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Tag: Jessica Barden

  • TV Review: ‘Dune: Prophecy’

    Jihae as Reverend Mother Kasha in 'Dune: Prophecy'. Photo: Courtesy of HBO.
    Jihae as Reverend Mother Kasha in ‘Dune: Prophecy’. Photo: Courtesy of HBO.

    Launching on HBO and Max on Sunday, November 17th with its first episode, this six-episode new series is set in the recognizable portrayal of ‘Dune’ as established by director Denis Villeneuve with his two epic movies.

    Yet it’s also different enough –– partly because it’s set 10,000 years before those films takes place and has a decidedly alternate viewpoint –– that it succeeds in being a worthwhile supplement to the movies and boasts an impressively epic scale.

    Related Article: Director Denis Villeneuve Talks ‘Dune: Part Two’ Casting and Production

    Does ‘Dune: Prophecy’ Birth Greatness?

    (L to R) Jodhi May and Mark Strong in 'Dune: Prophecy'. Photo: Courtesy of HBO.
    (L to R) Jodhi May and Mark Strong in ‘Dune: Prophecy’. Photo: Courtesy of HBO.

    Long shelved on the list of titles deemed “unfilmable,” Frank Herbert’s sci-fi epic novel ‘Dune’ has been brought to screens before –– David Lynch tried it in the 1980s with his mostly unsuccessful effort, while Denis Villeneuve has seen a lot more critical praise (not to mention box office power and awards) for his own 2021 effort, which led to this year’s follow-up.

    But in an era where studios and other media companies long to keep the cash cows mooing, a couple of films years apart was never going to be enough. Hence, the TV spin-off, adapted from 2012 novel ‘Sisterhood of Dune’ by Herbert’s son Brian and prolific genre author Kevin J. Anderson, who have continued the series.

    Tabu as Sister Francesca in 'Dune: Prophecy'. Photo: Courtesy of HBO.
    Tabu as Sister Francesca in ‘Dune: Prophecy’. Photo: Courtesy of HBO.

    Fortunately, ‘Dune: Prophecy’ ranks among the better supplement series, spotlighting a different chunk of the ‘Dune’ timeline and, as the novel’s title (and original title for the show, ‘Dune: Sisterhood’) suggests, a fresh perspective on the history and power struggles inherent in the story.

    While the ‘Dune’ movies certainly boast impressive and impactful women, including Zendaya’s Chani and Rebecca Ferguson’s Lady Jessica Atreides, they have skewed more towards the masculine side of the story, with Timothée Chalamet’s Paul Atreides the anchor.’

    ‘Prophecy’ instead forefronts Emily Watson’s Valya Harkonnen and sister Tula, who are looking to maintain the fledgling power of the mysterious Bene Gesserit movement, which seeks to guide the powerful houses of the imperium while also battling to restore their family’s honor.

    Script and Direction

    Chloe Lea in 'Dune: Prophecy'. Photo: Courtesy of HBO.
    Chloe Lea in ‘Dune: Prophecy’. Photo: Courtesy of HBO.

    ‘Dune: Prophecy’ has not been without its challenges –– it has gone through at least one team on its way to screens (the executive producer credits are an archeological dig through previous showrunners), but developers Diane Ademu-John and Alison Schapker (with Schapker as the current overseer of the series) have managed to bring the story to life successfully.

    Like Villeneuve’s movies, there is still the chilly air of plot over character at times, but the expansive running time of six episodes means there is certainly more room for development of the characters themselves.

    Probably the best way to describe this new show is ‘Dune’ crossed with ‘Game of Thrones,’ as the story (set 10,000 years before the events of the movies) has familiar themes of jockeying for power that the films use as a backdrop for its tale of a messiah and its action. Here, those machinations are front and center, the Bene Gesserit order leading the way in plotting the future of the empire by pulling strings through breeding programs and setting themselves up as advisors to the leaders of the great houses.

    Faoileann Cunningham in 'Dune: Prophecy'. Photo: Courtesy of HBO.
    Faoileann Cunningham in ‘Dune: Prophecy’. Photo: Courtesy of HBO.

    The scripts are meaty and work well in context –– this certainly feels like it belongs in the ‘Dune’ movie universe but isn’t just more of the same.

    Similarly, the direction of the show establishes a visual style that is akin to the ‘Dune’ films, yet has its own personality, set in chilly palaces and featuring water much more as a motif than the dusty dunes of Arrakis (though there is a key plot point/character whose story have their roots in the familiar desert locale).

    Main director Anna Foerster sets the tone and style early on, and the four episodes given to press certainly don’t dip in quality on that front.

    Oh, but as with ‘Game of Thrones’ there are the occasional moments (which fall away as the season moves on) where it feels like HBO pressure to deliver exposition while people have sex.

    ‘Dune: Prophecy’: Performances

    Though it features two powerful central figures (and fantastic actors playing them), the show never feels overbalanced.

    Emily Watson as Valya Harkonnen

    Emily Watson as Mother Superior Valya Harkonnen in 'Dune: Prophecy'. Photo: Courtesy of HBO.
    Emily Watson as Mother Superior Valya Harkonnen in ‘Dune: Prophecy’. Photo: Courtesy of HBO.

    Watson is in her element here, playing the imperious and crafty, yet believably driven Valya, who both wants to make sure the Bene Gesserit’s mission stays intact but also has plans to restore her family to what she sees as its rightful position of power.

    The actor is excellent as this sort of role, as Valya comes to life in way that is truly satisfying.

    Olivia Williams as Tula Harkonnen

    Olivia Williams as Reverend Mother Tula Harkonnen in 'Dune: Prophecy'. Photo: Courtesy of HBO.
    Olivia Williams as Reverend Mother Tula Harkonnen in ‘Dune: Prophecy’. Photo: Courtesy of HBO.

    Like her co-star, Williams delivers a commanding, if more vulnerable performance. Whereas some shows might have sidelined Tula, ‘Prophecy’ finds plenty for her to do as she takes over running the Bene Gesserit school in her sister’s absence.

    Williams is trusted with some great moments and carries them all off.

    Travis Fimmel as Desmond Hart

    Travis Fimmel as Desmond Hart in 'Dune: Prophecy'. Photo: Courtesy of HBO.
    Travis Fimmel as Desmond Hart in ‘Dune: Prophecy’. Photo: Courtesy of HBO.

    Fimmel plays a man whose motivations we won’t talk about too much so as to avoid spoilers, but suffice to say he’s a soldier with a secret, and he’s seeking to win favor from the emperor –– oh, and he’s no fan of Valya and her sect. His subtle yet burning charisma is a good counterpoint to the more mannered, colder performances of some of the other main cast.

    Sarah-Sofie Boussnina as Princess Ynez

    Sarah-Sofie Boussnina as Princess Ynez Corrino in 'Dune: Prophecy'. Photo: Courtesy of HBO.
    Sarah-Sofie Boussnina as Princess Ynez Corrino in ‘Dune: Prophecy’. Photo: Courtesy of HBO.

    Boussina’s princess is a key part of the early going –– daughter of the Emperor, she’s a prospect for a house-uniting marriage, which goes badly in a way nobody quite sees coming. The young actor brings spirit and attitude to her role.

    Mark Strong as Emperor Javicco Corrino

    Mark Strong in 'Dune: Prophecy'. Photo: Courtesy of HBO.
    Mark Strong in ‘Dune: Prophecy’. Photo: Courtesy of HBO.

    Strong is having a good run on HBO of late, between this and his role on ‘The Penguin.’ Here, his emperor is a man who is concerned that he’s inherited all his power and is sometimes unsure how to wield it. He can be led by others, but Strong brings him to complicated life.

    Other notable characters

    The various young women who attend the Bene Gesserit school all have their own personalities, and a couple come into play well in the main storyline.

    Final Thoughts

    Jihae as Reverend Mother Kasha in 'Dune: Prophecy'. Photo: Courtesy of HBO.
    Jihae as Reverend Mother Kasha in ‘Dune: Prophecy’. Photo: Courtesy of HBO.

    A worthy companion to the big screen offerings, ‘Dune: Prophecy’ shares a few of its weaknesses but finds its own strength in the characters and the welcome amount of time it has to develop them.

    With only four episodes of the six available, it’s hard to tell if it’ll stick the landing of the first season, but the signs are good so far.

    ‘Dune: Prophecy’ receives 7.5 out of 10 stars.

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    What’s the plot of ‘Dune: Prophecy’?

    From the expansive universe of ‘Dune,’ created by Frank Herbert, and 10,000 years before the ascension of Paul Atreides, ‘Dune: Prophecy’ follows two Harkonnen sisters as they combat forces that threaten the future of humankind and establish the fabled sect that will become known as the Bene Gesserit.

    Who is in the cast of ‘Dune: Prophecy’?

    'Dune: Prophecy' premieres November 17th on Max. Photo: Courtesy of HBO.
    ‘Dune: Prophecy’ premieres November 17th on Max. Photo: Courtesy of HBO.

    List of Movies and TV Shows in the ‘Dune’ Franchise:

    Buy ‘Dune’ On Amazon

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  • Female Filmmakers in Focus: Emma Seligman’s ‘Shiva Baby’ & Carly Stone’s ‘The New Romantic’

    Female Filmmakers in Focus: Emma Seligman’s ‘Shiva Baby’ & Carly Stone’s ‘The New Romantic’

    Welcome to Female Filmmakers in Focus, where you will find a recommendation for films directed by women to seek out each week. This week features a couple of films about sugar babies: Emma Seligman’s coming-of-age comedy ‘Shiva Baby’ and Carly Stone’s romantic comedy ‘The New Romantic’. Plus an interview with writer-director Emma Seligman.

    What is a sugar baby? Well, essentially a younger, financially in need person enters a dating-like relationship with an older, more financially well-off person for money, gifts, trips, and other material benefits in exchange for their companionship. With the rise of student loan debt, sugaring is a growing phenomenon among students to pay for secondary education.

    ‘Shiva Baby’ (2020) – Written and Directed by Emma Seligman

    Rachel Sennott in 'Shiva Baby'
    Rachel Sennott in ‘Shiva Baby’

    Emma Seligman began her work in film as a critic while she was a teenager. She then attended films school at New York University Tisch School of the Arts. Her thesis film, the short version of ‘Shiva Baby,’ was a selection of the 2018 SXSW film festival. She developed the short into a feature film, which debuted at the 2020 Toronto International Film Festival. It also won Best Screenplay at Outfest. She is currently shopping around a queen teen comedy with Rachel Sennott attached, and developing a television show about sugar babies.

    ‘Shiva Baby’ follows recent college graduate Danielle (Rachel Sennott), a Jewish bisexual who made up her own degree and hasn’t yet figured out what she plans to do with her life. While sitting shiva for a friend of her parents (Fred Melamed and Polly Draper), she runs into her sugar daddy Max (Danny Deferrari), his wife Kim (Dianna Agron), and her ex-high school sweetheart Maya (Molly Gordon). This screwball comedy plot is played like a horror film, highlighting Danielle’s mounting claustrophobia. This tension is aided by Ariel Marx’s plucky violin score and cinematographer Maria Rusche’s masterful close-ups. It’s ramped up further by Seligman’s acute observation of interpersonal relationships as revealed through body language, subtle glances, and the subtext that drips from the character’s innocuous dialogue. ‘Shiva Baby’ distills the anxiety of the post-college life crisis into one delightfully bad day.

    ‘Shiva Baby’ is out now on VOD.
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    Read on for an interview with ‘Shiva Baby’ writer/director Emma Seligman

    Moviefone: How did you decide to set a story around sugaring?

    Emma Seligman: I thought about the two polar opposite ends of my life being represented. One of them being a child at a family event and the other would be the time I tried sugaring. College is sort of permeated now with hookup culture and not having control, wanting someone to commit who won’t, and feeling really invalidated. No one in my generation knows how to communicate. No one wants to be vulnerable; they want to keep the power and be the one who cares less. I think that a sugar relationship was a good way to give a clear picture of those sexual dynamics over one day.

    MF: Can you discuss her casting of Rachel Sennott as Danielle?

    ES: She was in a bunch of my friends’ thesis films and I watched some sketches she wrote and acted in. I thought she was really funny. She looked like someone really familiar to me, like someone I would run into at a family event. She was a huge reason why the feature happened in terms of her motivation and commitment to making it happen.

    MF: How did you come to cast Fred Melamed and Polly Draper?

    ES: I offered the role to Fred because of ‘A Serious Man’ and everything else, and he said yes. My mom was always like “Polly Draper must play me!,” and I was like “It’s not you, but sure.” Polly and Fred were friends from Yale School of Drama, which brought this whole other chemistry and relationship to the parents. Polly improvises a lot; Fred doesn’t improvise. It worked between the two of them because they felt so comfortable with each other.

    MF: Can you talk a bit about working with Dianna Agron?

    ES: She suggested a couple of things, like when they’re questioning if she’s Jewish or not, how Jewish she is, or her dad being Jewish. Diana as a Jewish person has often had her Jewishness questioned because of her looks and because her mom converted.

    MF: Ariel Marx’s score sets a distinct horror movie vibe. How did you two arrive at that?

    ES: I wanted to make sure that the score allowed the audience to understand that we should just be with Danielle and her anxiety. Score can lead into drama and the emotions, or it can lean into comedy or romance; I wanted it to lean into just her anxiety. I kept saying the word anxiety, so Ariel sent me a library of violin sounds. I picked my favorite, and she told me that everything I chose put together was a horror score.

    MF: Were there visual references you discussed or specific lenses used to achieve Maria Rusche’s claustrophobic cinematography?

    ES: I showed her movies that I thought were really claustrophobic and anxiety inducing like ‘Krisha,’ ‘A Woman Under The Influence,’ ‘Opening Night,’ and ‘Black Swan.’ She suggested we should shoot on anamorphic lenses. Basically they curve the frame in a way that sometimes makes it feel like a fun house it’s so clear it’s distorted. The ones that she chose just delicately distort the frame. They make it look like the walls are caving in just slightly, while still being able to see everything in the frame and have everything in focus. Those made a significant difference in achieving that look.

    MF: What do you hope audiences take away from the film?

    ES: Beyond being entertained in a really dark time, I hope young women feel seen in the contrasting and conflicting pressure put on them. I hope other people understand that it feels like a horror movie sometimes to be a young woman.

    ‘The New Romantic’ (2018) – Written and Directed by Carly Stone

    Jessica Barden in 'The New Romantic'
    Jessica Barden in ‘The New Romantic’

    Inspired by the work of Nora Ephron, Sofia Coppola, and Joey Soloway (Transparent), writer-director Carly Stone attended the American Film Institute. She worked as a writer on the Canadian sitcom ‘Kim’s Convenience’ before making her directorial debut with ‘The New Romantic’. Shot in just 18 days, the film had its world premiere at the 2018 South by Southwest film festival where she was awarded a Special Jury Recognition for First Feature. Stone is currently in pre-production on an adaptation of Cea Sunrise Person’s memoir ‘North of Normal’ with Margaret Qualley attached to star.

    In the ‘The New Romantic’ college student Blake (an irrepressible Jessica Barden) writes a column on dating for the school newspaper called The Hopeless Romantic. That is until it’s cancelled for being “too boring.” Out one night with best friend Nikki (Hayley Law), Blake accidentally swaps her ID with a fellow student Morgan (Camilla Mendes), who she learns is a sugar baby. Jealous of fellow journalist Jacob (Brett Dier), who has entered a contest for gonzo journalism, Blake interviews Morgan and then decides to try sugaring herself. While these new experiences invigorate her column, shenanigans ensue as Blake balances life with her sugar daddy, a wealthy older professor named Ian (Timm Sharp), and her newfound feelings for Jacob. The film’s trio of women each give game performances showing that there are many facets to the female college experience. Mike McLaughlin’s cinematography, a contrast of brightly lit days and neon-filled nights, fits the film perfectly into Gen Z instagram aesthetics. Writer-director Carly Stone uses rom-com tropes to explore the complexities of journalistic ethics, contemporary sexual mores, and the age-old pursuit of accepting one’s true self.

    ‘The New Romantic’ is available on Netflix.