Neuigkeiten
Mfundi Vundla
Taiwanese director Julian Chou’s “Blind Love,” a drama about a sensitive teenager who discovers the secret affair between his mother and a mysterious woman, won the top prize at the 7th Joburg Film Festival on Saturday.
Chou’s sophomore feature, which premiered in the Tiger competition at the Rotterdam Intl. Film Festival, won the jury’s praise for its “fearless and brave voice whose point of view is necessary.”
In a pre-recorded video message, Chou said she was “honored and humbled” to receive the festival’s top prize and paid tribute to her fellow filmmakers whose “incredible work has brought such special energy and inspiration to the world.” The director added that she would “keep working harder to turn this honor into more meaningful films.”
The award capped off a charged night in which several filmmakers stressed the importance for Africans to wrest back control of their own stories.
Chou’s sophomore feature, which premiered in the Tiger competition at the Rotterdam Intl. Film Festival, won the jury’s praise for its “fearless and brave voice whose point of view is necessary.”
In a pre-recorded video message, Chou said she was “honored and humbled” to receive the festival’s top prize and paid tribute to her fellow filmmakers whose “incredible work has brought such special energy and inspiration to the world.” The director added that she would “keep working harder to turn this honor into more meaningful films.”
The award capped off a charged night in which several filmmakers stressed the importance for Africans to wrest back control of their own stories.
- 16.3.2025
- von Christopher Vourlias
- Variety Film + TV
More often than not, true stories are infinitely more interesting and continue to resonate now. In Johannesburg-based filmmaker Charlie Vundla’s “Frontier Mistress,” which he describes as a Western set in 18th century South Africa, the story of a Huguenot refugee and her struggle against an abusive husband and an oppressive, racist regime, continues to reverberate today.
“It’s a timely film that deals with issues of gender and racial equality at a moment where the struggle for both of these has taken on a greater urgency,” Vundla told Variety. “And, yes, while this film does address socio-political issues I don’t want them to overwhelm the film; This will be above all else an exciting narrative that is character-driven and puts the story first,” he asserted.
“Frontier Mistress” participates in the Frontières Co-production Market, organized by the Fantasia International Film Festival in collaboration with Cannes’ Marché du Film.
Vundla...
“It’s a timely film that deals with issues of gender and racial equality at a moment where the struggle for both of these has taken on a greater urgency,” Vundla told Variety. “And, yes, while this film does address socio-political issues I don’t want them to overwhelm the film; This will be above all else an exciting narrative that is character-driven and puts the story first,” he asserted.
“Frontier Mistress” participates in the Frontières Co-production Market, organized by the Fantasia International Film Festival in collaboration with Cannes’ Marché du Film.
Vundla...
- 5.8.2021
- von Anna Marie de la Fuente
- Variety Film + TV
September is the busiest month for the Sound On Sight team with Telluride, Tiff, Pop Montreal, The Atlantic Film Festival, New York Film Festival and yes Fantastic Fest. Starting September 22nd anyone interested in genre film will have their eyes on Fantastic Fest, one of the biggest and possibly coolest fests in the world. After months waiting, the organizers have finally announced the final wave of programming. Here is the press release.
Austin, TX–Wednesday, September 7th, 2011– Fantastic Fest is excited to announce its final wave of feature film programming including the world premiere of The Human Centipede 2: Full Sequence on opening night courtesy of IFC Midnight and Comic-con Episode IV: A Fan’S Hope on closing night.
The Human Centipede became a cultural sensation after its premiere at Fantastic Fest in 2009 where it won Best Horror Film and Best Actor. The festival is excited to welcome back director...
Austin, TX–Wednesday, September 7th, 2011– Fantastic Fest is excited to announce its final wave of feature film programming including the world premiere of The Human Centipede 2: Full Sequence on opening night courtesy of IFC Midnight and Comic-con Episode IV: A Fan’S Hope on closing night.
The Human Centipede became a cultural sensation after its premiere at Fantastic Fest in 2009 where it won Best Horror Film and Best Actor. The festival is excited to welcome back director...
- 8.9.2011
- von Ricky
- SoundOnSight
Guess it's just a centipede-y kind of day. Aubrey already showed you a new preview image from "The Human Centipede 2: Full Sequence." Now I've got the info on where you'll be able to see the film for the very first time: Austin's Fantastic Fest, on September 22. The deranged depravity debuts as this year's Opening Night Film.
Along with the announcement that director Tom Six's sequel to everyone's favorite ass-to-mouth horror movie will make its world premiere at the festival, Fantastic Fest also solidified the remainder of its lineup today. You can see it all below, but here are a few noteworthy highlights: the Us premiere of Morgan Spurlock's San Diego Comic-Con documentary, "Episode IV: A Fan's Hope," a Cuban zombie movie called -- you're gonna love this -- "Juan of the Dead," and a 30th anniversary screening of "An American Werewolf in London" with makeup artist Rick Baker in attendance.
Along with the announcement that director Tom Six's sequel to everyone's favorite ass-to-mouth horror movie will make its world premiere at the festival, Fantastic Fest also solidified the remainder of its lineup today. You can see it all below, but here are a few noteworthy highlights: the Us premiere of Morgan Spurlock's San Diego Comic-Con documentary, "Episode IV: A Fan's Hope," a Cuban zombie movie called -- you're gonna love this -- "Juan of the Dead," and a 30th anniversary screening of "An American Werewolf in London" with makeup artist Rick Baker in attendance.
- 7.9.2011
- von Matt Singer
- ifc.com
If you've been on the fence about attending this year's edition of Fantastic Fest in Austin, Texas, which runs from September 22-29, then the announcement that came today about their final wave of programming should make up your mind. With these additions, just about every film on our radar will be making an appearance at this year's fest! Read on for the details.
From the Press Release
Fantastic Fest is excited to announce its final wave of feature film programming including the world premiere of The Human Centipede II: Full Sequence on opening night courtesy of IFC Midnight and Comic-con Episode IV: A Fan's Hope on closing night.
The Human Centipede became a cultural sensation after its premiere at Fantastic Fest in 2009, where it won Best Horror Film and Best Actor. The festival is excited to welcome back director Tom Six and producer Ilona Six with the second installment of the depraved series.
From the Press Release
Fantastic Fest is excited to announce its final wave of feature film programming including the world premiere of The Human Centipede II: Full Sequence on opening night courtesy of IFC Midnight and Comic-con Episode IV: A Fan's Hope on closing night.
The Human Centipede became a cultural sensation after its premiere at Fantastic Fest in 2009, where it won Best Horror Film and Best Actor. The festival is excited to welcome back director Tom Six and producer Ilona Six with the second installment of the depraved series.
- 7.9.2011
- von The Woman In Black
- DreadCentral.com
Wow. In two weeks, Michael and I will begin our 14 hour drive from St. Louis to Austin. We are super excited to be attending and giving you guys advance reviews of films that, more than likely, every horror and genre loving freak out there will want to read. The final wave has been announced and while we only see that we got one more hit on our prediction list, I’m still happy with what was announced. We will be attending the World Premiere of The Human Centipede Part 2: Full Sequence and the new film from the directors of Inside, Livid. Much more is in store so read beyond the break.
From the Press Release:
Fantastic Fest is excited to announce its final wave of feature film programming including the world premiere of The Human Centipede 2: Full Sequence on opening night courtesy of IFC Midnight and Comic-con Episode...
From the Press Release:
Fantastic Fest is excited to announce its final wave of feature film programming including the world premiere of The Human Centipede 2: Full Sequence on opening night courtesy of IFC Midnight and Comic-con Episode...
- 7.9.2011
- von Andy Triefenbach
- Destroy the Brain
We're mere weeks away from the craziest genre films in the world invading Austin, Texas for Fantastic Fest 2011. They've already announced not one [1], but two waves [2] of films that'll screen at the festival and now the third and final wave has been revealed. It includes the opening night, world premiere of The Human Centipede 2: Full Sequence, the closing night U.S. premiere of Morgan Spurlock's new documentary Comic Con Episode IV: A Fan's Hope, the much anticipated Juan of the Dead, Sundance darling Take Shelter, a 30th anniversary screening of An American Werewolf in London with Rick Baker in person and poster by Olly Moss and more. Plus, Drafthouse CEO Tim League will be fighting bare-knuckle brawler James Quinn McDonagh to usher in the a screening of the documentary [3] Knuckle. Read the full third wave of films and see some hype videos for the fight after the jump.
- 7.9.2011
- von Germain Lussier
- Slash Film
By Sean O’Connell
Hollywoodnews.com: Only the folks at the Alamo Drafthouse in Austin would try and use the words “Fantastic” and “Human Centipede” in the same sentence. Yet it’s that unique taste in spectacular genre cinema that keeps thousands flocking to Fantastic Fest in Austin each fall, and this year’s slate shouldn’t disappoint.
Tom Six’s sequel to his vile “Human Centipede” will hold its world premiere on opening night of this year’s Fantastic Fest, which runs Sept. 22-29 in Austin, Tex.
Other notable films programmed for this year’s fest include a retrospective screening of John Landis’s “An American Werewolf in London,” the Texas premiere of Jeff Nichols’s “Take Shelter,” and Morgan Spurlock’s “Comic-Con Episode IV: A Fan’s Hope,” which will close this year’s event.
The full slate is below:
A Boy And His Samurai (2011)
Us Premiere
Director: Yoshihiro Nakamura,...
Hollywoodnews.com: Only the folks at the Alamo Drafthouse in Austin would try and use the words “Fantastic” and “Human Centipede” in the same sentence. Yet it’s that unique taste in spectacular genre cinema that keeps thousands flocking to Fantastic Fest in Austin each fall, and this year’s slate shouldn’t disappoint.
Tom Six’s sequel to his vile “Human Centipede” will hold its world premiere on opening night of this year’s Fantastic Fest, which runs Sept. 22-29 in Austin, Tex.
Other notable films programmed for this year’s fest include a retrospective screening of John Landis’s “An American Werewolf in London,” the Texas premiere of Jeff Nichols’s “Take Shelter,” and Morgan Spurlock’s “Comic-Con Episode IV: A Fan’s Hope,” which will close this year’s event.
The full slate is below:
A Boy And His Samurai (2011)
Us Premiere
Director: Yoshihiro Nakamura,...
- 7.9.2011
- von Sean O'Connell
- Hollywoodnews.com
Country of My Skull
Screened
Berlin International Film Festival
BERLIN -- In "Country of My Skull", John Boorman, never a director to shy away from a challenge, tries to understand the crimes of South Africa's apartheid system by creating a fictional drama out of that country's Truth and Reconciliation Commission.
The TRC was South Africa's substitute for a war crimes tribunal. Over many months, this commission took testimony directly from victims and perpetrators. A full and honest confession could result in amnesty for white oppressors, yet the commission's goal -- deemed successful by some but not all South Africans -- was to reach peace and understanding through forgiveness. Such material does not yield easily to dramatic storytelling.
The script by South African-born Ann Peacock, based on a book by Antjie Krog, an Afrikaan poet who covered the trial for radio and print, imagines two fictional characters through whose eyes we witness and react to the testimony. The movie never completely succeeds with this clumsy contrivance.
With Samuel L. Jackson and Juliette Binoche as sparring reporters, Sony Pictures Classics has a fighting chance to reach adult audiences in specialty venues. But clearly, the marketing department has a chore on its hands to inspire moviegoing interest in a topic that may feel remote to many Americans.
Indeed Jackson's Langston Whitfield, a D.C.-based reporter for the Washington Post, himself wonders why his editors want him to fly to South Africa to listen to stories about white authorities abusing black citizens. He can hear that any day right at home. But off he goes, and his first encounter with an Afrikaaner is with Binoche's radio reporter Anna Malan, a character based in part on Krog.
It's a pretty hostile encounter because Langston has already made up his mind about the guilt of all Afrikaans. But with Anna's sound engineer Dumi (young South African TV star Menzi "Ngubs" Ngubane) acting as an eager and often amused referee, the two continue to debate this issue as they follow the traveling commission through the countryside.
The overly melodramatic script manufactures episodes such as a flat tire and nearby bar so both can let their hair down and argue their point of view. That these two married people wind up in the sack may be stretching the meaning of truth and reconciliation. But this does point up a problem the movie never solves: how to impose a fictional drama on such overwhelming real-life events without the fictional stuff coming off as trivial.
The charisma and hard work by his two leads allows Boorman to succeed beyond all expectations. The relationship and inner struggles of these two individuals do manage to reflect the problem of how a country goes about resolving its pain. And the stories recounted to the commission get to the root of what made apartheid so evil: It was not just the viciousness of its crimes but its daily humiliations designed to make an entire group of people feel subhuman.
Occasionally, the movie cuts to an interview Langston gets with an army colonel, who is meant to embody all apartheid evil. In contrast to the spare and moving testimony at the hearings, this unrepentant, whiskey-soaked confession come off as that of a B-movie Nazi. Brendan Gleeson is a great actor, but even he can do little with such an ill-conceived character. An out-of-nowhere suicide by a minor character at the end is equally as heavy-handed.
Seamus Deasy's lush cinematography contrasts the grim testimony with spectacular landscapes, underscoring Anna's dilemma of how one who dearly loves a beautiful country can reconcile that love with the crimes committed to keep it "white." The music, a compilation of black South African secular and religious music, is another major plus.
COUNTRY OF MY SKULL
Sony Pictures Classics
Phoenix Pictures presents a Film Consortium and Merlin Films production in association with the U.K. Film Council and the Industrial Development Corporation of South Africa
Credits:
Director: John Boorman
Screenwriter: Ann Peacock
Based on the book by: Antjie Krog
Producers: Robert Chartoff, Mike Medavoy, John Boorman, Kieran Corrigan, Lynn Hendee, David Wicht
Executive producers: Chris Auty, Neil Peplow, Mfundi Vundla, Duncan Reid, Sam Bhembe, Jamie Brown
Director of photography: Seamus Deasy
Production designer: Derek Wallace
Music supervisor: Philip King
Costume designer: Jo Katsaras
Editor: Ron Davis
Cast:
Langston Whitfield: Samuel L. Jackson
Anna Malan: Juliette Binoche
De Jager: Brendan Gleeson
Dumi Mkhalipi: Menzi "Ngubs" Ngubane
Anderson: Sam Ngakane
Elsa: Aletta Bezuidenhout
Running time -- 104 minutes
No MPAA rating...
Berlin International Film Festival
BERLIN -- In "Country of My Skull", John Boorman, never a director to shy away from a challenge, tries to understand the crimes of South Africa's apartheid system by creating a fictional drama out of that country's Truth and Reconciliation Commission.
The TRC was South Africa's substitute for a war crimes tribunal. Over many months, this commission took testimony directly from victims and perpetrators. A full and honest confession could result in amnesty for white oppressors, yet the commission's goal -- deemed successful by some but not all South Africans -- was to reach peace and understanding through forgiveness. Such material does not yield easily to dramatic storytelling.
The script by South African-born Ann Peacock, based on a book by Antjie Krog, an Afrikaan poet who covered the trial for radio and print, imagines two fictional characters through whose eyes we witness and react to the testimony. The movie never completely succeeds with this clumsy contrivance.
With Samuel L. Jackson and Juliette Binoche as sparring reporters, Sony Pictures Classics has a fighting chance to reach adult audiences in specialty venues. But clearly, the marketing department has a chore on its hands to inspire moviegoing interest in a topic that may feel remote to many Americans.
Indeed Jackson's Langston Whitfield, a D.C.-based reporter for the Washington Post, himself wonders why his editors want him to fly to South Africa to listen to stories about white authorities abusing black citizens. He can hear that any day right at home. But off he goes, and his first encounter with an Afrikaaner is with Binoche's radio reporter Anna Malan, a character based in part on Krog.
It's a pretty hostile encounter because Langston has already made up his mind about the guilt of all Afrikaans. But with Anna's sound engineer Dumi (young South African TV star Menzi "Ngubs" Ngubane) acting as an eager and often amused referee, the two continue to debate this issue as they follow the traveling commission through the countryside.
The overly melodramatic script manufactures episodes such as a flat tire and nearby bar so both can let their hair down and argue their point of view. That these two married people wind up in the sack may be stretching the meaning of truth and reconciliation. But this does point up a problem the movie never solves: how to impose a fictional drama on such overwhelming real-life events without the fictional stuff coming off as trivial.
The charisma and hard work by his two leads allows Boorman to succeed beyond all expectations. The relationship and inner struggles of these two individuals do manage to reflect the problem of how a country goes about resolving its pain. And the stories recounted to the commission get to the root of what made apartheid so evil: It was not just the viciousness of its crimes but its daily humiliations designed to make an entire group of people feel subhuman.
Occasionally, the movie cuts to an interview Langston gets with an army colonel, who is meant to embody all apartheid evil. In contrast to the spare and moving testimony at the hearings, this unrepentant, whiskey-soaked confession come off as that of a B-movie Nazi. Brendan Gleeson is a great actor, but even he can do little with such an ill-conceived character. An out-of-nowhere suicide by a minor character at the end is equally as heavy-handed.
Seamus Deasy's lush cinematography contrasts the grim testimony with spectacular landscapes, underscoring Anna's dilemma of how one who dearly loves a beautiful country can reconcile that love with the crimes committed to keep it "white." The music, a compilation of black South African secular and religious music, is another major plus.
COUNTRY OF MY SKULL
Sony Pictures Classics
Phoenix Pictures presents a Film Consortium and Merlin Films production in association with the U.K. Film Council and the Industrial Development Corporation of South Africa
Credits:
Director: John Boorman
Screenwriter: Ann Peacock
Based on the book by: Antjie Krog
Producers: Robert Chartoff, Mike Medavoy, John Boorman, Kieran Corrigan, Lynn Hendee, David Wicht
Executive producers: Chris Auty, Neil Peplow, Mfundi Vundla, Duncan Reid, Sam Bhembe, Jamie Brown
Director of photography: Seamus Deasy
Production designer: Derek Wallace
Music supervisor: Philip King
Costume designer: Jo Katsaras
Editor: Ron Davis
Cast:
Langston Whitfield: Samuel L. Jackson
Anna Malan: Juliette Binoche
De Jager: Brendan Gleeson
Dumi Mkhalipi: Menzi "Ngubs" Ngubane
Anderson: Sam Ngakane
Elsa: Aletta Bezuidenhout
Running time -- 104 minutes
No MPAA rating...
- 9.7.2004
- The Hollywood Reporter - Movie News
Country of My Skull
Screened
Berlin International Film Festival
BERLIN -- In "Country of My Skull", John Boorman, never a director to shy away from a challenge, tries to understand the crimes of South Africa's apartheid system by creating a fictional drama out of that country's Truth and Reconciliation Commission.
The TRC was South Africa's substitute for a war crimes tribunal. Over many months, this commission took testimony directly from victims and perpetrators. A full and honest confession could result in amnesty for white oppressors, yet the commission's goal -- deemed successful by some but not all South Africans -- was to reach peace and understanding through forgiveness. Such material does not yield easily to dramatic storytelling.
The script by South African-born Ann Peacock, based on a book by Antjie Krog, an Afrikaan poet who covered the trial for radio and print, imagines two fictional characters through whose eyes we witness and react to the testimony. The movie never completely succeeds with this clumsy contrivance.
With Samuel L. Jackson and Juliette Binoche as sparring reporters, Sony Pictures Classics has a fighting chance to reach adult audiences in specialty venues. But clearly, the marketing department has a chore on its hands to inspire moviegoing interest in a topic that may feel remote to many Americans.
Indeed Jackson's Langston Whitfield, a D.C.-based reporter for the Washington Post, himself wonders why his editors want him to fly to South Africa to listen to stories about white authorities abusing black citizens. He can hear that any day right at home. But off he goes, and his first encounter with an Afrikaaner is with Binoche's radio reporter Anna Malan, a character based in part on Krog.
It's a pretty hostile encounter because Langston has already made up his mind about the guilt of all Afrikaans. But with Anna's sound engineer Dumi (young South African TV star Menzi "Ngubs" Ngubane) acting as an eager and often amused referee, the two continue to debate this issue as they follow the traveling commission through the countryside.
The overly melodramatic script manufactures episodes such as a flat tire and nearby bar so both can let their hair down and argue their point of view. That these two married people wind up in the sack may be stretching the meaning of truth and reconciliation. But this does point up a problem the movie never solves: how to impose a fictional drama on such overwhelming real-life events without the fictional stuff coming off as trivial.
The charisma and hard work by his two leads allows Boorman to succeed beyond all expectations. The relationship and inner struggles of these two individuals do manage to reflect the problem of how a country goes about resolving its pain. And the stories recounted to the commission get to the root of what made apartheid so evil: It was not just the viciousness of its crimes but its daily humiliations designed to make an entire group of people feel subhuman.
Occasionally, the movie cuts to an interview Langston gets with an army colonel, who is meant to embody all apartheid evil. In contrast to the spare and moving testimony at the hearings, this unrepentant, whiskey-soaked confession come off as that of a B-movie Nazi. Brendan Gleeson is a great actor, but even he can do little with such an ill-conceived character. An out-of-nowhere suicide by a minor character at the end is equally as heavy-handed.
Seamus Deasy's lush cinematography contrasts the grim testimony with spectacular landscapes, underscoring Anna's dilemma of how one who dearly loves a beautiful country can reconcile that love with the crimes committed to keep it "white." The music, a compilation of black South African secular and religious music, is another major plus.
COUNTRY OF MY SKULL
Sony Pictures Classics
Phoenix Pictures presents a Film Consortium and Merlin Films production in association with the U.K. Film Council and the Industrial Development Corporation of South Africa
Credits:
Director: John Boorman
Screenwriter: Ann Peacock
Based on the book by: Antjie Krog
Producers: Robert Chartoff, Mike Medavoy, John Boorman, Kieran Corrigan, Lynn Hendee, David Wicht
Executive producers: Chris Auty, Neil Peplow, Mfundi Vundla, Duncan Reid, Sam Bhembe, Jamie Brown
Director of photography: Seamus Deasy
Production designer: Derek Wallace
Music supervisor: Philip King
Costume designer: Jo Katsaras
Editor: Ron Davis
Cast:
Langston Whitfield: Samuel L. Jackson
Anna Malan: Juliette Binoche
De Jager: Brendan Gleeson
Dumi Mkhalipi: Menzi "Ngubs" Ngubane
Anderson: Sam Ngakane
Elsa: Aletta Bezuidenhout
Running time -- 104 minutes
No MPAA rating...
Berlin International Film Festival
BERLIN -- In "Country of My Skull", John Boorman, never a director to shy away from a challenge, tries to understand the crimes of South Africa's apartheid system by creating a fictional drama out of that country's Truth and Reconciliation Commission.
The TRC was South Africa's substitute for a war crimes tribunal. Over many months, this commission took testimony directly from victims and perpetrators. A full and honest confession could result in amnesty for white oppressors, yet the commission's goal -- deemed successful by some but not all South Africans -- was to reach peace and understanding through forgiveness. Such material does not yield easily to dramatic storytelling.
The script by South African-born Ann Peacock, based on a book by Antjie Krog, an Afrikaan poet who covered the trial for radio and print, imagines two fictional characters through whose eyes we witness and react to the testimony. The movie never completely succeeds with this clumsy contrivance.
With Samuel L. Jackson and Juliette Binoche as sparring reporters, Sony Pictures Classics has a fighting chance to reach adult audiences in specialty venues. But clearly, the marketing department has a chore on its hands to inspire moviegoing interest in a topic that may feel remote to many Americans.
Indeed Jackson's Langston Whitfield, a D.C.-based reporter for the Washington Post, himself wonders why his editors want him to fly to South Africa to listen to stories about white authorities abusing black citizens. He can hear that any day right at home. But off he goes, and his first encounter with an Afrikaaner is with Binoche's radio reporter Anna Malan, a character based in part on Krog.
It's a pretty hostile encounter because Langston has already made up his mind about the guilt of all Afrikaans. But with Anna's sound engineer Dumi (young South African TV star Menzi "Ngubs" Ngubane) acting as an eager and often amused referee, the two continue to debate this issue as they follow the traveling commission through the countryside.
The overly melodramatic script manufactures episodes such as a flat tire and nearby bar so both can let their hair down and argue their point of view. That these two married people wind up in the sack may be stretching the meaning of truth and reconciliation. But this does point up a problem the movie never solves: how to impose a fictional drama on such overwhelming real-life events without the fictional stuff coming off as trivial.
The charisma and hard work by his two leads allows Boorman to succeed beyond all expectations. The relationship and inner struggles of these two individuals do manage to reflect the problem of how a country goes about resolving its pain. And the stories recounted to the commission get to the root of what made apartheid so evil: It was not just the viciousness of its crimes but its daily humiliations designed to make an entire group of people feel subhuman.
Occasionally, the movie cuts to an interview Langston gets with an army colonel, who is meant to embody all apartheid evil. In contrast to the spare and moving testimony at the hearings, this unrepentant, whiskey-soaked confession come off as that of a B-movie Nazi. Brendan Gleeson is a great actor, but even he can do little with such an ill-conceived character. An out-of-nowhere suicide by a minor character at the end is equally as heavy-handed.
Seamus Deasy's lush cinematography contrasts the grim testimony with spectacular landscapes, underscoring Anna's dilemma of how one who dearly loves a beautiful country can reconcile that love with the crimes committed to keep it "white." The music, a compilation of black South African secular and religious music, is another major plus.
COUNTRY OF MY SKULL
Sony Pictures Classics
Phoenix Pictures presents a Film Consortium and Merlin Films production in association with the U.K. Film Council and the Industrial Development Corporation of South Africa
Credits:
Director: John Boorman
Screenwriter: Ann Peacock
Based on the book by: Antjie Krog
Producers: Robert Chartoff, Mike Medavoy, John Boorman, Kieran Corrigan, Lynn Hendee, David Wicht
Executive producers: Chris Auty, Neil Peplow, Mfundi Vundla, Duncan Reid, Sam Bhembe, Jamie Brown
Director of photography: Seamus Deasy
Production designer: Derek Wallace
Music supervisor: Philip King
Costume designer: Jo Katsaras
Editor: Ron Davis
Cast:
Langston Whitfield: Samuel L. Jackson
Anna Malan: Juliette Binoche
De Jager: Brendan Gleeson
Dumi Mkhalipi: Menzi "Ngubs" Ngubane
Anderson: Sam Ngakane
Elsa: Aletta Bezuidenhout
Running time -- 104 minutes
No MPAA rating...
- 8.2.2004
- The Hollywood Reporter - Movie News
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