), a black photographer in his mid-twenties who drives upstate with his white girlfriend, Rose Armitage (Allison Williams), to visit her parents,
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Interview: How Gore Verbinski and Dane DeHaan turned their nightmares into A Cure For Wellness

Dan Jolin chats with Gore Verbinski and Dane DeHaan about A Cure for Wellness

During the summer of 2015, while shooting A Cure for Wellness in Germany, Dane DeHaan went through what he describes as “my month of torture”. In the space of a few weeks, the then-29-year-old star of Chronicle and The Amazing Spider-Man 2 was strapped down and subjected to drill-induced dental abuse; had a tube rammed down his throat; and was immersed in a huge, water-filled sensory-deprivation tank.

They call it ‘suffering for your art’, but DeHaan has taken it to a whole new level.

“The dentist scene was more or less shot in a day, but for me it was just a terrifying circumstance to be in,” he explains, a good year and a half later and now sitting very comfortably in a London hotel suite. “That was fast and psychologically demanding.” The tube-gagging sequence, meanwhile,
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Roman Polanski’s Thriller ‘Based on a True Story’ Sells to Sony Classics

Roman Polanski’s Thriller ‘Based on a True Story’ Sells to Sony Classics
North American rights to Roman Polanski’s thriller “Based on a True Story” have been sold to Sony Pictures Classics.

The French-language thriller will be distributed by Sony Classics in partnership with RatPac Entertainment. It’s the second deal for Sony Classics on a Polanski project following 2011’s “Carnage.”

“Based on a True Story” stars Emmanuelle Seigner as a Parisian author with writer’s block who discovers a mysterious woman — played by Eva Green — at a book signing.


Toronto: Eva Green, Emmanuelle Seigner Star in Roman Polanski-Olivier Assayas’ ‘True Story’ (Exclusive)

The producer is Wassim Beji of Wy Productions. Olivier Assayas and Polanski adapted the movie from Delphine de Vigan’s novel of the same name.

The thriller marks Polanski’s first project since making his 2013 drama “Venus in Fur.” “Based on a True Story” was published in 2015 and won the Prix Renaudot and high school prize Goncourt des Lyceens.
See full article at Variety - Film News »

It Came From The Tube: Satan’S School For Girls (1973)

Warning: if you’re not a Kate Jackson fan, today’s column may not work in your favor. Plus, we probably shouldn’t hang out. I first fell in love with Ms. Jackson (if you’re nasty) when I was six. At the time, she was starring on Charlie’s Angels, along with Farrah Blah-Blah and Jaclyn What’s Her Name, but I think maybe I liked Kate best. Her long black hair, radiant smile, and raspy sing song drawl mesmerized me for the remainder of that show’s run. But for fans of horror, Kate worked with Dan Curtis on Dark Shadows, before landing one of the leads in Satan’s School for Girls (1973), producer Aaron Spelling’s venture into one of the ‘70s greatest capitalist ventures, Satanic Panic. It’s a fun romp; and spoiler alert - Kate is great in it. (She’s just the most, don’t you think?
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Walk of Fame Honoree Brett Ratner’s Love of Cinema Is a Driving Force in His Career

Walk of Fame Honoree Brett Ratner’s Love of Cinema Is a Driving Force in His Career
Brett Ratner loves cinema. When speaking with the 47-year-old filmmaker, it’s abundantly clear that movies are unspooling through his veins, and if our discussions felt more like two movie buffs just enjoying great conversation, it’s because of his general enthusiasm for the medium.

“It was always my dream to direct movies,” he says, rarely pausing for a breath. “I always knew I’d do it. I had the drive and the desire. I was determined. But I never knew I’d be making movies of this size, stuff like the ‘Rush Hour’ films and ‘X-Men’ and ‘Red Dragon.’ When I was in film school, I knew I wanted to make entertaining movies. But I don’t think I could have prepared for how fast my rise would be. I was 26 when I got my first film.”

But it was before he’d set foot on a movie set
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Rosemary’s Baby

Roman Polanski’s sinister and sophisticated adaptation of Ira Levin’s novel is also one of the most darkly comic films ever made, in this case personified by Ruth Gordon as the busybody neighbor of poor, paranoid Rosemary who finds out too late that the funny, kaffeeklatsching blue-hair next door is a dyed-in-the-wool satanist. Polanski insisted on keeping the supernatural trappings ambiguous, which keeps the film firmly in the psychological-surreal horror mode of other films in his resume including The Tenant and Repulsion. Gordon not only revitalized her career but won the Best Supporting Actress Oscar to boot.
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20th Century Fox Showcase 2017: Impressions of the First 30 Minutes of A Cure For Wellness

I knew almost nothing about A Cure for Wellness prior to Fox’s 2017 Showcase event, except that it was the latest from Gore Verbinski, director of The Ring and the first three Pirates of the Caribbean movies, and that the first teaser videos quietly released a few weeks ago were the perfect combination of bizarre and mysterious, putting it right to the top of my “must-see without knowing anything more about it” list.

That said, experiencing the first act of A Cure for Wellness recently left me more or less safely unspoiled from any major surprises, and definitely whet my appetite (pun intended) until the film is released in February 2017. I will try not to give away too much, but here are my impressions from what we’ve seen so far from Verbinski’s latest.

A Cure for Wellness opens with ominous, stark shots of office buildings in New York City.
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Explore Roman Polanski’s “Cinema of Invasion” in a New Video Essay

“No one does it to you like Roman Polanski” – a tagline that would take on some rather unfortunate new contexts only a few years after its unveiling, or the rare bit of marketing to properly sell an artist? Answer: both. But we’ll only focus on the second point, our impetus being a new, Cristina Álvarez López– and Adrian Martin-helmed video essay on some of the director’s close-quarter thrillers as a “cinema of invasion.”

Even this well-learned Polanski admirer, one who could fire off more than a few examples of how the assorted films — Knife in the Water, Repulsion, Cul-de-sac, Rosemary’s Baby, The Tenant, Frantic, Bitter Moon, and The Ghost Writer — overlap, was impressed and, more importantly, surprised by the connections drawn here. Taking full advantage of both the material at hand and ways of bringing them closer together (disassociated sound, split-screen), Álvarez López and Martin’s
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Creepy review

Ryan Lambie Published Date Thursday, October 13, 2016 - 06:39

Can you really trust your neighbours, as respectable as they might seem? Isn’t there something a little strange about the guy who lives two doors down - the unblinking one who walks without swinging his arms? There’s a hint of Alfred Hitchcock’s Rear Window to the Japanese suspense thriller Creepy, mixed with a dash of Joe Dante’s under-appreciated comedy horror, The ‘Burbs: Joe Dante’s a pointed satire of suburban life where a poorly maintained front lawn becomes an early sign of psychopathy.

“Serial killing is a modern sort of crime,” observes Takakura (Hidetoshi Nishijima), a university professor and former detective who’s retired from the force following a grim incident involving a captured murder suspect and a fork. A year after that prickly trauma, Takakura moves with his demure wife, Yasuko (Yuko Takeuchi) to a quiet Japanese
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Great Job, Internet!: Bruce Campbell has an unexpected horror film recommendation for this Halloween

Thanks to the Evil Dead series, Bruce Campbell is a bit of a horror icon these days. He even resurrected the series for Starz’s Ash Vs. Evil Dead, which sees Campbell reprising the role of ace Deadite-killer Ash Williams. With October’s spooktacularity ramping up in advance of Halloween at the end of the month, Entertainment Weekly decided to ask Campbell—who recently held is own horror film fest in Chicago—if he had any scary movie recommendations to share. Now, Campbell is basically an expert in this field, so it’d be natural to assume he’d make some relatively obscure pick. After all, nobody asks Bruce Campbell to recommend a horror movie just so he can tell them to watch Halloween again.

Naturally, Campbell didn’t pick Halloween. Instead, he decided to go with The Tenant, a 1976 Roman Polanski film about a man who rents an ...
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20-Minute Video Essay On The Brilliant Cinematography Of Sven Nykvist

No one manipulated light like Sven Nykvist. Perhaps the greatest cinematographer of our time, the Swedish-born, two time Oscar-winner (“Cries and Whispers,” “Fanny and Alexander“) saw something in people and their surroundings that most of us can hardly fathom. He was a true master, working with notable directors such as Roman Polanski (“The Tenant“), Louis Malle (“Black Moon,” “Pretty Baby“), Philip Kaufman […]

The post 20-Minute Video Essay On The Brilliant Cinematography Of Sven Nykvist appeared first on The Playlist.
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Artsploitation to Bring Polanski-esque Thriller Observance to Blu-ray

Acclaimed psychological horror film Observance gets Blu-ray release. Not since Roman Polanski’s mind-bending 1976 creeper The Tenant has apartment living seemed so psychically unhealthy than in director Joseph Sims-Dennett’s Observance, a dread-choked horror movie about a private detective teetering on the edge of sanity. Here’s the synopsis: Atmospherically creepy and visually unnerving, Joseph…

The post Artsploitation to Bring Polanski-esque Thriller Observance to Blu-ray appeared first on Shock Till You Drop.
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Andrew Dominik’s 10 Favorite Films

Across his three features this century, Andrew Dominik has explored masculine ideals (and the lack thereof) with an uncompromising vision. While earning the most acclaim for his stunning western The Assassination of Jesse James By the Coward Robert Ford, his follow-up Killing Them Softly is also distinctive in its laser-focused fury, getting the impressive distinction of an “F” CinemaScore to cement it as something truly special. His long-gestating next feature, Blonde, is hopefully still happening (the last we heard, Netflix may back it and shooting could begin as early as this year), but as we wait for confirmation, today we’re looking at his favorite films of all-time.

Courtesy of his Sight & Sound ballot, it’s a primarily American-focused line-up with classics from Francis Ford Coppola, Martin Scorsese, Billy Wilder, and David Lynch (x2). Perhaps most interesting is his favorite Alfred Hitchcock film, one of the man’s last five features: Marnie,
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