Kein Witz, Leute: Stephenie Meyer persönlich hat auf Twitter dieses kurze Video gepostet, auf der sie sagt, dass am 6. Oktober eine "10TH ANNIVERSARY EDITION" von Twilight erscheinen wird mit EXKLUSIVEN Bonus-Material!!!
Auf Amazon kann man das Prachtstück jetzt schon vorbestellen! Um was es sich handelt können wir bisher nur spekulieren, aber für den 10. Geburtstag hat sich Stephenie hoffentlich etwas ganz Besonderes einfallen lassen :)
Während sich die Leute in den Instagram-Kommentaren völlig sinnlos darüber streiten, ob das Bild nun neu/gephotoshopped oder sonst was ist, genießen wir doch einfach Robs amüsiertes Gesicht an der Seite von Kumpel Marcus Foster. Das Bild ist am Freitag entstanden und Rob war mal wieder auf einem FKA Twigs Konzert in England ;)
The Daily Beast. Kristen wirkt in dem Interview sehr ehrlich und spricht offen über ihre Gefühle und Emotionen. So zum Beispiel über Trennungen, erste Küsse und Beziehungen.
“Not only is she really beautiful, but she’s so vulnerable,” says filmmaker Drake Doremus. “You just love watching her. There is a lot going on under the surface.”
The director is gushing over the myriad talents of his star, Kristen Stewart, who not only holds a close-up better than just about any other actress, but, due to the aforementioned emotional reservoir, possesses the uncanny ability to convey more with a nod or shrug than most can with a 5-page monologue. And take it from Doremus—the man knows a thing or two about talented actresses, having presided over a couple of then up-and-coming gals by the names of Felicity Jones and Jennifer Lawrence in his sophomore feature Like Crazy.
Doremus’s latest is Equals, which made its North American premiere at the Toronto International Film Festival. In it, Stewart plays Nia, a young woman in a harmonious future society dubbed “The Collective” where everyone stalks about in white Nehru suits, and emotions have been all but eradicated. Those who show emotions are dubbed “Defects,” and sent to the infirmary to be killed. When her coworker Silas (Nicholas Hoult) falls in love with Nia, the two are forced to go on the run or face termination.
It’s a film that explores first love, and couldn’t have come at a better time for Stewart and Hoult. Filming began in August 2014, and the pair of young stars had just come off a couple of very high-profile break-ups (Robert Pattinson and Jennifer Lawrence, respectively).
“It was incredibly painful,” says Stewart, seated across from me at an empty nightclub in Downtown Toronto. “Ugh, fucking kill me. It was a really good time for both of us to make this movie. Not all of my friends have been through what I’ve been through, or what some people have tasted at a relatively-speaking young age, and we were not expected to do anything. Everything that we did was explorative, and a meditation on what we already knew.”
“We all felt akin by how much we’ve been through, and to utilize that is so scary,” she continued. “And to acknowledge it, reassess, and jump back into it? Usually you want to move on. But at least we could use some of that for some good. This movie was a meditation on firsts, and a meditation on maintaining, and a meditation on the ebbs and flows of what it’s like to love someone—your feelings versus your ideals, the bursting of bubbles, the shattering of dreams you thought were possible, and what you have to contend with as things get more realistic.”
“Relationships,” she adds, “you just never fucking know.”
The Daily Beast spoke to Stewart, whose recent relationship has garnered plenty of ink, about the many messages of Equals, and much more.
Dystopian films typically serve as interesting allegories. For Equals, I saw it as a critique of Generation Rx, and how, especially in America, teens are overprescribed and overmedicated. It seems, in many cases, like a lazy catchall solution to dealing with young people’s inherent emotional volatility.
“Oh, do you feel something? We can help you with that.” Self-exploration goes out the door with medication. You go, “Oh god, I have a little stomachache,” and they say, “Here, we can help you with that.” Well, why do you have that stomachache? Maybe it’s because your head’s in your stomach, so maybe there’s something you’re ignoring that you can work out. No, I completely agree.
"Oh my god. Did you see [Kim Davis] come out of jail? Honestly, it makes me so deeply uncomfortable. I feel really bad for her. Anyone who’s so closed off to things that are so apparent?"
The film also struck me as being about the denial of love. This is an issue that’s come to the fore in America in a big way when you look at the gay rights movement, where, despite the Supreme Court decision legalizing same-sex marriage, a large segment of the population—Republicans, primarily—still believe that the LGBT community should be denied the right to love. And denying anyone that basic human right can drive people crazy.
Abso-fucking-lutely. It is crazy. It’s weird because if you’re overtly emotional about anything, people discredit what thought you might be contributing, because anything overtly emotional can be viewed as a weakness. It’s interesting what you’re saying about how now we’re trying to suppress emotions or irregularities with drugs and deem people controllable my meds, because I think we’re more in tune and more honest with our emotions now than we have ever been. You think about your grandparents or their grandparents, and you think about the patriarch of the family never showing emotion—with women, too. As we’ve gotten past that, the meds have upped. It’s bizarre. The two things don’t really go together.
I wanted to go back to the issue of the denial of love. Have you been following the news of Kim Davis, the Kentucky clerk who denied a same-sex couple their marriage license, was sent to jail, and has subsequently been martyred by many on the right-wing?
Yeah. Oh my god. Did you see her come out of jail? Honestly, it makes me so deeply uncomfortable. I feel really bad for her. Anyone who’s so closed off to things that are so apparent? Imagine what else she’s missing out on in life. I’m not making any grand statements about her personally, but if something so glaringly obvious, such as this subject…
…to have that much hate in your heart must be awful.
That’s why I feel bad for her. It’s like, “Oh, buddy, that must suck.” That fear of the unknown cripples people, breeds hate, and it’s just very sad.
Back to the Rx. Like you said, people may be in tune with their emotions, but perhaps they’re not being explored. This isn’t a new argument, but there seems to be a lack of intimacy these days. We’re “connected” by technology, but our actual human-to-human interaction has decreased dramatically. We’re not asking people for directions, we’re looking them up on our phone. And fucking selfie sticks! God forbid you stop and ask someone to take your photograph.
We’re getting to this neutralized, disconnected world.
And it’s fitting that you shot this film in Japan, because they’re not even having sex anymore over there. Nearly fifty percent of Japanese adults are not having sex, and they’re saying that if these trends continue, the population could be halved by 2100.
They’re not fucking. That’s crazy. You can assess a culture to a degree by the way they receive movies and how they receive a given celebrity—like me and Nick being that, I guess. So in Japan I can walk around the streets with no problem whatsoever because nobody will come up to me, versus Italy where I cannot even take a step because everybody is trying to literally hug and kiss and drag me down physically.
I’ve spent some time in Italy with a girlfriend. They can be grabby over there.
Oh, they’re grabby. They are really grabby. Yeah, it’s weird. It’s a good time to tell this story, I suppose, but I still think that this fear of being subject to one’s emotions has existed forever. But the medication aspect I find most interesting. I know a lot of people on meds who don’t have mental health issues. Not all emotional issues are “mental health issues.” They do not all hold hands.
I’m not saying this applies to everyone of course, but the friends I have who’ve gone off their meds for things like depression and anxiety seem so much better. They’re rawer emotionally, but more real.
Yeah. As far as we know, you have one shot at this and it can be so fucking beautiful, so why lessen the feeling of anything? Why numb yourself? I’m not on antidepressants. I think it’s bizarre.
There is the big first kiss scene in Equals, where you and Nick are in this blue-tinted bathroom stall and you touch—and then kiss—for the first time to a swelling score. Since it’s a first kiss, was that hard to calibrate? You can’t make it seem expert, but you don’t want to make it be like that Dumb & Dumber dream sequence, either.
We had never done it! Our idea was that they had learned how conception happened in our history, but it’s a completely unrelatable concept now, so kissing wasn’t even in the textbook. It’s tantamount to what you learn in middle school now about how you conceive children. We wanted to make it look foreign, and found, and completely natural—but new. Every single really emotionally pivotal part of the movie Drake had infused with a certain bit of music that luckily we got into the movie. Most actors use songs to make themselves cry.
Do you?
Actually, I don’t. If I’m really, really screwed and I need it, I do.
What music would you listen to in a situation like that to summon the tears?
I fucking love that song [“Love and Mercy”]. I could think about it and start being emotional. It absolutely fucking annihilates me. It’s so simple, but considering what Brian Wilson had been through at that time, and for him to still be able to write that song at that time given his environment and the people surrounding him was so full of hope.
Do you remember your first kiss?
Yes, absolutely! It was horrible! It was so bad. It was fucking repulsive. I was 14 and it was gross. It was not good. [Laughs] But the first time something in you opens up and affects your entire body and has this control over you, it’s scary because there’s this chemical that’s released that you become addicted to. It literally feels like you don’t have free will anymore. I know that fucking feeling. When I read the script, I was so intimidated by it because there are several awakenings that you go through as a young person—and I’m sure there will be more as I get older—but I’ve had several eye-opening, come-to-Jesus moments. And I don’t think that everyone is necessarily affected by or appreciates physical beauty, and I think we have been desensitized to physical beauty because of the movies that we watch, and all the images that are thrust in our faces all the time. We don’t really appreciate the body, nature, a fucking sunrise.
You just easily close yourself off to certain things because you want to seem like you know it all, or you’re not weak—emotion is often confused as weakness—so when emotions are undeniably physically affecting you, I think it’s a gift. People are so good at turning that off, that we wanted to exemplify that in the most severe and basic sense—and it was really scary.
You and Nick were both mining the emotions of first love by filming those sequences. Which, like you said, is scary. But was it ultimately cathartic?
Yeah. It just could have been the cheesiest, most trite concept, but the whole attempt was to make that fresh again. If you’ve been hurt—you know when you’ve broken up with someone and you look at someone walking down the street holding hands and think, “Ugh, give it a fuckin’ year. Let me know how you feel in a year, ugh, I don’t’ believe in that,” well if we did our jobs right, then it would be to remind you that you can definitely get back to that, and how hard, amazing, and life-fulfilling those feelings were in the very beginning.
Gestern ist Kristen angekommen, heute ist die Equals-Premiere. Und das sogar zu einer angenehmen deutschen Zeit: Da die Premiere wohl schon um ca. 16:00 Uhr kanadische Ortszeit beginnt, können wir uns voraussichtlich schon um 21:00/22:00 Uhr über neue Bilder freuen :D
Ich muss zugeben: Was ein Dubsmash-Video ist, musste ich auch erstmal googlen ^^ Eigentlich ist es ganz simpel, man bewegt die Lippen zu einem berühmten Filmausschnitt, Tiergeräusch o.ä. (also in etwa wie ein Playback-Video). Kristen hat sich für die bekannte Szene aus "Eine Klasse für sich" (1992) mit Tom Hanks entschieden (Originalszene hier) - einfach genial :D
Kristen ist gestern in Toronto angekommen und wird heute Abend EQUALS präsentieren, und unser lieber Freund Josh hat es sich natürlich nicht nehmen lassen, Kristen zu treffen. Man kriegt das Gefühl die Beiden sehen sich öfter, als Kristen ihre Familie sieht ^^ Uns soll's recht sein, immerhin lernen wir bei Josh's Videos Kristen immer wieder von einer neuen Seite kennen ;)
Josh Horowitz hat bei uns sogar schon ein eigenes Label zum Suchen *hehehe*
Wir haben nochmal viel Lesestoff für das restliche Wochenende.. Durch den QOTD-Kinostart, aber vor allem auch durch den LIFE-Kinostart in 2 Wochen ist Rob derzeit sehr präsent in der deutschen Klatsch-Presse vertreten. Uns freut's natürlich, auch wenn man nicht alles Geschriebene glaube sollte ;)
Ein weiteres Interview gab Rob auch noch The Scotsman. Hier sind die Scans:
Außerdem gab Rob dem britischen The Guardian ein wie ich finde sehr sehr gutes Interview, in dem er über seine Karriere nach Twilight, Life, Internet-Trolle und seinen Umzug nach London redet. Das Interview gibt's nach dem *KLICK*
It is one of this summer’s four perfect days, a Friday afternoon to boot, and London’s most smug are bunking off work and descending like fashionable, tanned zombies on Shoreditch House members’ club. Meanwhile in a joyless, north-facing, little-used room called the Library you’ll find Robert Pattinson, the 29-year-old British actor. He’s not tanned; famously, he has the pallor of an eternally youthful bloodsucker. He’s not smug either; in fact it would be hard to find someone less pleased with themselves. And he’s come to Shoreditch House today to work – to do interviews anyway, one of the least enjoyable elements of a job that he’s not convinced he’s especially good at.
Does Pattinson come here often? “Um, yeah, kind of, er. Ish,” he eventually decides on. “I used to go to the gym here until I realised that I didn’t want people to see me going to gym.” He laughs, a posh, unexpected, winning guffaw. “I was so embarrassed,” he continues. “When you’re trying to lift up your 10lb dumbbells… Word spreads.”
Pattinson is monochromatic today: white T-shirt and thin jacket; black jeans, boots and unmarked baseball cap. He has a bushy beard (our pictures were taken before he grew it). It’s the kind the Victorians favoured, with a twiddly moustache, for a part he’s currently shooting. “Oh, this is driving me insane,” he says. “Let me know if I’ve got something hanging off the side. Avocados are especially bad.” Pattinson strokes his chin: “Hmmm, yeah, avocados are not beard-friendly.”
It’s around this point, maybe a couple of minutes in, that I realise I’m going to quite like Pattinson. It is not particularly something he’s said, but his, for want of a better word, vibe. If anyone could be forgiven for being an oddball, it’s him. Any chance Pattinson had of a normal career – a normal life – vanished when he appeared, aged 22, as the vampire Edward Cullen in 2008’s Twilight. Over five films he became very rich, unpleasantly famous and kinkily lusted over. One example: last year in Las Vegas, a woman married a life-size cardboard cutout of Pattinson; on their honeymoon, she carried “him” up to the Hollywood sign.
Such attention, such unsolicited devotion, would be a brain scramble for anyone. But what’s endearing about Pattinson is that it is easy to see the kind of person he was before he became one of the most famous actors in the world. He’s a bit of a goof. He’s prone to gabbling about, say, having a gloop of avocado on his face.
In short, Pattinson doesn’t carry himself like he’s God’s gift. He remains recognisably a 20-something from suburban London whose dad sold vintage cars and whose mum was a model booker.
The most interesting thing about Pattinson these days is the career he’s curating. To oversimplify it, pretty much any director would want Pattinson in their film: he has a name that gets a project green-lit and a fanbase that means people are sure to see it. Yet he has chosen to use this power in an unconventional way. Sometimes he actively seeks out filmmakers who he admires: “There’s not a lot of them, and I like quite specific stuff.” He doesn’t demand the biggest role or for his name to be in the largest type on the film poster – though that’s usually what happens anyway. He’s worked with cult auteur David Cronenberg twice (Cosmopolis and Maps to the Stars) and with Werner Herzog, as TE Lawrence in the forthcoming Gertrude Bell biopic, Queen of the Desert, alongside Nicole Kidman and James Franco. He’s just signed up to play an astronaut in Zadie Smith’s first screenplay.
And this month Pattinson stars in Anton Corbijn’s Life, a warm, perceptive film about James Dean. But Pattinson isn’t playing Dean; he is Dennis Stock, a Magnum photographer who befriended the actor in 1955 and took the iconic shot of him walking in Times Square, smoking, huddled against the rain. Pattinson insists he didn’t, even for one second, consider lobbying for the role of Dean, a role taken by Dane Dehaan.
“I wouldn’t even know where to begin,” says Pattinson. “I guess the only reason anyone would think that is from Twilight, because people always said about ‘brooding’. I’m not entirely sure what brooding is, other than a chicken sitting on her eggs. So I’m not entirely sure why that’s considered an attractive trait.”
There are, however, intriguing parallels to be drawn between Dean and Pattinson, two of the defining stars of their eras, or at least an examination of how the nature of celebrity has changed in the 60 years between their respective peaks. In Life, Dean is caught on the cusp of fame, shortly before the release of his debut film, East of Eden (in the ensuing eight months he would shoot two more films, including Rebel Without a Cause, before dying in a car crash aged 24). The studio, Warner Bros, puts him forward for interviews and Dean mucks them up, partly through inexperience, partly through sabotage.
Pattinson certainly knows how that feels. “When the first Twilight came out, I’d definitely say dumb stuff just so I wouldn’t sound cookie-cutter or part of the machine,” he recalls. For the most part this was pretty tame, such as admitting he took a Xanax before his final audition to calm his nerves or saying that he had been drunk for a year before he landed the part, living in a “cool little ex-crack den” with his best friend, the actor Tom Sturridge. “It’s not very difficult to shock people when you can literally just swear,” Pattinson says, laughing again. “You talk about being hungover and you just see the publicity department waving their arms going: ‘Shut up! Shut up!’”
In other ways, though, Life makes it clear how much the interaction between celebrities and the media has changed. Stock, at Dean’s encouragement, follows the actor home to Indiana, to the farm where he grew up with his uncle and aunt in a Quaker household. The intimacy of their exchanges – and the photographs that relationship produced – would be unimaginable in the present day.
Pattinson concedes as much. “The idea of taking a photographer back to my family’s house… it’s just insane!” he says. “It’s not really even to do with the photographs – it might be nice to have a really good photographer do it, but it’s bringing your family into the public domain and then having to have them deal with this horrible cacophony of demons who live on the internet. That’s really ruined a lot of things, internet trolls, because no one wants to put themselves out there. Even if you can ignore it, and I don’t think anyone can really ignore it.”
There’s not anger in Pattinson’s voice, just acceptance of the uncomfortable Faustian pact he’s made for success in his chosen field. “With my sisters” – Victoria and Lizzy, both older; Lizzy, a singer, appeared on last year’s X Factor, reaching the stage where hopefuls audition at the judges’ houses – “you just bring people into something they have not asked to be part of,” he continues. “It’s impossible for you to stop it afterwards. All you can say is: ‘I’m sorry. I’m sorry for bringing this darkness into your life. And also you don’t get anything out of it either.’ It’s just nothing but bad, yeah.”
Plenty of people in entertainment and outside it really want to be famous. Pattinson, meanwhile, more than any public figure I’ve encountered, appears to be desperate to be less well-known than he is. The point where celebrity was useful to him is long distant. He already has more money than he knows how to spend. In Los Angeles he bought a house – “like Versailles,” he’s described it – but moved out after the paparazzi set up camp outside. He owns 17 guitars, but that’s as far as extravagances go.
“Fame is just in the way for Rob,” says Anton Corbijn, who has considerable experience of working with superstars, first as a portrait photographer and more recently as a film director. “We were shooting in a really cold winter in Toronto and there were days where it was definitely -22C and still there would be some paparazzo photographer hanging in a tree somewhere for a whole day. Even in extreme circumstances, in the middle of nowhere, he gets followed. That must be tiresome.”
Would Pattinson want to be less recognisable, then? “I don’t even think I am that famous anymore,” he says unconvincingly. “I just moved back to London and the thing that always drove me crazy in LA was photographers. You don’t even really care about having your photograph taken, but it’s the following, the trailing, knowing that you can’t escape it. But I moved back to London and it just doesn’t happen ever.”
Really? “Uh huh. Unless you’re at the Chiltern Firehouse or somewhere. That’s it. The infrastructure doesn’t exist here. And celebrity press – they are interested in different things in England. Which is wonderful!”
He might be giving us too much credit there. Pattinson’s relationships are a staple of gossip columns, especially since he split with Kristen Stewart, his Twilight co-star, in 2012. He is currently stepping out with, and almost certainly engaged to, the singer FKA Twigs – hence the return to London – but he’s learned enough to keep it on the down-low. When I raise the subject today, he replies, good-naturedly: “Oh yeah, that. I’ve just found if you never talk about stuff it’s better. But thank you.”
Pattinson’s personal experience, of enduring Twilight and coming out the other side, does seem to have left a residual interest in the smaller cogs in the machinery of Hollywood. In last year’s Maps to the Stars he played an aspiring actor and writer who is really a chauffeur and has an unlikely hook-up with a neurotic big-time actress played by Julianne Moore. In Life his character Dennis Stock witnesses up close what the movie industry is starting to do to James Dean. The lesson, in both cases, appears to be that it’s not easy to remain sane in this business.
Pattinson, though, sees it differently: it’s not that movie stars are weird; everyone is weird. “I think people are pretty extreme,” he says. “If you look at anyone’s behaviour, you meet a lot of nutcases. I can hang out with my family and it’s like a mental asylum.” He’s laughing hard now. “They’ll be like: ‘Oh, why are you saying this about us?’”
Acting, Pattinson insists, remains a learning process; he never studied it and he became Edward Cullen when he still thought he wanted to be a musician rather than an actor. This leads to a bizarrely self-deprecating estimation of his talents. Pattinson rarely watches his own performances – he has still never seen the final Twilight movie – but he does assiduously seek out negative comments on the internet. “I do read reviews to a fault, and it’s an awful thing to do,” he admits. “It’s an addiction. And you only read the bad ones, too, just to foster hatred, self-hatred, self-loathing. Yeah, weird habit.”
“I don’t know if it’s insecurity, but he’s far more gifted than he gives himself credit for,” says Corbijn. “Obviously success came relatively easy to Rob with the Twilight series, and ever since then he’s taken on left-of-centre roles to prove – I guess to himself – that he is an actor and not just a famous actor. That’s really courageous of him, but he underestimates his own quality. He’s nervous. I think he beats himself up a lot – unnecessarily so, in my eyes.”
Corbijn describes “an inner turmoil” he sees in Pattinson. Does Pattinson recognise that in himself? “Err, ha ha, yeah, sort of,” he replies. “Sometimes. I think everyone does, really, but I definitely feel like I need to prove something, and I’m not entirely sure what it is. So that’s probably what my turmoil is.”
Pattinson goes silent for a few seconds. “Confusion!” he eventually exclaims. “I’m definitely very confused. I spent basically my whole 20s having no idea what was going on. And I do feel now that I’m gaining a little bit of perspective.”
The analysis session is almost over. Pattinson walks over to an upright piano by the window and idly plays a few notes. He started taking lessons again recently for the first time since he was a teenager; he thought he would be more enthusiastic this time, but practice is still a drudge. He closes the lid and finishes a thought from a couple of minutes before.
“In a lot of ways, I’m quite proud that I’m still getting jobs,” Pattinson says. “To go from starting a job by accident when you’re 16 and maintaining it somehow and learning how to do it on the job as well. Because of falling into a job, you always feel like you’re a fraud, that you’re going to be thrown out at any second. So yeah, the main thing I do hope is to gradually get rid of that and really be doing what you want to be doing without feeling like you’re faking it. Does that make sense?”
With his intriguing, ambitious post-Twilight career, it is making less and less sense, but it says a lot about Pattinson that he still thinks it.
Was ein Zusammentreffen?! :) Das macht Leonie besonders glücklich... Wer ihr auf dem Bild lieber ist, das soll sie selbst entscheiden :D neben Rob ist sie nämlich auch ein riiiiiesiger Florence Fan. #WirSehenUnsBeimKonzertImDezember...
In jedem Fall trafen beide Stars in Belfast in einem Pub aufeinander. Wir haben die Fanpics für euch:
Rob ist derzeit auf dem Cover des französischen Magazins "Les InRocks" zu sehen. Derzeit haben wir nur die Scans für euch - also wer der französischen Sprache "übermächtig" ist, der möge uns doch eine Übersetzung zukommen lassen^^ Ich kanns nicht - und die google Translate Funktion ist ja auch nicht wirklich sinnvoll. Erfreuen wir uns an neuem Bildmaterial :)
via RPLife
Während vergangene Woche bzw. am vergangenen Wochenende heftig in Venedig gefeiert wurde, fand auch das Deauville Film Festival in Frankreich statt.
Dort feierte "LIFE" am Samstag seine Frankreich-Premiere und Rob war es, auf Grund seines Drehplans von "Lost City of Z" in Belfast, nicht möglich vor Ort zu sein. Aber diese Videobotschaft wurde während der Verleihung gezeigt.
Ein typisches Rob Video - auf der Toilette seines Trailers wurde es seiner Aussage nach aufgezeichnet :D na dann...
Derzeit haben wir ja viele viele News rund um Kristen, mit denen wir euch versorgen können. Aber Rob dreht natürlich nicht Däumchen.
Hier haben wir ein neues Still von "Childhood of a Leader".
Ein neuer Film. Ein neuer (bärtiger) Charakter - wir sind gespannt auf das, was er da alles neues produziert :)
Besonders interessant sind für mich aber immer die Rezensionen von den Film Festivals. Denn in den meisten Fällen suchen die Stars und Produzenten ja immer noch nach Vertrieben, die dann auch den Film in die Kinos bringen.
Wem es genauso geht wie uns, der bekommt jetzt ein paar "Einblicke" auf die bisher veröffentlichten Rezensionen ;) Wir haben uns 3 bekannte "Quellen" ausgesucht. Aber Achtung: zum Teil sind Spoiler dabei.
Laut The Guardian verdient der Film lediglich 2/5 Sternen. Die Performances von Kristen und Nicholas sind für diese Wertung eher weniger ausschlaggebend, denn sie beide erbringen eine sensible, facettenreiche Darstellung ihrer Charaktere. Schwieriger ist für den Zuschauer wohl eher den Einstieg in den Film und die "Schnelligkeit" (oder eben genau die fehlende Geschwindigkeit) mit der er sich weiterentwickelt. Im Endeffekt ist der Film schwer in eine Kategorie einzuordnen, weder Sci-Fi noch schwierige Love-Story aus der Zukunft. Ich bin dennoch gespannt und steh auf so ne Storylines :D
"Hoult and Stewart certainly give it their all, and both deliver
sensitive, nuanced performances – but Doremus never really manages to
solve the problem the afflicts the first half of the film: with
everything and everyone moving at half speed, there’s an inbuilt
dramatic inertness to proceedings that no amount of intense whispering
and tremulous handholding can overcome. Things pick up in the second
half when escape becomes an urgent issue; then, at least, a little
narrative momentum is generated. Equals doesn’t really work as either a
plausible attempt at rendering some sort of future society, nor as a
really convincing thwarted-love story. Without the heft required,
Doremus’s film never achieves lift-off."
Variety hat eine etwas andere Meinung zum Film. Hier lobt man die Kameraführung, die die besondere Beziehung zwischen Silas (Nicholas Hoult) und Nia (Kristen Stewart) rüberbringt. Verschiedene Klänge, abgespacete Locations - das macht den Film speziell.
Ich finde die Story ist einfach wunderbar, einen Blick in die Zukunft werfen und feststellen, dass das alles ziemlich gruselig wäre, wenn es wirklich so eintritt. Aber zu viel Spoilern will ich auch nicht ^^
One of the film’s obvious challenges is the fact that the ensemble is
given an extremely narrow range within which to emote, though as
co-workers, Kate Lyn Sheil and Bel Powley manage to represent suspicion
and concern, respectively, despite those limitations. As her fans
already know, Stewart is a master of such subtlety, capable of conveying
more with a loaded glance or her trademark hair
touch than lesser thesps can with a full monologue. In Hoult’s case,
he’s mastered this precise acting challenge once before in “Warm
Bodies,” playing a zombie who slowly thaws to the idea of love.
Auch der THR lobt die visuellen Effekte des Films und die super Chemie zwischen Kristen und Nicholas und prophezeit die Zielgruppe des Films als die "Teenies", die sich sonst wohl eher weniger mit einem für Erwachsene konzepierten Sci-Fi-Set einer zukunftsorientierten Welt auseinandersetzen würden.
For high-concept melodrama that's low on complexity, this very
solemn film takes itself way too seriously. But it's not entirely
without interest, thanks to sleek visuals and decent chemistry between
alluring leads Nicholas Hoult and Kristen Stewart.
Although she spends much of the early action wearing the impassive
expression that's been bred into the citizens of The Collective, when
Stewart's character, Nia, lets down her guard and falls for Hoult's
Silas, the actress gets to display the kind of raw feeling she's mostly
been keeping a lid on since Bella smoldered for Edward in The Twilight Saga.
Perhaps surprisingly, given Doremus' indie pedigree and this film's
Venice competition launch, its most receptive audience might end up
being swooning youths unfamiliar with superior adult sci-fi set in
oppressive utopian futureworlds. [...]
Das Skript bzw. die Idee dahinter scheint auch hier nun so wirklich zu überzeugen.
But almost everything in the increasingly predictable Equals
feels bloodless and derivative, despite the pleasures of watching the
very pretty leads, clad in stylish matching white uniforms, as they
create heat in a chilly world. That involves far too much dreamy whispering about the miracle of love,
but the commitment and intensity of Hoult and Stewart keep you watching
even in a film this bereft of subtext.
Nun warten wir darauf, uns selbst überzeugen zu können. Schaut ihr euch den Film trotz vll schon gängiger Storyline an oder sagt ihr auch eher, dass man das nicht nochmal sehen muss? Wir freuen uns auf Meinungen und Kommentare :)
Mind
you, both Hoult and Stewart have proven themselves to be empathic,
multi-faceted actors, but here they’re not only forced to play
characters who either have no feelings (or are pretending to — Nia’s got
SOS too, but she hides it), but also are filmed by John Gulesarian
(“The Overnight”) like fetish objects. The whole movie has a luminescent
glow, making everyone and everything look like it’s against the back
wall of a refrigerator, but the lead actors are turned into gleaming
things, like sports cars on a freshman’s wall poster or casseroles in a
Bon Appetit post-Thanksgiving spread. - See more at:
https://www.thewrap.com/equals-venice-review-kristen-stewart-nicholas-hoult-guy-pearce/#sthash.oVbLPNf3.dpuf
Mind you, both Hoult and Stewart have proven themselves to be empathic, multi-faceted actors, but here they’re not only forced to play characters who either have no feelings (or are pretending to — Nia’s got SOS too, but she hides it), but also are filmed by John Gulesarian (“The Overnight”) like fetish objects. The whole movie has a luminescent glow, making everyone and everything look like it’s against the back wall of a refrigerator, but the lead actors are turned into gleaming things, like sports cars on a freshman’s wall poster or casseroles in a Bon Appetit post-Thanksgiving spread. - See more at: https://www.thewrap.com/equals-venice-review-kristen-stewart-nicholas-hoult-guy-pearce/#sthash.oVbLPNf3.dpuf
Einen kurzen Mini-Einblick gibt es nach der Premiere von "Equals" auf dem 72. Venice Film Festival auch für uns. Ich bin wirklich sehr gespannt auf den kompletten Ton des Films, denn noch kann ich mir nicht so viel darunter vorstellen. Das macht das Ganze aber totaaaal spannend.
Auf welchen kommenden Film von Kristen freut ihr euch denn am meisten? Habt ihr einen Favoriten?
Nach der PK ist ja bekanntlich vor der Premiere. Gestern Abend ging es dann nochmal auf den Roten Teppich. Kristen sah wundervoll aus - wieder in Chanel, dieses mal aber in Louboutin Schuhen. Sie sah aus wie eine kleine Prinzessin in diesem silberfarbenen Kleid.
Im Kinosaal hat sie sich gleich wieder den Absatzschuhen entledigt^^ Typisch Kristen - that´s why we love her...
Den Picspam gibt es für alle Interessenten nach dem *Klick* Ist immerhin Sonntag, da kann man sich schon mal durch 100e Bilder klicken^^
Einen riesen Dank an kstewartnews für alle tollen Bilder....
