Cake Maker http://cakemaker.org.uk/ Sat, 22 Jan 2022 09:44:14 +0000 en-US hourly 1 https://wordpress.org/?v=5.8 http://cakemaker.org.uk/wp-content/uploads/2021/06/cropped-icon-32x32.png Cake Maker http://cakemaker.org.uk/ 32 32 A Human Position review – slow and lingering love story in a dreamy small town in Norway | Movie http://cakemaker.org.uk/a-human-position-review-slow-and-lingering-love-story-in-a-dreamy-small-town-in-norway-movie/ Sat, 22 Jan 2022 07:20:36 +0000 http://cakemaker.org.uk/a-human-position-review-slow-and-lingering-love-story-in-a-dreamy-small-town-in-norway-movie/

“WWhat’s the best thing about Norway? asks the main character of this intriguing film from Norwegian screenwriter and director Anders Emblem. Her friend replies: “Mountains? A-ha? To which the original speaker responds that she was actually thinking more about things like the welfare state. It’s a quibbling, playful and thoughtful exchange, which also seems to coincide with hesitant sexual advances, and it’s very characteristic of this elegant, seriocomic, beautifully shot piece of slow-moving cinema, with excellent catplay and quirky touches. by Murakami.

Asta (Amalie Ibsen Jensen) is a young woman who lives with Live (Maria Agwumaro) in a spacious apartment in the Norwegian port city of Ålesund, opposite an abandoned building that Asta is often seen staring pensively at. Live is a carpenter specializing in the repair of chairs. She also likes to play the electric organ that the owner left in the attic. In what appears to be a lull in his personal and professional life, Asta applies to the local newspaper, Sunnmørsposten, for a temporary shift job. After working through stories about fan dissatisfaction with the local football team and greedy developers threatening to tear down the Art Nouveau architecture the city is famous for, Asta stumbles upon a story that means something to her: an asylum seeker named Aslan who was forcibly repatriated. She sets out to find out more about him and seems reasonably pleased with the resulting somber article about the troubled conscience of the Norwegians – although the question of Aslan’s whereabouts now is another matter.

In fact, both Asta (and Live) may be more distracted by the issue of Asta’s depression and possible self-harm. Everything we see on screen: all the slow shots that build up, the angular visual compositions, all the bright and purifying tableaux of the city and its steep picturesque lanes, the soft shots of the cat, the inquiring diary and the chairs…can just be a moving activity. It may just be Asta’s healing – or his reluctance to heal. And this healing also plays a part in Live seeming to be in love with Asta.

And the emptiness of the city is itself striking. The pandemic is not mentioned and no one wears a mask. But I wonder if Emblem hasn’t adopted a sort of lockdown aesthetic for its film, a deliberate dreamlike emptiness. A Human Position is a question mark of a film with an elusive tone, happy and sad. It lingered in my mind.

A Human Position screened at the Tromsø Film Festival in January 2021.

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FilmRise Obtains FAST Rights to Canadian Series “Kim’s Convenience” http://cakemaker.org.uk/filmrise-obtains-fast-rights-to-canadian-series-kims-convenience/ Sat, 22 Jan 2022 00:24:38 +0000 http://cakemaker.org.uk/filmrise-obtains-fast-rights-to-canadian-series-kims-convenience/

“Kim’s Convenience”

Stephanie Prange

FilmRise, the New York-based film and television studio and streaming network, has acquired the ad-supported digital multi-territory linear rights (FAST) to the critically acclaimed Canadian comedy series “Kim’s Convenience” from the company. Canadian company Thunderbird Entertainment.

The deal gives FilmRise exclusive FAST (free to air supported by advertising) rights to all five seasons of the series, which it will program on its existing FAST channels and enable the creation of dedicated marathon FAST channels of the series across the United States. , Latin America, German-speaking Europe, French-speaking Europe, Italy and Spain. FilmRise plans to bring the series to FAST linear streaming channels on IMDb TV, Pluto, The Roku Channel, Samsung TV+, and the FilmRise Streaming Network, among others.

Originally airing on CBC from 2016, the series made its international debut on Netflix in 2018.

Based on the award-winning play of the same name by Ins Choi, “Kim’s Convenience” depicts the Korean-Canadian Kim family who run a convenience store in Toronto. Over its five seasons, the series has won several Canadian Screen Awards, including Best Comedy Series, Foreign Drama of the Year at the Seoul International Drama Awards (2019), Members’ Choice Series Ensemble Award for Best Cast at Toronto 2017. ACTRA Awards (Association of Canadian Television and Radio Artists).

The comedy stars Paul Sun-Hyung Lee (“The Mandalorian”), Andrew Phung (“Run the Burbs”) Andrea Bang (“A Million Little Things”), Jean Yoon (“The Voyeurs”), Simu Liu (Marvel’s Shang-Chi and the Legend of the Ten Rings), and Nicole Power, who stars in “Strays,” which is the spin-off series from “Kim’s Convenience” that premiered in September 2021 on CBC.

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“As the FilmRise streaming network continues to grow, our approach to acquiring programs featuring unique stories from people from diverse backgrounds also grows,” said Max Einhorn, Senior Vice President of Acquisitions and Co-productions for FilmRise. , in a press release. “‘Kim’s Convenience’ has had a huge impact on a wide range of viewers, and we’re thrilled to bring this culturally relevant series to streaming audiences around the world for free.”

“Kim’s charming characters and beloved stories have brought love and laughter to the hearts of many over her five seasons,” said Richard Goldsmith, President, Global Distribution and Consumer Products, Thunderbird Entertainment, in a press release. “Through our partnership with FilmRise, we are thrilled that new international audiences will have the opportunity to connect and enjoy the heartwarming and hilarious experiences of the Kim family.”

]]> Munich: Netflix WW2 Movie Holds the Mirror Until Today http://cakemaker.org.uk/munich-netflix-ww2-movie-holds-the-mirror-until-today/ Fri, 21 Jan 2022 08:01:00 +0000 http://cakemaker.org.uk/munich-netflix-ww2-movie-holds-the-mirror-until-today/

We all know how it happened.

Hence the fictional drama that unfolds simultaneously between two friends: the aforementioned Hugh Legat and his Oxford-era German pal Paul von Hartman (Jannis Niewöhner). The couple argued after school due to Paul’s infatuation with the then-burgeoning Nazi Party and Germany’s promises of glory. But six years later, Paul is disillusioned and part of a secret resistance within the German government that works against Hitler. Also due to a rather convenient plot, he came into possession of a document that proves Hitler’s intention to acquire more “living space” for the Germans through a war of conquest through the ‘Europe. So Paul arranges to share this document with Hugh and Chamberlain at the Munich Conference in a last hope of convincing Chamberlain to aid a German military coup in Berlin.

Of course, if Hugh or Paul are caught conspiring in a German town filled with spies and prying Nazi eyes, both could be executed, one as a spy and the other as a traitor.

Munich: the brink of war is directed by Christian Schwochow, who has worked extensively on television, notably on the series The crown. This makes sense because many of the compositions and the overall staging consist of hand-shaking close-ups with shallow depths of field. The handheld is meant to make quiet dates in beer gardens and dark German streets more clandestine and dangerous, but they’re perhaps more about the usually less-funded endeavors of many Netflix dramas lit up by an avid streaming service. of content.

It particularly hurts the way certain crucial plot points occur, such as when Paul and Hugh are filmed shouting in the lobby of a German hotel where the British delegation is staying – and which was reportedly crawling with Nazi eyes. , who couldn’t have spotted such forced melodrama any easier than if the pair had worn matching neon jumpsuits. In that sense, the more theatrical flourishes fall flat whenever the film attempts to be a full-fledged thriller.

Nonetheless, there’s a gnawing, unavoidable tension throughout the film that becomes almost unbearable as the screws tighten and Chamberlain places the fate of Europe firmly in the lion’s mouth. This is partly due to Irons’ expert-judged performance as British Prime Minister. Always a captivating on-screen presence when he wants to be (or given solid enough material), Irons inhabits Chamberlain’s weakness, yes, but also cultivates an apparent awareness of his doomed madness. He knows his efforts will fail but he will continue the charade anyway in the hope of peace. Is this correct for humans? I don’t really know, but it makes for a good desperate drama.

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‘Stop-Zemlia’ review: Ukrainian drama captures teenage universality http://cakemaker.org.uk/stop-zemlia-review-ukrainian-drama-captures-teenage-universality/ Fri, 21 Jan 2022 01:16:00 +0000 http://cakemaker.org.uk/stop-zemlia-review-ukrainian-drama-captures-teenage-universality/

The Times has pledged to review movie theatrical releases during the Covid-19 pandemic. Because cinema carries risks during this time, we remind readers to follow health and safety guidelines such as described by the Centers for Disease Control and Prevention and local health officials.

Ukrainian filmmaker Kateryna Gornostai turns to her teenage years, in all its feelings, friendships and trial and error, for her directorial debut, “Stop-Zemlia,” an immersive portrait of high school life, a time when young adults manage to become themselves.

Opening with a series of portraits of its teenage characters drawn from documentary-style interviews sprinkled throughout the film, the narrative focuses on Masha (Maria Fedorchenko), one of the kids outside the popular gang, who finds close-knit company with her two best friends, Yana (Yana Isaienko) and Senia (Arsenii Markov). This trio is often nihilistic about the state of the world, but Masha leads a comfortable life. She experiences the kind of universal teenage angst that stems from her unrequited desire for connection, belonging, and, of course, the cute boy in the class, Sasha (Oleksandr Ivanov).

It’s tempting to compare “Stop-Zemlia” to the HBO series “Euphoria,” because these teenagers also wear colorful makeup and experiment with alcohol, drugs, sex, and self-harm (the only main difference: gun safety to prepare for army training). But there’s something quite innocent about this depiction, which doesn’t try to be an outrageous or searing portrait of youth, but to create an emotionally authentic depiction of this overloaded and sensitive age.

Emotional and subjective realism prevail in this otherwise naturalistic and observational film. Gornostai recounts moments of magical, dreamlike surrealism when Masha finds herself daydreaming or dissociating, imagining herself playing badminton on a theater stage or watching a sparkling black slime flow from a self-inflicted gash in the wrist.

Sometimes “Stop-Zemlia” (the name of a game they play which is a cross between tag and Marco Polo) seems a bit long, but it’s a pleasure to just hang out in this world with these characters, to feel so deeply what they do. At the end of the film, Masha asks the film’s documentarian, “Do you feel connected to your emotional state when you were my age?” The sensually crafted “Stop-Zemlia” is a great conduit for bringing out those visceral memories of teenage life.

‘Stop Zemlia’

In Ukrainian with English subtitles

Unclassified

Operating time: 2 hours, 2 minutes

Playing: Starts January 21, Laemmle Glendale; also on VOD

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How a Love Affair and a Burned Warehouse Helped 1,000 Entrepreneurs Start New Businesses http://cakemaker.org.uk/how-a-love-affair-and-a-burned-warehouse-helped-1000-entrepreneurs-start-new-businesses/ Thu, 20 Jan 2022 16:18:04 +0000 http://cakemaker.org.uk/how-a-love-affair-and-a-burned-warehouse-helped-1000-entrepreneurs-start-new-businesses/

The post How a love affair and a burned down warehouse helped 1000 entrepreneurs start new businesses appeared first on PR Fire.

Startup Streams, an accidental start, exceeds its first milestone of 1000 customers

Along with Coca-Cola, Kellogg’s and Ferrari, Startup Streams is the latest company to add to the list of “accidental starts” after a warehouse in the UK burned. The future founder of Startup Streams Eddie Eastman worked at the warehouse, but when he had no more work after the fire, he decided to go to Indonesia where he met his girlfriend, Nadya.

After some time spent at bali and needing to return to UK due to an expired visa, Eddie was determined to return to bali as soon as possible to see his girlfriend. He decided to use his graphic design and web design skills to sell pre-made businesses with products to sell to help break down barriers to entrepreneurship for those who want to start a business but don’t know where to start.

“I’ve always been involved in entrepreneurial endeavors since I was 12 when I started a skateboard sticker business in school. I’ve always had a rough side, but I wanted to get started in a full-time company to hang out. bali as soon as I can,” Eddie said.

Within days, Eddie had sold his first business on the Shopify Exchange, but accidentally said the store wasn’t exclusive.

“When I made the sale, I contacted the buyer as I thought he hadn’t seen the mistake. However, the buyer said he was happy to buy the business in double meaning I was able to sell the same business multiple times. . Startup Streams was born!” Eddie added.

Eddie was able to return to bali within 60 days of launching Startup Streams due to its success and a few months later, she hired Nadya and four of her friends who were graphic designers and developers but had lost their jobs due to the pandemic.

Startup Streams expanded to sell on the ‘super seller’ Flippa Marketplace and Fiverr Pro before several major pivots in their business model before relaunching https://startupstreams.com in 2021.

“My first client messaged me a year after buying from me and said their store was still doing great, even though I had sold a few of the same businesses since then because it was over $700 per month, which was fantastic to hear.” Eddie continued.

From January 2022, Startup Streams features over 100 prefab businesses for sale and has helped over 1000 entrepreneurs launch businesses or start a side hustle, and continues to do so today.

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(C) 2022 M2 COMMUNICATIONS, source M2 PressWIRE

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Tina Turner and her husband buy a sprawling US$76 million estate on Lake Zurich http://cakemaker.org.uk/tina-turner-and-her-husband-buy-a-sprawling-us76-million-estate-on-lake-zurich/ Thu, 20 Jan 2022 16:12:48 +0000 http://cakemaker.org.uk/tina-turner-and-her-husband-buy-a-sprawling-us76-million-estate-on-lake-zurich/

GENEVA — Rock ‘n’ roll icon Tina Turner and her husband have reportedly purchased a 70 million Swiss franc ($76 million) estate with 10 buildings, a pond, stream, swimming pool and dock on the lake from Zürich.

The 82-year-old star’s husband, Erwin Bach, was quoted in the Handelszeitung daily as saying the couple acquired the 24,000-square-meter (260,000-square-foot) century-old property in the village of Staefa in September.

Bach said the purchase was a logical step as they both have Swiss nationality now and “feel very comfortable in Switzerland”. He added that “due to the pandemic and its consequences, we – like many other Swiss people – unfortunately refrain from travelling”.

According to reports from Switzerland, they will be close neighbors to Swiss tennis superstar Roger Federer, who is also said to have considered the property before moving to another further east along the lake.

Turner, known for hits such as “Proud Mary” and “What’s Love Got To Do With It” and dynamic stage performances, married German music director Bach in 2013 after a long relationship. Born Anna Mae Bullock on November 26, 1939 in Brownsville, Tennessee, she has lived in Switzerland with him since 1994.

Turner and Bach rented a house in the town of Kuesnacht, closer to the city of Zurich, for years.

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Ozark Actress Julia Garner Opens Up About Her Craft and Her Love of Fashion http://cakemaker.org.uk/ozark-actress-julia-garner-opens-up-about-her-craft-and-her-love-of-fashion/ Thu, 20 Jan 2022 04:00:00 +0000 http://cakemaker.org.uk/ozark-actress-julia-garner-opens-up-about-her-craft-and-her-love-of-fashion/

This article first appeared in Harper’s Bazaar Singapore, the fashion leader on the best in style, beauty, design, travel and the arts. Go to www.harpersbazaar.com.sg and follow @harpersbazaarsg on Instagram; harpersbazaarsingapore on Facebook. The January 2022 issue is now available on newsstands.

SINGAPORE – American actress Julia Garner is used to doing a lot of things simultaneously.

In addition to sitting for magazine covers and apartment hunting, the 27-year-old just wrapped filming two Netflix series: the fourth and final season of crime drama Ozark (2017 to 2022) and the highly anticipated miniseries produced by Shonda Rhimes, Inventing Anne.

In Ozark, out Jan. 21, Garner reprises her Emmy-winning role as hot-headed rioter Ruth Langmore, a member of a crime family. She won Best Supporting Actress in a Drama Series in 2019 and 2020.

Inventing Anna, a true story based on a viral New York Magazine article, is set to premiere February 11. banks and Manhattan’s wealthy elite in its wake between 2013 and 2017.

To say Garner lends a magnetism to intense, unconventional roles is an understatement. But is it intentional?

“I look at the scripts and I think it’s not complex enough. When it’s complex, there are more things to do,” she says over the phone from New York.

Our hour-long conversation is interrupted intermittently by the snoring of Biz, the English bulldog she owns with her husband Mark Foster, lead singer of indie pop band Foster The People. Garner apologizes on Biz’s behalf.

Filming both roles at the same time during a pandemic, pre-vaccine, and with two complicated accents that are worlds apart – Langmore speaks in a deep South American drag while Sorokin does British English with American musicality and sprinklings of German and Russian inclination – was difficult, admits Garner.

“It was a moment I will remember forever because it was so hard. I didn’t even have time to think about how crazy it was,” she says.

She credits her Ozark co-star and mentor, veteran actress Laura Linney, for helping her through the intense double filming schedules.

Linney had shared a simple piece of advice with her that she now follows: “It’s one bite at a time, take it hour by hour.”

It was a coping mechanism Linney learned in the early 2003s while filming the 2003 movies Love Actually and Mystic River at the same time shuttling between two countries.

For Garner, preparing for the role in Inventing Anna involved meticulous study of the magazine article on which the show is based and reviewing the limited but valuable footage acquired by powerful creator and producer Rhimes – some of which was taken during the first weeks of Sorokin. in prison.

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‘The Pilot’ uses a real Soviet plane to bring an untold story of World War II to the screen http://cakemaker.org.uk/the-pilot-uses-a-real-soviet-plane-to-bring-an-untold-story-of-world-war-ii-to-the-screen/ Wed, 19 Jan 2022 18:01:41 +0000 http://cakemaker.org.uk/the-pilot-uses-a-real-soviet-plane-to-bring-an-untold-story-of-world-war-ii-to-the-screen/

“The Pilot” is a Russian action thriller based on the true story of Aleksey Maresyev, a World War II pilot whose plane was shot down over the German-occupied Novgorod region. The film follows Maresyev as he tries to fight off cold, wild animals and Nazis as he tries to get home.

The film will be released on digital, Blu-ray and DVD on March 1, 2022, and we have a first look at the trailer.

While the film’s characters speak Russian (and likely German), the release will give viewers the choice of subtitles or an English-dubbed version.

Nikolai Komlev is the name of the character based on Maresyev, and he is played by Russian actor Pyotr Fyodorov. If you’re not a fan of Russian movies or TV, you’ve probably never heard of him, but Fyodorov is a well-known lead actor in his home country.

The film used a still-active Soviet Ilyushin Il-2 for the flight scenes. Of the 40,000 aircraft of this type built during the war, only two still exist. The plane we will see in the film was forced to land on an icy lake in the Murmansk region in November 1943. It sank and remained submerged until 2012, when it was recovered and returned to new.

Aircraft scholars will note that, although the film is set in 1941, the two-seat version of the aircraft seen in the film did not enter production until 1943. Considering that only two remain around the world, producers are kindly asking that we give them a pass.

Like the Oscar-winning film “The Revenant”, “The Pilot” was filmed in extreme weather conditions that replicate what real pilots endured during the war. There is a lot of snow and the wild animals you see on screen are real wolves and not special effects.

We don’t see many WWII movies about our Russian allies, but this one has a brave pilot who fights off wolves and Nazis to get home to his family. It looks like a winner.

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Federation Entertainment teams up with German executives to launch Glisk http://cakemaker.org.uk/federation-entertainment-teams-up-with-german-executives-to-launch-glisk/ Wed, 19 Jan 2022 09:16:10 +0000 http://cakemaker.org.uk/federation-entertainment-teams-up-with-german-executives-to-launch-glisk/

Federation Entertainment has further expanded its European footprint by moving to Germany with veteran executives Philipp Steffens and Julie Link.

Glisk, a production and talent management company focused on creativity, will focus on creating, producing, financing and distributing high-quality originals through a stable of independent studios.

Scripted and unscripted shows will be aimed at the German domestic market, and the company will also seek to produce international co-productions.

The new company sees Federation Entertainment teaming up with an experienced husband and wife team in Steffens, who recently created and produced TNT Germany The valley, and Link, who has held executive positions at Critical Content, Relativity Television and Splendid Studios.

Around the world in 80 days Producer Federation has grown at a rapid pace over the past year, having partnered with US studio Anonymous Content to launch a joint venture in France, opened up in the US through a new management and Animal Federation production and set up a UK operation run by two former eOne executives. He recently took a majority stake in French independent studio Robin & Co.

“Germany was the last major European country where the Federation had not yet established a solid presence because we were waiting to meet the right partners,” said Pascal Breton, founder and president of the Federation.

“Julie Link and Philipp Steffens are those partners. Julie and Philipp perfectly embody the balance between artistic excellence and an ambition to engage our ever-growing audiences, especially on digital platforms. We hope that our combined strengths will attract even more talent for our management activities and also to develop and co-produce a wide range of independent productions.

Breton added that “the Federation’s contribution to the gaps in development, pre-sales and distribution funding should allow Julie and Philipp and their partners to launch more productions in the years to come and we look forward to working with them”.

Steffens and Link said, “As husband and wife, we have wanted to work together for a long time and the past year has provided us with the perfect environment to make our dream come true.

“We want to be an incubator of great ideas and bring them to light by creating engaging and emotional content that travels the world. We couldn’t ask for a better partner than Federation Entertainment – ​​they have a real understanding of our goals and will be incredibly supportive as we are able to tap into the exceptional talent of the global network of independent studios.

Studio Legal in Berlin and Frieh and Associates in Paris handled the transaction.

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Movies trying to make sense of senseless violence http://cakemaker.org.uk/movies-trying-to-make-sense-of-senseless-violence/ Wed, 19 Jan 2022 00:05:04 +0000 http://cakemaker.org.uk/movies-trying-to-make-sense-of-senseless-violence/

More recent films that have tackled the issue of school shootings include the bold and brilliant 2018 drama Vox Lux, in which the pop-star protagonist is a shooting survivor, and the 2020 teen satire Spontaneous, which uses the metaphor of a school where students begin to explode spontaneously. Both, in different ways, explore the trauma that follows those who experience mass shootings and the remorse of the survivors they live with. Mass, which Kranz says is not inspired by any real-life event (“I pulled from so many different aspects and details of shootings that I had read about, just in schools, and I found aspects in everything that seemed truthful to the situation that conjured up in me”) also focuses on the indelible consequences of such events: six years later, the characters are not only devastated but also exhausted with pain. There is some hope for the characters to heal, forgive, and find joy in the future, but the film deliberately offers no easy answers or solutions.

Indeed, their attempts to take control of what happened prove flawed: the male characters, in particular, know the events like the back of their hand, effortlessly reeling out times and places. “They think that if they know exactly what happened, they will understand it and it cannot affect them emotionally,” says Kranz. “It turns out to be wrong in some ways, and there’s still a lot of their grief and anger that they haven’t necessarily exercised.” In this way, the film seems to offer a meta commentary on the films that came before it, suggesting that recreating events, leaning into details, and focusing on the details of teenage gunshots and school reports, n will offer no real insight into these tragedies. For his part, when Kranz first conceived of Mass, he wasn’t interested in making a movie about mass shootings that showed any violence. “This film was born out of fear for my child and fear for my country and anxiety about the culture. I certainly wasn’t interested in depicting violence. I didn’t just want to observe – I wanted offer something else.”

What the Mass offers is a conversation, even if the answers never quite satisfy the person asking the questions. What happened in the shooter’s childhood? What did school miss? Where could the police or his parents have intervened? Mass doesn’t blame Richard and Linda (Birney and Dowd) for what their son did, but it doesn’t suck how much they still blame themselves. Linda appears on the verge of tears everywhere; Dowd plays her like a woman almost doubled in pain. Meanwhile, Birney explicitly states what Dowd embodies. “I regret everything,” admits Richard, “The worst imaginable outcome has happened. Any changes I could have made could have resulted in a different outcome. I regret everything.”

Beyond its characters’ meaningful but ultimately impossible search for answers, Mass offers the opportunity to come to terms with loss. It ends with a moment of utter silence, where the camera leaves the room and gazes into empty fields, a scene Kranz wanted to use to reflect on America’s collective grief. “I was looking for an image that could [come from] 40 of the 50 states and felt distinctly American. There is a forgotten survey strip, the field is dead grass with abandoned water wheels, there is a void. It is a landscape of mourning. It changes over time, but you never really walk away from grief. At the end of the film, there is hope that these characters can live more easily with this grief – there is an opportunity in the landscape to forgive and reconcile, and to heal despite unimaginable tragedy.”

Mass was released in the UK on Sky Cinema and in cinemas on January 20, and is now available to stream in the US

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