Venice, Italy – Andrew Garfield would like to know everyone about their insecticide. Not in his performance as a professor of Yale Darshan, “after Hunt” was accused of sexual misconduct, but discussing the responsibility of an actor that he was commenting on the work working in the world.
It is a brilliant hotel Siknani and a Blue-Skai day outside Garfield, sitting with its co-stars Julia Roberts and Ayo Adebiri, discussing a film, which has become a topic of some enthusiastic debate, for better or worse. A few days ago at the Venice Film Festival, at a press conference, reporters asked Roberts and filmmaker Luka Guadagino if the film reduces the feminist movement.
Garfield used his hands to emphasize additional emphasis, “I don’t think it is the actor’s responsibility to express anything publicly.” “Please, tell them about the pesticides.”
Roberts said: “Hair too.” ,
On Friday, with the “after Hunt” in theaters, Guadagnino and his actors knew that they were making some thorny, some about some challenging, dirty, incomplete people, whose life and lies had arisen with allegations. He was ready to decide to use a typefase in the early credits made by Woody Alan. But he did not guess the anti -feminist question, which was probably less questioned than an allegation.
“This question was very deaf for the film,” said Guadganino. “Like, you have wrong the subject with the object.”
The film is a clothing piece about Yale and some of the characters around it, about which philosophical chat about agency and strength, Chickpick becomes less theoretical under the dazzle of real -life drama. Roberts played the role of Alma, who is a revered professor for his colleague and flying drinking Buddy Hack. Edabiri is a student named Maggi, who is a child of billionaires, who everyone says that she is luxurious and a little passionate with Alma.
After a boji party in Alma, Maggi first asked Alma to explain that Hank crossed the line. Hack denied anything and claimed that Maggi was taking vengeance as she accused her of regretting her thesis. Nobody knows who to believe. Alma is also disturbing her own secrets. And everything in their world is brilliantly exposed in melodramatic fashion.
The screenplay comes from Nora Garat, which was working as a data analyst in Meta, before her script caught the attention of Guadagino and Roberts in quick succession.
“The story actually began with Alma’s character,” Garat said. “I was really interested in the idea of ​​a woman who had a lie or something that she was deeply embarrassed at the root of her being.”
But Alma’s controlled compartmentalization of her past begins to unplay with the allegation of Maggi. Part allows Roberts to do some of its best work over the years.
“I am saying something that may look clear, but he is one of the greatest stars and one of the great actresses,” Gwadagino said. “The symbol, the beauty of the symbol, and the truth of performance at the same time. He is very three dimensional.”
Roberts were specially thrilled with Alma’s relationship with her husband, Frederick, a shrinking played by Guadagonin regular Michael Stuelberg, whose unexpected options she was in astonishment.
Roberts said, “I looked at myself one -two times instead of being in the scene and I was so, ‘Wow, it’s great,” Roberts said. “And then I think, ‘Oh, I have a line.”
He said: “The big luck of growing up is more experience and intellectual resource that is to bring something in this way.”
Guadagnino likes to shoot things quickly, which may be a bit unstable for the first timer. Garfield, who has been trying to work for almost 20 years, was one of his most emotional scenes on its first day. He will come directly from a very different type of film, where he was playing “a very mindless dad” and nervous.
“I was actually struggling for infection,” said Garfield. “I wanted to make sure that I came in full and hot as possible. Before we used to shoot in any way, I was just pacing in the same way around staying inside. And then Luka comes to me and I think he is going to put me something and he is’ Is it ‘always’ Are you going to be like this?”
Garfield quickly understood that a combination of speed and lightness is part of the magic of Guadagnino with actors.
“He wants urgency, he wants you a little bit on the balls of your feet,” said Garfield. “So when the shooting time comes, it happens as if the train has left the station and you just catch it for a dear life or you take it in a way. It’s really exciting.”
Roberts did not even remember a warm scene, where she holds Maggi from her face until she was watching the film in Venice.
“I was very shocked,” said Roberts. “I didn’t see it coming.”
From the Woody Ellen Typeface to Myard Collegiate settings and intellectual conversation, the film is a throbac for classic films in many ways – not only Allen’s, but Mike Nicole and Joseph L. “All About Eve” of Mankivicz.
“I thought a lot about films that are capable of opposing time pressure and becoming some practical classics,” Gwadagino said.
Perhaps Maggi is the most unqualified of the bunch. Even Edbeiri said that he had some difficulty in wrapping his head around his inspirations and actions.
“She is a difficult girl,” said Adebiri. “One word was used in a lot of use in luke conversations, there was displacement. Such a displaced person of Maggi is psychologically, but also as a transgender adoption eclipse, and is occupying this place filled with these professors who are performing.”
But the points for all are questions, no answer, and “after hunt” is not a film that wraps anything in a well -organized morality. Those conversations are for the audience.
“There are very few filmmakers who are alive for whom the priority is fanatical, unsafe, unbridled self-realization and exploration and curiosity, rather than it is something preaching,” said Garfield. “Conversation is one thing, I think, this is the most we can dream at any time, that people will cope with their response. Hopefully every person has a mirror to see, and then they can compare reflections with each other.”
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