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The Circle – An Interview with director James Ponsoldt

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Privacy has become a rare commodity, if it exists at all. We must assume that all of our phone calls and messages are being monitored. Somebody’s always watching. The only sanctuary left exists in our minds, with our thoughts, but what if this fell away? What if “they” could read our minds the same way they read our emails?

THE CIRCLE, TOM HANKS, 2017. PH: FRANK MASI/© EUROPACORP USA

This is the frightening premise of the new thriller film The Circle, which is based on Dave Eggers’ 2013 novel. The Circle is the name of a powerful Internet corporation that trades in freedom, privacy, and surveillance. Tom Hanks, who also produced the film, plays the head of the corporation. Emma Watson plays a young tech worker who joins The Circle and quickly unearths a conspiracy that could affect the future of humanity.

THE CIRCLE, EMMA WATSON, 2017. PH: FRANK MASI/© EUROPACORP USA

I recently had the chance to talk to James Ponsoldt, the director of The Circle, which opens in wide release on April 28.

DG: How would you describe the plot of the film?

JP: Mae Holland, a young woman who’s been out of college for a couple of years, isn’t happy with her post-college life. She has a boring job, and she’s living with her parents, and it’s very bleak. Then a friend of hers from college contacts her out of the blue and tells Mae that there’s a job opening at the company the friend works at, which is called The Circle. Mae gets a job at the company, which seems like a dream job to her. She starts off in the customer experience department, which is like being a customer service rep but much more exciting than the customer service rep job Mae was working in at the start of the film. This dream job becomes Mae’s life. It’s like a religion. There’s a cult-like aspect to The Circle, and she becomes a true believer. A utopian environment seems to exist within the corporation, and it takes over Mae’s life. Then she becomes the face of the company. This is when she begins to learn about everything that’s going on inside the company.

DG: What attracted you to this project?

JP: I loved the book. It stirred my imagination. I was swept up in Mae’s journey, which is a fascinating, strange journey. I felt a deep bond with her as I read the book, so much so that I felt protective of her. Then, as I continued through the book, I began to find parts of her character and personality unappealing, which really threw me. I had access to her thoughts, which is one of the key elements of the story, and then I realized: What if someone could read my thoughts? Well, maybe they wouldn’t like me so much either.

DG: What do you think audiences will find most compelling and frightening about the film?

JP: Our relationship with our devices, gadgets, has become frightening, and that’s what the film is about. I was horrified when I read the book, because it made me realize how addicted I was to technology. Could I let go of all of my gadgets? My wife and I were about to have our first child when the book came out, and the book made me think about the world that my child was about to enter. Now I have two children, and I hope the film makes people feel the same way. How much freedom and privacy will my children have in the future? How much will their lives be documented, and how much choice do we have over this?

DG: Having adapted books previously, what were the challenges you faced in turning The Circle into a feature film?

JP: I wouldn’t say this film shows an alternate vision of the future as much as it represents an alternate version of now. Because of that, it was vital that the film appear to be relevant, and I was very worried about how the film would age. When you make a film, you usually can’t worry about how your film will age in five or ten years, but I had to think this way with The Circle. While the book seemed very speculative when it came out in 2013, the ideas and themes are much closer to reality now, so how will the story appear in five years? However, the book really wasn’t about the technology. It was about our lives. It was about people and humanity and privacy, and the potential for our world to turn into a surveillance state. Having said that, nothing dates a film like its technology, so how we showed the gadgets was very important. In our film, there’s no Apple, no Facebook, and there’s no Twitter. There are Circle products, and the devices in the film don’t exist in our world yet, so people won’t be able to look at this film in ten years and laugh about how outdated the devices are.

DG: What did Tom Hanks and Emma Watson bring to this project that surprised you?

JP: I knew they were great actors, but what surprised me was how they respond to their massive followings, especially Tom. They understand that millions of people watch what they do and say, and they’re very cognizant of this, which relates to the film. This isn’t ego or vanity on their part: They’re famous actors, and the reality is that millions of people are following them, which gives them a very rare, unique perspective.

They communicate with their followers through technology. They have to. The film presents a possible future where everyone can become a celebrity, which isn’t far off from what’s happening today. Everyone has a website, and a social media platform, and everyone wants to feel important and to have their voice heard.

Tom, in particular, has been a major star for so many years, for decades, and he had a unique take on this film and its themes. He’s a producer on the film, and he was a champion of the book. He’s not the star of the film, which is very interesting, a new role for him. Emma’s the lead in the film, and because Emma and Tom are at very different points in their careers, they have different takes on the power of social media but also a deep understanding of its power. How many other people, celebrities, understand more than Emma and Tom do the power of social media and the paranoia of celebrity, of feeling that someone’s watching you at every moment in your life? It’s scary.

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‘Strange Darling’ Featuring Kyle Gallner and Willa Fitzgerald Lands Nationwide Release [Watch Clip]

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Strange Darling Kyle Gallner

‘Strange Darling,’ a standout film featuring Kyle Gallner, who is nominated for an iHorror award for his performance in ‘The Passenger,’ and Willa Fitzgerald, has been acquired for a wide theatrical release in the United States by Magenta Light Studios, a new enterprise from veteran producer Bob Yari. This announcement, brought to us by Variety, follows the film’s successful premiere at Fantastic Fest in 2023, where it was universally praised for its creative storytelling and compelling performances, achieving a perfect score of 100% Fresh on Rotten Tomatoes from 14 reviews.

Strange Darling – Movie Clip

Directed by JT Mollner, ‘Strange Darling‘ is a thrilling narrative of a spontaneous hookup that takes an unexpected and terrifying turn. The film is notable for its innovative narrative structure and the exceptional acting of its leads. Mollner, known for his 2016 Sundance entry “Outlaws and Angels,” has once again employed 35mm for this project, cementing his reputation as a filmmaker with a distinct visual and narrative style. He is currently involved in adapting Stephen King’s novel “The Long Walk” in collaboration with director Francis Lawrence.

Bob Yari expressed his enthusiasm for the film’s upcoming release, scheduled for August 23rd, highlighting the unique qualities that make ‘Strange Darling’ a significant addition to the horror genre. “We are thrilled to be bringing nationwide theatrical audiences this unique and exceptional film with terrific performances by Willa Fitzgerald and Kyle Gallner. This second feature from talented writer-director JT Mollner is destined to become a cult classic that defies conventional storytelling,” Yari told Variety.

Variety’s review of the film from Fantastic Fest lauds Mollner’s approach, saying, “Mollner shows himself to be more forward-thinking than most of his genre peers. He’s clearly a student of the game, one who studied his forebears’ lessons with adroitness to better prepare himself to put his own mark on them.” This praise underlines Mollner’s deliberate and thoughtful engagement with the genre, promising audiences a film that is both reflective and innovative.

Strange Darling

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Sydney Sweeney’s ‘Barbarella’ Revival Forges Ahead

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Sydney Sweeney Barbarella

Sydney Sweeney has confirmed the ongoing progress of the much-anticipated reboot of Barbarella. The project, which sees Sweeney not only starring but also executive producing, aims to breathe new life into the iconic character that first captured audiences’ imaginations in the 1960s. However, amid speculation, Sweeney remains tight-lipped about the possible involvement of celebrated director Edgar Wright in the project.

During her appearance on the Happy Sad Confused podcast, Sweeney shared her enthusiasm for the project and the character of Barbarella, stating, “It is. I mean, Barbarella is just such a fun character to explore. She really just embraces her femininity and her sexuality, and I love that. She uses sex as a weapon and I think it’s such an interesting way into a sci-fi world. I’ve always wanted to do sci-fi. So we’ll see what happens.“

Sydney Sweeney confirms her Barbarella reboot is still in the works

Barbarella, originally a creation of Jean-Claude Forest for V Magazine in 1962, was transformed into a cinematic icon by Jane Fonda under the direction of Roger Vardim in 1968. Despite a sequel, Barbarella Goes Down, never seeing the light of day, the character has remained a symbol of sci-fi allure and adventurous spirit.

Over the decades, several high-profile names including Rose McGowan, Halle Berry, and Kate Beckinsale were floated as potential leads for a reboot, with directors Robert Rodriguez and Robert Luketic, and writers Neal Purvis and Robert Wade previously attached to revive the franchise. Unfortunately, none of these iterations made it past the conceptual stage.

Barbarella

The film’s progress took a promising turn approximately eighteen months ago when Sony Pictures announced its decision to cast Sydney Sweeney in the titular role, a move that Sweeney herself has suggested was facilitated by her involvement in Madame Web, also under Sony’s banner. This strategic decision was aimed at fostering a beneficial relationship with the studio, specifically with the Barbarella reboot in mind.

When probed about Edgar Wright’s potential directorial role, Sweeney adeptly sidestepped, merely noting that Wright has become an acquaintance. This has left fans and industry watchers speculating about the extent of his involvement, if any, in the project.

Barbarella is known for its adventurous tales of a young woman traversing the galaxy, engaging in escapades that often incorporate elements of sexuality—a theme Sweeney seems eager to explore. Her commitment to reimagining Barbarella for a new generation, while staying true to the character’s original essence, sounds like the making of a great reboot.

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‘The First Omen’ Almost Received an NC-17 Rating

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the first omen trailer

Set for an April 5 theater release, ‘The First Omen’ carries an R-rating, a classification that was almost not achieved. Arkasha Stevenson, in her inaugural feature film directorial role, faced a formidable challenge in securing this rating for the prequel to the esteemed franchise. It seems the filmmakers had to contend with the ratings board to prevent the film from being saddled with an NC-17 rating. In a revealing conversation with Fangoria, Stevenson described the ordeal as ‘a long battle’, one not waged over traditional concerns such as gore. Instead, the crux of the controversy centered around the depiction of the female anatomy.

Stevenson’s vision for “The First Omen” delves deep into the theme of dehumanization, particularly through the lens of forced birthing. “The horror in that situation is how dehumanized that woman is”, Stevenson explains, emphasizing the significance of presenting the female body in a non-sexualized light to address themes of forced reproduction authentically. This commitment to realism nearly landed the film an NC-17 rating, sparking a prolonged negotiation with the MPA. “This has been my life for a year and a half, fighting for the shot. It’s the theme of our film. It’s the female body being violated from the inside outwards”, she states, highlighting the importance of the scene to the film’s core message.

The First Omen Movie Poster – by Creepy Duck Design

Producers David Goyer and Keith Levine supported Stevenson’s battle, encountering what they perceived as a double standard in the ratings process. Levine reveals, “We had to go back and forth with the ratings board five times. Weirdly, avoiding the NC-17 made it more intense”, pointing out how the struggle with the ratings board inadvertently intensified the final product. Goyer adds, “There is more permissiveness when dealing with male protagonists, particularly in body horror”, suggesting a gender bias in how body horror is evaluated.

The film’s bold approach to challenging viewers’ perceptions extends beyond the ratings controversy. Co-writer Tim Smith notes the intention to subvert expectations traditionally associated with The Omen franchise, aiming to surprise audiences with a fresh narrative focus. “One of the big things we were excited to do was to kind of pull the rug out from under people’s expectations”, Smith says, underscoring the creative team’s desire to explore new thematic ground.

Nell Tiger Free, known for her role in “Servant”, leads the cast of “The First Omen”, set for release by 20th Century Studios on April 5. The movie follows a young American woman dispatched to Rome for church service, where she stumbles upon a sinister force that shakes her faith to its core and reveals a chilling plot aimed at summoning evil incarnate.

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