Blu-Ray screen captures from The Seagull have been added to the gallery, enjoy!
We guys! I’m new of webmaster of Elisabeth Moss.Net, Becky! We did screen captures from the movie “The Invisible Man”, thanks Annie!
Check +3.000 screencaps in our gallery!
Wes Anderson’s “The French Dispatch” is finally set to world premiere in competition at the upcoming Cannes Film Festival, Variety has learned. The Searchlight title doesn’t have a release date as yet, and Disney is expected to unveil one soon for later this year. The 2021 edition of the Cannes Film Festival will kick off July 6 with Leos Carax’ “Annette” and a competition jury presided over by Spike Lee.
“The French Dispatch” was already part of last year’s Official Selection and was due to open in theaters in the summer but had its theatrical release pushed several times due to the pandemic. It’s possible something will fall apart, but at this point, Anderson’s film is expected to premiere in the South of France more than a year after it was originally slated to have its red carpet bow.
Anderson’s 10th movie, “The French Dispatch” stars Benicio del Toro, Tilda Swinton, Saoirse Ronan, Adrien Brody, Bill Murray and Timothée Chalamet, among other stars. There’s still some uncertainty about how many members of the cast will be on the ground in Cannes to present the film. Anderson, however, is expected to be there along with several actors, notably Tilda Swinton who stars in another competition title, “Memoria” by Apichatpong Weerasethakul.
The film shot in Augouleme, France, and is set at an outpost of an American newspaper called The French Dispatch in a fictional 20th-century French city which brings to life a collection of stories.
Anderson isn’t a Cannes regular, but did use the festival to premiere 2012’s “Moonrise Kingdom” which earned a warm welcome before becoming one of his bigger box office successes.
Other U.S. movies in the pipeline for the upcoming edition include Sean Penn’s “Flag Day” in which Penn stars as a conman alongside his daughter Dylan Penn, his son Hopper Penn, Josh Brolin and Miles Teller; and Tom McCarthy’s Marseille-set thriller “Stillwater” with Matt Damon; as well as Todd Haynes’s documentary “The Velvet Underground.”
“We have seen some beautiful American films and the selection will reflect that,” Cannes’ chief Thierry Fremaux told Variety last week. Fremaux also said the summer 2021 edition will look to bring locals into the mix and celebrate moviegoing with more live events and outdoor screenings planned. The full lineup will be unveiled on June 3 in Paris.
A spokesperson for Cannes declined to comment and a spokesperson for Searchlight did not immediately respond to a request for comment.
Elisabeth’s new project “Run Rabbit Run” gets a distributor! Read below:
STX Entertainment has secured worldwide distribution rights to psychological thriller “Run Rabbit Run,” from Emmy-nominated “Handmaid’s Tale” director Daina Reid (“The Outsider”) and starring Emmy winner Elisabeth Moss (“The Invisible Man”).
While STXfilms will directly distribute “Run Rabbit Run” in the U.S., U.K. and Ireland, STXinternational will introduce the project to buyers at the ongoing virtual Cannes market. The deal was negotiated by Nate Bolotin of XYZ Films on behalf of the producers on the eve of the market.
Moss will play a fertility doctor who is frightened by her young daughter’s inexplicable memories of a past identity. The film is written by novelist Hannah Kent, who wrote from an original idea developed with Carver Films (“Relic”). Anna McLeish and Sarah Shaw of Carver Films are producing the film, and Moss will also produce alongside her partner Lindsey McManus. Principal photography is expected to commence on location in Australia in 2020.
XYZ Films (“Mandy”) will finance in collaboration with Finland’s IPR.VC and executive produce the project. “Run Rabbit Run” is a Carver Films production, with major production investment from XYZ and Screen Australia, in association with Film Victoria and the South Australian Film Corporation. 30WEST will also serve as executive producers. Umbrella Entertainment will distribute in Australia and New Zealand.
Adam Fogelson, chairman of the STXfilms Motion Picture Group, said: “Elisabeth’s outstanding performance and the huge success of ‘The Invisible Man’ make her a theatrical force to be reckoned with. A genre film that reunites Elisabeth with ‘The Handmaid’s Tale’ director Daina Reid is an incredible opportunity and we couldn’t be more excited to embark on this film together.”
Moss will next be seen in Wes Anderson’s Cannes Official Selection “The French Dispatch,” as well as Taiki Waititi’s “Next Goal Wins.”
Moss is represented by WME, Independent Talent Group and Ribisi Entertainment Group. Reid is represented by RGM Artists and ICM Partners.
STX recently merged with Indian studio Eros International. The STX-Eros combine has plans to set up a base in China to tap into that giant market, and also leverage the existing Eros capacities in India. Eros also has a well-established distribution network around the world, and the combine is looking at maximizing synergies there. Post-theatrical, “Run Rabbit Run” could also benefit from access to streamer Eros Now, that has 187 million registered users and 26 million paying subscribers. Eros Now will imminently launch a premium, English-language tier, featuring content from NBCUniversal and STX content.
Shirley is now out on VOD, and its a must see. Elisabeth delivers another brilliant performance. Here is the review from Collider:
Lauded author Shirley Jackson was a mad genius. Her macabre stories like “The Lottery” and The Haunting of Hill House captured the imaginations of people the world over, but Jackson herself was considered an odd duck. Rumors swirled that she never left her house, and she was beset by illnesses that finally claimed her life at the far-too-young age of 48. But until the end, Jackson was crafting crackling stories that not only pushed the boundaries of horror fiction, but of what was considered “proper” for a woman in her day and age.
Given the madness within Jackson’s work, and the stories about the woman behind the words, it stands to reason that any movie made about her life should probably be a little strange and offbeat itself. In that regard the new film Shirley, which uses the fictionalized account of two houseguests staying with Jackson and her husband to peer into the unique life of the celebrated author, is a success. Creepy and macabre, intimate and inappropriate, Shirley lets us whirl around in Jackson’s head for a couple of hours. And while the film’s offbeat style may not be for everyone, it highlights the continued relevance and sad nature of Jackson’s life by telling a story about confident, complex women being “othered” by society.
Based on the novel of the same name by Susan Scarf Merrell, Shirley opens—appropriately enough—with a young woman getting horny by reading Shirley Jackson’s short story “The Lottery.” Rose (Odessa Young) and her professor husband Fred (Logan Lerman) are moving to a small Vermont college town to continue their collegiate studies, with Fred having been tasked with helping Shirley Jackson’s husband Stanley Hyman (Michael Stuhlbarg) with his research. Stanley counters with an agreement of a different sort: he will provide free room and board for Fred and Rose at his home if Rose agrees to help around the house, admitting the previous housekeeper up and quit on account of Shirley’s cantankerous nature. Fred readily agrees, while Rose is more reluctant—this means Rose has to drop out of college for the time-being, when she was under the impression she and Fred would be studying as equals.
Quickly Fred and Rose learn that Shirley and Stanley aren’t exactly a traditional couple. Shirley—played by Elisabeth Moss in a straight-up haunting performance—is prone to bouts of depression, sleeping all day, drinking all night, refusing to eat, etc. Stanley, meanwhile, is an outgoing man who values originality above all, and while he thinks his coaxing to get his wife out of bed is for her benefit, it’s not hard to see he’s really mostly trying to get her cracking on her next popular story while he does whatever the hell he wants.
As Fred and Stanley spend the days away from the house, Rose and Shirley strike up a most complicated relationship. At turns contentious, friendly, and sensual, this is a truly odd dynamic and one brought to the screen with vigor by Young and Moss. These two women, each ambitious in her own way, have been all but sidelined by their husbands and asked to keep their interest in the macabre to themselves. It’s in this relationship that director Josephine Decker and writer Sarah Gubbins draw clear parallels to the expectations put on women, and how society treats those who dare to be different. And God help you if you’re different and brilliant.
As the story progresses, Rose is further and further pushed into the “wifey” role as Stanley calls it, and while she’s reluctant, she falls in line. Because that’s what society—especially in the 1960s—expects of her. Shirley, too, is put in a box, albeit a different kind. Stanley fully appreciates and even encourages Shirley’s brilliance, but only on his terms. He wants to see the pages she’s supposedly churning out during the day, not to give input, but so he can put some kind of stamp on her brilliance. He views his caretaking of Shirley (despite the fact that he’s basically hired someone to do the caretaking for him) as a favor, and in return she owes him. Nevermind the fact that he’s constantly stepping out on Shirley—his affairs are an open secret.
But Shirley and Stanley oftentimes make the perfect storm, as they intentionally rile up or stoke problems between Fred and Rose merely for their own amusement. They use those they deem “lesser” for entertainment, and indeed Stanley remarks that there’s nothing he disdains more than mediocrity, which puts a target on Fred’s back.
Decker most recently helmed the head-trip Madeline’s Madeline, and she brings a similar oddball quality to Shirley. The cinematography is dizzying and intimate and messy and sweaty, illuminating the madness within Jackson’s house and mind. It’s effective, but could test the patience of some. Indeed the story seems to wander a bit, as the film is less about the narrative and more about getting a feel for who Shirley Jackson was as a person, and how the stories of hers that we take for granted came at a cost. Which is worthwhile to be sure, but at a certain point your mind may begin to wander.
Stuhlbarg gives an inspired performance and Young plays her character’s dynamic arc with intensity, but this is Moss’ show and she does not disappoint. The madness of Shirley Jackson is there to be sure, but Moss brilliantly layers in the loneliness, sadness, and despair of the character all while keeping a façade of “I DGAF.”
Shirley is a welcome respite from cradle-to-the-grave biopics, and this fictional account offers an interesting pathway to understanding a bit more about Jackson’s somewhat tragic life. And while the film itself wears a bit as it goes on, Decker’s larger points about the marginalization of women remain striking, and Moss’ terrific performance is reason enough to seek this one out. This story is certainly not a traditionally told one in any sense of the word. But you can imagine Shirley Jackson herself probably wouldn’t have had it any other way.
New Project for Elisabeth:
Even with her duties on The Handmaid’s Tale, Elisabeth Moss has found time to keep her film career ticking over, including with this year’s successful The Invisible Man. She’s going to work with Tale director Daina Reid on a new Australia-set thriller Run Rabbit Run.
XYZ Films and Carver Films are producing the new film, which has a script by novelist Hannah Kent developed from her original idea. Moss will star (and produce) as Sarah, a fertility doctor, with a firm understanding of the cycle of life. When she is forced to make sense of the increasingly strange behavior of her young daughter Mia, she must challenge her own beliefs and confront a ghost from her past.
Given Australia’s relatively lower Covid situation, it’s quickly becoming a destination for filmmakers, who can get back to work on movies. Moss, who last appeared in Josephine Decker’s Shirley, will be seen in Taika Waititi’s Next Goal Wins and Wes Anderson’s The French Dispatch.
Shirley, starring Elisabeth Moss and Michael Stuhlbarg will be released straight on VOD and Digital on June 5th. Here is the trailer:
Here’s an interview from The Wrap about Shirley from Sundance:
For “Shirley” director Josephine Decker, Elisabeth Moss was always the “top choice” to play author Shirley Jackson in her drama.
“You were my top choice!” Decker told Elisabeth Moss at TheWrap’s Sundance Studio. “We were all like, let’s get Elisabeth Moss to play Shirley!”
Moss was drawn to the project due to the Sarah Gubbins screenplay, as well as the other actors attached.
“It’s funny because it is a version of Shirley Jackson, I think about Shirley as if she had many versions of herself,” Moss told TheWrap’s Steve Pond. “Michael [Stuhlbarg] has always been one of my favorite actors of all-time, so to be able to work with him finally was incredible. Then we got Odessa Young, this beautiful young actor, and then we had Logan [Lerman], who brought so much to that character. It just got better and better for me.”
Stuhlbarg only had wonderful things to say about Moss as well. When asked why he wanted to be a part of the drama, he said, “I heard this one was doing it,” pointing at Moss.
“That’s what made me do it,” he added. “I was unfamiliar with Josephine, so I saw her films and the script itself was so evocative, literate, funny, precise, and the combination of elements of this particular story and learning about Shirley Jackson and about Stanley Hyman, their relationship, the perversity of it, it got more and more interesting as time went on. It was a really wonderful journey.”
“Shirley” follows a young couple that moves in with Shirley Jackson and her husband Stanley Hyman, only to realize that they are in the midst of a psychodrama that will act as inspiration for Jackson’s next novel.
The film had its premiere at the Sundance Film Festival.
Elisabeth is featured on the April issue of the SciFiNow magazine, promoting The Invisible Man, which opens this month on the 28th. Here are digital scans:
Great news for Shirley. We should be getting a wide release soon!
Michael Stuhlbarg also stars in the movie from director Josephine Decker.
Shirley, the Elisabeth Moss-starring thriller, has been acquired by Neon in North America.
The deal was in the low-seven figure range, making it the indie distributor’s second (and smaller) deal at the festival after having jointly acquired Andy Samberg comedy Palm Springs with Hulu for a record-setting $17.5 million and 69 cents.
Josephine Decker directed from a screenplay by Sarah Gubbins, which follows a young couple, Fred and Rose (Odessa Young and Logan Lerman), that moves to a small Vermont college town in pursuit of a job for Fred as an assistant professor of literature. They receive free room and board from professor Stanley Hyman (played by Michael Stuhlbarg) as long as Rose agrees to spend time cleaning up the home and looking after his wife, acclaimed horror author Shirley Jackson (Moss). The eccentric couple and their household will test the limits of the young love.
Moss also produced the movie, along with Gubbins, Christine Vachon, David Hinojosa, Sue Naegle, Jeffrey Soros and Simon Horsman. Martin Scorsese exec produced the movie, along with Allison Rose Carter, Alisa Tager and Cher Hawrysh.
The movie screened in the fest’s U.S. dramatic competition section.