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Damien Chazelle Heads to TV

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    BICTH
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    #1202844625

    I’m ready for ms kulig to grab that emmy

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    boss
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    #1203362814

    First teaser.

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    Tjuz
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    #1203362836

    I’m most excited to see how Tahar Rahim does here. He was fantastic in The Looming Tower.

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    Hoster1
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    #1203362923

    Emmy nominee winner Joanna Kulig

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    Eden
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    #1203362925

    I’ve been crazy excited about this since it was first announced, it better not disappoint.

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    Kay
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    #1203363304

    Anticipating this!

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    thedemonhog
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    #1203364317

    Reviews are (coming) in for the first two episodes. Variety says that André Holland and Amandla Stenberg play “the two main characters”, with the premiere being Holland-centric and the second episode being Stenberg-centric. Holland plays “a stressful character to watch, smoking hand-rolled cigarettes and hopped up on his own anxiety.” Variety has nothing to say about Joanna Kulig, Tahar Rahim or Leïla Bekhti and it does not sound like Melissa George is in these episodes, but “each one appears to be centered on a different person”, so showcases might be later in the season. Although Variety highlights Holland and Stenberg, it also says that the show “seems more interested in the music” and “future episodes will have to put the characters first”, so it is not exactly endorsing those two performances.

    The Hollywood Reporter was much more taken by the performances. On Holland and Kulig: “Holland, who acts in English and French, communicates his nervous energy and his artistic perfectionism from the very first number the group plays, […] He is particularly critical of the lead singer, Maja, though it’s hard to hear any faults in her warm, persuasive voice. She is, however, emotionally fragile and still getting over her break-up with Elliot, which adds another dimension of complication.” They call Rahim’s character “outgoing” and make his arc sound dramatic: “Farid hides his worries but he’s in a tight spot with debts that Elliot doesn’t know about or want to know about. Farid’s own relationship with girlfriend Amira is tense over money issues”. The Hollywood Reporter also praises Stenberg: “Stenberg creates a sophisticated New Yorker who keeps a guarded distance from her father, but is still curious about his life and attracted to the creative atmosphere around him. Her vulnerability emerges when she starts attending a crowded French high school, where she doesn’t understand the language and doesn’t make friends. […] It’s a story that pivots on Stenberg’s screen presence more than anything else, and the young actress holds her own through a wild, drunken night that again ends with a dire plot twist.”

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    thedemonhog
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    #1203364902

    A− from The Playlist

    ★★★★☆ from The Times (behind paywall)

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    jacob121
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    #1203366026

    I am wondering if having Netflix’ attentions split between this, Hollywood and Unbelievable will prevent a massive When They See Us-like nomination haul for its top player.

    Waiting for more reviews to determine which program that top player will turn out to be but currently betting on The Eddy – the Chazelle pedigree brings a lot to the table, although his level of involvement is still somewhat unclear to me.

    Murphy obviously has had much past Emmy success but not everything he produces hits with voters and his collaborations with Netflix are as yet untested with Emmy. The premise for Hollywood seems pretty unexciting but who knows.

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    thedemonhog
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    #1203366156

    That Variety review made the show sound like La La Land by way of First Man. Having said that, Fosse/Verdon with its 68 on Metacritic and experimental style reigned over the more accessible When They See Us when was all was said and done, so maybe the show business subject matter will be enough to carry The Eddy. But Hollywood is coming out at the same time on the same network and is also about show business, but the Hollywood film industry trumps the Paris music scene in terms of being in the academy’s wheelhouse, plus Ryan Murphy is a good bet and we have Chris’s word about how the actual episodes measure up as contenders. So I have adjusted my predictions to go big on Hollywood and soft on The Eddy. Variety could be an outlier though.

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    thedemonhog
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    #1203447913

    I found it unwatchable, but I watched half the season for due diligence. I dropped it from my series and acting predictions immediately because it is exceedingly cinéma vérité. The shot jolts every time that the cameraman takes a step. Even the title card is trying so hard to be avant-garde. Fitting that I am using all of these French terms because most of the dialogue is in French. Even the credits are in French and Netflix denotes the default audio track as French as opposed to English. At best, this can be this year’s Twin Peaks, scoring nine nominations, but still being shut out by actors and producers. Reviews are solid, so it is still in play for writing, directing, below the line and a TCA nomination, but it is also in danger of missing all of those because this has no commercial value and unlike Fosse/Verdon, which was heading in that direction, this does not have stars and it is about music instead of movies. Despite its stature and deliberate campaign, Twin Peaks missed for The Alienist and Genius: Picasso, while Laura Dern missed in spite of winning the same category the year before. I would have nominated André Holland for Moonlight, but I would not nominate him for this. The episodes that I watched that were not directed by Damian Chazelle were less aggressively stylized, but they also emphasized fringe characters for whom I was less invested. You can go ahead and take Tahir Rahim out of your predictions, as the show follows the Mrs. America method of naming its episodes after its spotlight characters. I was rooting for a Melissa George showcase.
    1. “Elliot” (André Holland)
    2. “Julie” (Amandla Stenberg)
    3. “Amira” (Leïla Bekhti)
    4. “Jude” (Damian Nueva)
    5. “Maja” (Joanna Kulig)
    6. “Sim” (Adil Dehbi)
    7. “Katarina” (Lada Obradovic)
    8. “The Eddy” (finale)

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    puck05
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    #1203450076

    Its current Mc score is 71 and its lowest score is from Variety which wrote the review after only seeing the first episode.

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    thedemonhog
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    #1203450233

    They saw the two that played at Berlin.

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    Jus
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    #1203450258

    Riley’s review pretty much confirmed my suspicions. I was looking forward to this only bc of Joanna Kulig, but even from the trailer it looked like a TV show that I will force myself to watch it and then I’ll give up after max two ep.

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    Pandamonium
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    #1203450984

    A featurette of some BTS work interlaced with scenes from the show and cast interviews were released a couple days ago. I’m guessing, like myself until just having seen it, not many were privy to it since it was dropped on the Netflix France Youtube page and only has around 3k views.

    https://www.youtube.com/watch?v=QI7254vwInc

    I dont know if the interlaced cast interviews where the camera is fixed made this more stark in contrast, but the scenes shown in the featurette were super jarring with the amount of camera shake that was going on. A signature feature of the cinema verite style, of course. A part of me honestly didn’t know if I was hallucinating at parts (maybe it’s late), when I felt even the fixed perspective shots had a slight wobble to them. Chazelle’s quick pan trademark is all throughout this as well. So this series will be a recipe for motion sickness for those who are more accustomed to stable-images that dominate the medium. Given all that, I’m quite surprised that this hasn’t taken off with critics more than it has been received thus far. Because this ode to a documentary filmmaking style pioneered by the likes of Rouch and Pennebaker would be something that I thought would appeal to more critical sensibilities.

    I’m really struggling to see how this can breakthrough with regular audiences or even Emmy voters who would be more steeped and aware of these stylistic filmmaking choices. On top of that, there are just too many red flags regarding Netflix’s positioning of this series, where they’re choosing to market it (pretty much like a foreign release) and dropping a potentially big player in Dead To Me on the same day takes away the needed buzz and viewership required to propel a more niche project like this. Those issues have me pushing the series and Holland down further and further in my contender rankings.

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