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The Last Disturbance of Madeline Hynde (Kenneth Branagh, 2026)
Nuevo proyecto de Branagh con guión propio y financiado de manera independiente. Thriller psicológico, por lo visto. Jodie Comer será la protagonista.
En Agosto empezará la producción en U.K (¿estreno a finales de año?).
Veremos si tenemos a Patrick Doyle a cargo de la música o si repite Hildur Guðnadóttir.
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: The Last Disturbance of Madeline Hynde (Kenneth Branagh, 2024).
Se han unido al reparto Patricia Arquette, Michael Sheen, Tom Bateman, Vicky McClure, Michael Balogun, Kristina Tonteri-Young, Karla Crome, Aiysha Hart y Gemma Whelan.
La producción está en marcha en el Reino Unido.
Re: The Last Disturbance of Madeline Hynde (Kenneth Branagh, 2024).
¡Fantástico reparto!
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: The Last Disturbance of Madeline Hynde (Kenneth Branagh, 2024).
Se estrenará el año que viene (ya se ha rodado).
Tom Bateman:
"I'm not allowed to say, but also, even if I was allowed to say, we made a joke that I think I read the script 10 times before I understood 10% of it. I kept saying to him, 'How did you come up with this movie?' Come watch it. It'll be out next year. It's a real web. Nothing is as it seems. Jodie’s character, at the center of it, is going through this thing that makes her own perspective unreliable anyway, so, for that to be your protagonist, it's just a mess."
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: The Last Disturbance of Madeline Hynde (Kenneth Branagh, 2024).
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
Re: The Last Disturbance of Madeline Hynde (Kenneth Branagh, 2024).
Que dice Branagh que la pelicula se está cocinando y ya queda poco para que salga, y ha comentado que Jodie Comer le parece, a nivel de talento actoral, similar a Meryl Streep cuando era joven.
Branagh lleva queriendo trabajar con Jodie Comer desde que supo de su existencia en 2016, y al final ha acabado escribiendo un guión/personaje expresamente para ella. Se trata de un guión original propio, no una adaptación de material pre existente. Branagh escribe y dirige pero en esta ocasión no interpreta ningún papel.
Este film está realizado de manera completamente independiente, en el Reino Unido. No solo eso, sino que esta es la primera pelicula de Branagh parcialmente auto financiada por el mismo. De su propio bolsillo, vaya.
Así que BruceTimm, esta si podrás ir a verla a salas.
What makes Megalopolis so strange and, for a big-budget Hollywood film, so singular, is that, just like Vergil’s Aeneid, it is at once accretive, allusive, and idiosyncratic because Coppola is attempting something very few artists have ever done: to speak from inside the imperial organism, even as it begins to crack, and to craft a vision that is both a monument to its grandeur and a requiem for its decline.
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