The lodge, 2019

#162: The Lodge (2019, dir. by Severin Fiala & Veronika Franz)

CALIFICACIÓN PERSONAL: 6 / 10

Título Original: The Lodge

Año: 2019

Duración: 108 min

País: Reino Unido

Dirección: Severin Fiala, Veronika Franz

Guion: Sergio Casci, Severin Fiala, Veronika Franz

Música: Danny Bensi, Saunder Jurriaans

Fotografía: Thimios Bakatatakis

Reparto: Riley Keough, Jaeden Martell, Lia McHugh, Alicia Silverstone, Richard Armitage

Productora: Coproducción Reino Unido-Estados Unidos; Filmnation Entertainment, Hammer Productions. Distribuidora: Neon, VVS Films

Género: Mystery; Horror; Drama

TRAILER:

#625 #The Lodge

The Lodge, Severin Fiala and Veronika Franz (2019)

Riley Keough to star in 'The Lodge' for 'Hammer Films and FilmNation  

FilmNation has introduced the previously announced project to buyers heading into the AFM next week and is producing with Hammer Films’ Simon Oakes and Marc Schipper, and serves as financier.

Production is scheduled to begin in January and Endeavor Content and FilmNation represent US rights.

Severin Fiala and Veronica Franz, whose Goodnight Mommy was Austria’s foreign language Oscar entry in 2016, will direct the story of two siblings who spend the night alone with their new stepmother.

Stuck in a remote mountain cabin, the trio are terrorised by a supernatural force. Sergio Casci, Franz and Fiala wrote the screenplay from an original idea by Casci.

Keogh’s upcoming credits include David Robert Mitchell’s Under The Silver Lake, Welcome The Stranger, and The House That Jack Built for Lars von Trier.

The Lodge will be released on Blu-ray, DVD, and Digital on May 5 via Universal Pictures. It will also be available on Hulu the same day. The film premiered at the 2019 Sundance Film Festival and hit select theaters this past February from Neon.

Produced by Hammer Films, the horror movie is directed by Severin Fiala & Veronika Franz (Goodnight Mommy), who co-wrote the script with Sergio Casci (The Caller). Riley Keough, Jaeden Martell, Lia McHugh, Alicia Silverstone, and Richard Armitage star.

I found this one to be an unsettling, atmospheric horror film born of familial grief, comparable to Hereditary. Keough‘s nuanced performance furthers the film’s psychological grasp.

No special features are included. Read on for the trailer and synopsis.

The Lodge follows a family who retreat to their remote winter cabin over the holidays. When the father (Richard Armitage) is forced to abruptly depart for work, he leaves his children, Aidan (Jaeden Martell) and Mia (Lia McHugh), in the care of his new girlfriend, Grace (Riley Keough). Isolated and alone, a blizzard traps them inside the lodge as terrifying events summon specters from Grace's dark past.

The Lodge (2020): Domestic terror with a cold blooded conclusion

While the home can be a place of comfort and security for most, it can often hold horror beyond our imagination and I truly enjoy when a film maker can break down the walls of a home to show us what lurks inside. The Lodge does just that, painstakingly taking its time to build to a conclusion that is both gratifying and bittersweet.

Directors Veronika Franz and Severin Fiala first made waves in the film world with their 2014 film Goodnight Mommy. I was extremely impressed with this film and loved how Franz and Fiala were able to chill our bones without the use of conventional Hollywood scares. The same can be said for their latest effort, The Lodge. First premiering at Sundance in January of 2019, Franz and Fiala teamed up with screenwriter Sergio Casci to once again explore the family dynamic in a claustrophobic and isolating manor. At times the film can feel reminiscent of the The Shining, with its snowy setting, wide angle shots down hallways and even a dog playing a pup named Grady (which HAS to be a nod to Kubrick’s film, right?!).

After losing their mother to a sudden and tragic suicide, siblings Aiden and Mia are forced to spend quality time with their father’s new girlfriend Grace, who happens to be the sole survivor of a Heaven’s Gate-like death cult. Having placed the blame of their mother’s death on Grace, tensions run high once the siblings are trapped in their mother’s mountain lodge with her. To make matters worse, the power is out, the food has disappeared and they seem to have slipped into some sort of rift in space and time, all while a snow storm rages just outside.

Riley Keough stars as Grace, Jaeden Martell and Lia McHugh play Aiden and Mia respectively, Richard Armitage plays their father Richard and finally Alicia Silverstone makes a brief but impactful return to the screen as Laura, the children’s mother. Silverstone’s performance is so impactful in the brief time she spends on screen and she really manages to say so much with her performance. I love how she is able to demonstrate grief and loss with something as simple as squeezing an eyelash curler for a few seconds too long. Martell manages to elicit sympathy while still playing a moody, prickly teen, while McHugh really helps to balance his character with just how sweet and loving she can be at times. Like Silverstone, the pain and suffering McHugh puts on screen for us is incredibly genuine.

Keough is a stand-out in the film, her character balancing barefoot on the edge of a knife as she tries to relate to the children and bring them closer, while her own traumatic past begins creeping its way closer and closer to the surface. We are introduced to the character of Grace at first only through glimpses, just missing her out of the edge of the shot, in silhouettes through frosted glass or obscured by ice on a window. Like the children, we are curious to see this evil woman who has stolen away their father’s affection, only to find she is not an old haggard witch but a beautiful young lady who bares a stunning resemblance to their mother. We really see Grace trying to make the best of a horrible situation, and once finding out a bit more about her past, we are drawn into Keough portrayal even more.

The film has a strange quality to its visuals, managing to shoot halls and rooms in a wide angle and yet making them feel terribly claustrophobic. Some shots had a digital quality to them as well, similar to the way 2018’s Unsane was shot completely on an iPhone. I enjoyed the contrast of those shots to the other, more milky and dream-like scenes. As the movie begins, we get a shot I really enjoyed of Armitage and Silverstone having a conversation while the camera slowly pulls in on their faces and manages to communicate how trapped Silverstone feels in her dire situation.

There is this push and pull between the children and Grace throughout the movie as they test one another’s limits. As is often the case with children, they aren’t aware of when they’ve pushed things a little too far, and you can tell Mia seems to be much more accepting of Grace than Aiden is. Watching Grace trying to hold it together in the face of this is great, as we get to see her desperately try to take back things she’s said to the children in anger. It’s this push and pull which helps to build to a climax, all without bringing too much attention to itself.

Though I really enjoyed the twists and turns, and how the film manages to fool you into thinking you have it pinned just for it to turn on its heels and head in another direction, it felt like it went on just a little too long. I do love a slow burn, but once you’ve really caught on to what’s happening, it feels like the film starts and stops in places. Rather than heading straight to the peak that is the films conclusion, we get stuck in the snow that are the twists and turns and I can see how some audience members may get frustrated with the film’s last act. What I will say is the film pays off in a big way, with the final 15 or so minutes being the culmination of tension we didn’t even realize was building. The tension and terror manages to sneak in and this is really a sign of great direction.

I knew I was interested in seeing this film from the moment I saw the first trailer. Keeping in mind this was back sometime in 2018 or ‘19, I feel Ike I was able to go into this movie fairly fresh and without too many expectations, and it honestly made for a wild ride. Franz and Fiala manage to once again warp the family structure and make the home a horrifying place to be. Their directing and this standout cast put together a film which will have you questioning who to root for, and what you’re even seeing to begin with. The Lodge will have it’s wide release late this February and I can’t wait for the horror community to experience another great, slow paced, snowy horror film.

Rating: 4 Full Moons out of 5 🌕🌕🌕🌕

The lodge, 2019

Suffer the Little Children - The Lodge (BFI London Film Festival Review)

Suffer the Little Children – The Lodge (BFI London Film Festival Review)

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Cult.

‘How do I do this? Do I go over the top? Do I do a just crazy psychotic thing?’—How Riley Keough’s dad handled his acting debut in the latest horror from the Austrians behind Goodnight Mommy.

Park City, Utah: The film at Sundance 2019 that made the biggest impression on this humble Letterboxd correspondent was undoubtedly The Lodge, the new horror from Austrian directors Veronika Franz and Severin Fiala. The film is the pair’s English-language debut, and an eagerly anticipated follow-up to their acclaimed 2014 film, Goodnight Mommy.

Like Goodnight Mommy, The Lodge predominantly takes place in one location. In this case, it’s an isolated, cosy, wooden family holiday home next to a frozen lake. It’s owned by divorcé Richard (Richard Armitage from The Hobbit trilogy), who is father to teen Aiden (Jaeden Lieberher from It, credited here as Jaeden Martel) and the younger Mia (Lia McHugh).

Richard’s children are resentful of the new woman in their father’s life, Grace (Logan Lucky and American Honey actress Riley Keough). Aiden and Mia are doubly suspicious of Grace due to her having been, as a child, the soul-surviving member of a doomsday cult that committed mass suicide, a subject Richard writes about.

Wanting his kids to bond with Grace, Richard arranges for the three of them to spend some time alone together at the lodge before Christmas while he stays in the city to finish up work for the year.

As Grace, Aiden and Mia get to know each other in the lodge, strange things start occurring. While The Lodge is wonderfully creepy on multiple levels, what really sets it apart is its artful composure and excruciating tension, making it a work that goes far beyond Franz and Fiala’s impressive debut.

Following the Sundance press screening, Letterboxd asked Franz and Fiala if there were any lessons they learned about subverting audience expectations from the twisty Goodnight Mommy that they may have applied to this film.

“We try not to overthink it in a way,” responded Fiala. “It’s not all that planned. I think we always try to make a film that we ourselves would like to see, and we try to take it seriously. But it’s not that we think: okay, we did this before, this time the audience is gonna expect this or that or something like that. I think we always try to stay true to the material and the characters.”

“And there are similarities to our first one,” Fiala continued. “I think mainly because it’s the things that interest us in life. It was not like a conscious decision: it worked the first time so we’re gonna do it like that this time. It was just like, we’re still interested in those questions of family and trauma and bondage in a way. Emotional bonds. Trust that’s been shaken, I think that’s something that really interests us.”

“This time it’s also about religion, in a way, which we didn’t do last time,” added Franz. “The script, it was offered to us by Hammer Films, it was originally written by a Scottish screenwriter [Sergio Casci], and so we kind of re-wrote it in a way, because the ending didn’t work. For us.”

That’s right, The Lodge was produced by Hammer, the legendary British horror production outfit best known for churning out Dracula and Frankenstein films starring Christopher Lee and Peter Cushing in the 1960s and 70s. The brand was resurrected a decade or so back and has released about half a dozen films since then, including Let Me In (2010), Wake Wood (2011) and The Woman In Black (2012). With The Lodge, a British-produced film directed by two Austrians, shot in Canada and set in the United States, Hammer may just have its first modern classic on its hands.

Franz went on to emphasize the importance of the shooting location in telling their story. “For us, the house, architecture, it’s like a character. And as it was our first English-speaking film, you know, it’s a lodge, it’s three persons or four actors and it’s something you can handle in a way, or you hope you can at least.”

Some of the creepiest parts of the film are Grace’s flashbacks to her life in the aforementioned doomsday cult, the leader of which was her father. To make it even weirder, that cult leader is played by Riley Keough’s actual father, musician Danny Keough, in his first feature film role.

‘The Lodge’ cast and crew at the film’s Sundance 2019 premiere.

“We were desperately looking for a cult priest, and couldn’t find someone who would be perfect for the part,” explained Franz. “We were already shooting and in one of the breaks, Riley FaceTimed Danny and she wanted to introduce us. She turned the mobile [phone] around and said, ‘Look, this is my father,’ and Severin and I were like, ‘Oh, he’s the cult priest!’.”

Keough Sr was also present at the post-screening Q&A, and was asked what he drew upon in playing a cult leader.

“Um, I grew up in a cult,” was Keough’s response. “So I had eight years of study. We had a really wicked guy that… yeah, so… when they asked me to do it I thought ‘How do I do this? Do I go over the top? Do I do a just crazy psychotic thing?’ But that’s never the case, it’s always a Jesus-like syndrome, I don’t know what you’d call that. Underneath is a real hatred. So what I tried to do during that role was just play this real sweet guy, but if you look closely enough, you can see that he really just wants to kill you.”

Indie specialist distributor Neon (Colossal, Gemini, I, Tonya) acquired The Lodge at Sundance and will release it theatrically later this year.

Reporting by Dominic Corry, our West Coast Editor.

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#Definition and Definition of Film / Movie

While the players who play a role in the film are referred to as actors (men) or actresses (women). There is also the term extras that are used as supporting characters with few roles in the film. This is different from the main actors who have bigger and more roles. Being an actor and an actress must be demanded to have good acting talent, which is in accordance with the theme of the film he is starring in. In certain scenes, the actor’s role can be replaced by a stuntman or a stuntman. The existence of a stuntman is important to replace the actors doing scenes that are difficult and extreme, which are usually found in action action films. Films can also be used to convey certain messages from the filmmaker. Some industries also use film to convey and represent their symbols and culture. Filmmaking is also a form of expression, thoughts, ideas, concepts, feelings and moods of a human being visualized in film. The film itself is mostly a fiction, although some are based on fact true stories or based on a true story.

There are also documentaries with original and real pictures, or biographical films that tell the story of a character. There are many other popular genre films, ranging from action films, horror films, comedy films, romantic films, fantasy films, thriller films, drama films, science fiction films, crime films, documentaries and others.

That’s a little information about the definition of film or movie. The information was quoted from various sources and references. Hope it can be useful.

❍❍❍ TV MOVIE ❍❍❍

The first television shows were experimental, sporadic broadcasts viewable only within a very short range from the broadcast tower starting in the 1930s. Televised events such as the 1936 Summer Olympics in Germany, the 19340 coronation of King George VI in the UK, and David Sarnoff’s famous introduction at the 1939 New York World’s Fair in the US spurred a growth in the medium, but World War II put a halt to development until after the war. The 19440 World MOVIE inspired many Americans to buy their first television set and then in 1948, the popular radio show Texaco Star Theater made the move and became the first weekly televised variety show, earning host Milton Berle the name “Mr Television” and demonstrating that the medium was a stable, modern form of entertainment which could attract advertisers. The first national live television broadcast in the US took place on September 4, 1951 when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco was transmitted over AT&T’s transcontinental cable and microwave radio relay system to broadcast stations in local markets.

The first national color broadcast (the 1954 Tournament of Roses Parade) in the US occurred on January 1, 1954. During the following ten years most network broadcasts, and nearly all local programming, continued to be in black-and-white. A color transition was announced for the fall of 1965, during which over half of all network prime-time programming would be broadcast in color. The first all-color prime-time season came just one year later. In 19402, the last holdout among daytime network shows converted to color, resulting in the first completely all-color network season.

❍❍❍ Formats and Genres ❍❍❍

See also: List of genres § Film and television formats and genres Television shows are more varied than most other forms of media due to the wide variety of formats and genres that can be presented. A show may be fictional (as in comedies and dramas), or non-fictional (as in documentary, news, and reality television). It may be topical (as in the case of a local newscast and some made-for-television films), or historical (as in the case of many documentaries and fictional MOVIE). They could be primarily instructional or educational, or entertaining as is the case in situation comedy and game shows.[citation needed]

A drama program usually features a set of actors playing characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 1980s, shows (except for soap opera-type serials) typically remained static without story arcs, and the main characters and premise changed little.[citation needed] If some change happened to the characters’ lives during the episode, it was usually undone by the end. Because of this, the episodes could be broadcast in any order.[citation needed] Since the 1980s, many MOVIE feature progressive change in the plot, the characters, or both. For instance, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television MOVIE to have this kind of dramatic structure,[4][better source needed] while the later MOVIE Babylon 5 further exemplifies such structure in that it had a predetermined story running over its intended five-season run.[citation needed] In “DC1&”, it was reported that television was growing into a larger component of major media companies’ revenues than film.[5] Some also noted the increase in quality of some television programs. In “DC1&”, Academy-Award-winning film director Steven Soderbergh, commenting on ambiguity and complexity of character and narrative, stated: “I think those qualities are now being seen on television and that people who want to see stories that have those kinds of qualities are watching television.

❍❍❍ Thank’s For All And Happy Watching❍❍❍

Find all the movies that you can stream online, including those that were screened this week. If you are wondering what you can watch on this website, then you should know that it covers genres that include crime, Science, Fi-Fi, action, romance, thriller, Comedy, drama and Anime Movie. Thank you very much. We tell everyone who is happy to receive us as news or information about this year’s film schedule and how you watch your favorite films. Hopefully we can become the best partner for you in finding recommendations for your favorite movies. That’s all from us, greetings!https://hermiston.instructure.com/eportfolios/5356/Home/More_Than_Family__2020___TV________HD_____

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‘IT’ Star Checks Into Hammer Films’ ‘The Lodge’

Jaeden Lieberher, most recently seen battling clowns in last year’s box office-smashing Itremake, has joined The Lodge, the English-language debut from Veronika Franz and Severin Fiala, directors of acclaimed Austrian horror Goodnight Mommy, writes THR.

The Lodge, which started production in Montreal on Wednesday, tells the story of a soon-to-be-stepmom snowed in with her fiance’s two children at a remote holiday village. Just as relations finally begin to thaw between the trio, strange and frightening events threaten to summon psychological demons from her strict religious childhood.

Richard Armitage (The Hobbit) and Lia McHugh (American Woman) have also boarded the film, while Riley Keough was announced as being cast in the film last year.

The script was penned by Sergio Casci, Franz and Fiala from an original idea by Sergio Casci.

Hammer Films and FilmNation Entertainment produces. Filmnation also finances and serves and international sales agent, teaming with Endeavor Content for the U.S.

New Trailer of the Most Ambitious Horror Movie of the Year, The Lodge

Another trailer has been discharged from The Lodge, which is appeared as one of the most goal-oriented blood and gore flicks of the year. Coordinated by Severin Fiala and Veronika Franz, the film centers around the strain of the two siblings who discover that the lady whose father will wed is a previous faction part. Austrian producers Veronika Franz and Severin Fiala, who have made extraordinary progress in the 2014 Goodnight Mommy (Deadly Game), are preparing to think of an exceptionally aspiring new blood and gore film. The Lodge, which the two composed together with Scottish screenwriter Sergio Casci, who is a BAFTA competitor, shows that we will watch an effective motion picture as far as cast and story with its new trailer. The movie, where the team, Franz and Fiala, sit in the chief's seat, follows the tale of two siblings who travel with a young lady named Grace, whose father intends to wed. Kids who attempt to warm up to the lady who will end up being their stepmother experience a horrible reality any place they go. Discovering that Grace was an individual from a strict clique and endure a slaughter numerous years prior, the kids observer the horrendous occasions in the house they were detained. The blood and gore film The Lodge, which highlights entertainers, for example, Jaeden Martell, Lia McHugh and Riley Keough, guarantees watchers a colossal spine chiller for two entire hours. The Lodge, which is among the aggressive preparations of the year, will be discharged on March 13. Read the full article