Photos Description of «The actress» short film Storyboard of The Actress Anna Karenina Review

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Prosper King
5 years ago
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2 MENU : Photos Description of «The actress» short film Storyboard of The Actress Anna Karenina Review

3 We re all strangers. Even to ourselves.

4 And we absolutely don t know which way to go.

5 But we do believe someone will show

9 US

10 THE WAY.

12 Until then, we re prisoners of the glance of the others.

15 Trying to write a life, with the illusion of being free.

19 And no matter where we are from, we all have the same questions about the meaning of our lives.

20 Hoping one day to find the light,

21 we keep on dreaming, because every achievements begins with a dream.

22 We ve already reach the moon once, there is no better example!

23 Here s my dream :

24 The Actress Short film by Lamia Bengelloun Here is the link to watch my video: 9m g I feel like nowadays we talk a lot about the dark side of the show business and especially about actors and actresses blackouts. But we only focus on the physical consequences of being a part of this world, such as taking drugs, becoming alcoholic etc Most of the time, we dismiss the psychologic part. So I wanted to show with this short film that the real problem when practicing this job is the identity issue. Playing too many roles must be disturbing. Actually, I've been inspired by Isabelle Adjani a french actress who became kind of crazy after one of her biggest and strongest role in "Camille Claudel" by Bruno Nuytten on which she played Rodin's lover. I shot "The actress" in black and white because it is more authentic and powerful according to me. Moreover, I used Nero's masterpiece "Two steps from hell" (song) which perfectly suits this video because it conveys that feeling of confused madness that I wanted the character to represent.

31 ANNA KARENINA BY JOE WRIGHT How can we revisit Tolstoy s classical novel without betraying the strong emotion conveyed in this timeless work? Joe Wright would probably answer by artifice. If his movie is not the first adaptation of Tolstoy's masterpiece, it is definitely the most theatrical one. As a logical component of his work, most of the scenes weren't shot in existing selected spots but in a theater specially renovated for the purpose of the film. In 1874 Imperial Russia, Anna Karenina, a beautiful fiery-tempered but highly appreciated woman, lives in Saint Petersburg with Karenin her husband, an aged statesman, and their son. On her way to Moscow to visit her sister, she meets count Vronsky. They immediately both feel a mutual intense attraction. From that moment on, everything starts to change in Anna's life as well as the movement of the movie. From this first glance, everything goes faster. Actions are linked together in sequence, engulfing Anna in the heat of a passionate love without a single thought for her unfortunate husband. This story which is relating the hypocrisy of the Russian aristocracy has been successfully transformed from words to moving images. A challenge that had already been made by Joe Wright in his adaptation of Jane Austen s "Pride and Prejudice". Apart from his wonderful transcription of the book and interpretation of the story, we should also praise Joe Wright and his team for the design and art direction. Indeed, with a cicarssian baroque aesthetics as in "Moulin Rouge!" by Baz Luhrman,combined with the elegant and emotional choreographies of a Russian ballet style, the movie turns into a theatrical dance, a kind of musical movie without songs. Every single scene is choreographed making words move and dance on screen. Even the love scene looks like a couple dance. The costumes and the sets accurately reflect the 19th century and are designed with a great originality rarely seen today; they also contribute to hyper-stylize the movie, and are magnified by the talented Jacqueline Durran who won several awards for her artistic skills. Furthermore, Keira Knightkey gives us one of her best performances, portraying Anna Karenina in all her complexity and suggesting a deep maturity in her acting choices. Jude Law (Karenin) reveals a facet of his acting pallet that we absolutely encourage him to pursue further. The only negative point to be raised is Aaron Taylor-Johnson's weak interpretation of count Vronsky. We could also criticize Joe Wright's preference for style over substance but it would be nonsense when substance is prevalent in one of the greatest novels of the 19th century. As a conclusion, we can claim that, "Anna Karenina" is a great interpretation of Toltoy's masterpiece in every respect.

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