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Blood & Beer: Inside ‘The Oak Room’ with New Trailer and Exclusive Set Visit

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The Oak Room

During a raging snowstorm, a drifter returns home to the blue-collar bar located in the remote Canadian town where he was born. When he offers to settle an old debt with a grizzled bartender by telling him a story, the night’s events quickly spin into a dark tale of mistaken identities, double-crosses and shocking violence. You’re not going to believe what happened at The Oak Room.

I wander onto the set and immediately I’m struck by the level of detail that’s gone into the creation of a dimly lit, basement-level, small town bar. Every meticulously created label, every tchotchke and wall hanging, every drunkenly-scrawled signature on the bathroom stall, it all builds the world of The Oak Room, rich in texture. 

The set carries a bit of a weight to it, holding the energy of the previous scene. Actors RJ Mitte (Breaking Bad) and Peter Outerbridge (Suicide Squad) laugh between takes, shedding the terse tones they held moments before. Originally, The Oak Room was a stage play, and you can sense it. The dialogue glides as the actors work through extended takes.

The Oak Room via Black Fawn Films

The stage version premiered at the Toronto Fringe Festival in 2013. Actor Ari Millen (I’ll Take Your Dead) — who also stars in the film — had thought that it might be a good choice for an adaptation, so he brought the script to director Cody Calahan.

“He called me and said, I’m going to send you the script, you’ve got to read it.” Calahan recalled, “I was about to get on a plane for LA, and he was like, just do me a favor, whatever you have to do on the plane, don’t do it. Just read the script.” By the time the plane had landed, the script had been devoured and a plan was starting to form: “We started right away and over the last two years, took it from the theatrical version into the film version.” 

One of the theatrical elements that has been maintained throughout shooting The Oak Room is the use of long takes — up to 15 minutes at a time — to really give the actors room to breathe. “We do a bunch of rehearsals, we do a rehearsal for camera crew and all that, then we dive right in.” Calahan noted, “When you kind of let the actor go, and there’s no stopping and starting,” he grinned, “It’s pretty awesome.”

The Oak Room via Black Fawn Films

Between these extended takes, I slipped behind the scenes to meet with RJ Mitte and Peter Outerbridge to delve into the secrets and stories of The Oak Room

“It’s written very much like a play, and plays are very extravagant for many reasons.” elaborated Mitte, “Everything that we do in editing — trying to create the beats on stage — you do it live. With this, we have time to alter the beat.” It gives the actors the flexibility to really dig in and find the scene. Mitte smiled, “You find that space and live in that space, and it’s really, really good.”

As organic as it is to shoot long scenes, it creates a unique set of complications for DP Jeff Maher, said Calahan. “We’re capturing the scenes and not dictating, okay, you can only look this way because I want that shot,” he explained, “Which is really tough for Jeff because he’s got to make all the shots creative, unique and entertaining.”

“He’s got to adapt,” he continued, “So they’re running 12 foot long dollies so that when we do the rehearsal, if he sees a moment that’s not working, he’s able to fly over to the other side.” It’s an effective way to shoot the static scenes, and it certainly keeps everyone on their toes. 

The Oak Room via Black Fawn Films

But the complexities don’t end there. “We’re shooting it chronologically, which is very rare to do in films.” Outerbridge shared, “You shoot everything out of order when you shoot films. So we’re shooting it like a play.”

“It’s a play, it’s an actor piece,” he continued, “It’s like two guys in a bar, talking for two hours. Now, that in itself is a challenge.” But it’s not just two talking heads; there’s a few tricky twists to this particular tale. “It’s a story about a guy who walks into a bar, and tells the bartender a story about a guy who walks into a bar, who tells the bartender a story about a guy who walks into a bar.” laughed Outerbridge, “And then eventually, it loops back to the first bartender.”

With such a dense script to work from, it was important that the film be economical while not cutting the meat of the story. “The great thing about the script is that the plot is in the dialogue,” said Calahan, “We really don’t cut away to a lot of storytelling elements. It’s in what they say; the story’s in what the dialogue is dictating. So the more dialogue you cut, the more story you cut.”

Cutting the story down is a whole other challenge; it’s tightly woven to preserve an evocatively ambiguous ending. “It will be left to the audience — if they’ve been paying attention — to try to figure out what is happening,” explained Outerbridge, “Who’s getting redemption and who’s getting revenge.”

“It’s really left up for interpretation on whether or not you want to believe that it happened one way or the other.” commented Mitte, “Is this real? Or is this fake? Is this guy lying to me? Or is this guy telling the truth? And you don’t really know. As many questions as we answer, we raise a lot more questions. And we leave them there.”

“Depending on what version of the ending you think is about to happen, it becomes a totally different film in each version.” Outerbridge hinted, “One begins with a murder mystery, one becomes a horror movie, or one becomes like a ghost story.”

“It’s unique.” Agreed Mitte, “It’s a one of a kind story, it’s a one of a kind script, and what you see is definitely going to be wild.”

The Oak Room

The Oak Room via Black Fawn Films

Spotting a severed unnamed body part (no spoilers here), I can tell that what Mitte said is indeed accurate. Calahan, Outerbridge, and Mitte all seem genuinely excited about the project, and their enthusiasm really pulled me in. “We’re a rare film,” said Mitte, “I feel that what we have is a special movie with a very special group of people that really honed their craft and have the skills to make it great.”

The Oak Room is filled with great detail and care. Nuances are carefully rehearsed and placed with just the right amount of off-the-cuff attitude so that it feels natural. Like the Oak Room itself, it feels very comfortable and real, though there’s something that’s sharpened the edge.

So what exactly happened in The Oak Room? “They’ve made a point of keeping it as ambiguous as possible. But there is a backstory to it,” said Outerbridge, “[Calahan] knows what that is. The writer, Peter Genoway, knows what that is. But they haven’t told us.”

They’ve painted a compelling picture — a nice compliment to the tense undercurrent of the scene they’ve been working on. “You know that something bad is going to happen,” Calahan quipped, “You’re just waiting for that moment.”

Walking away from the set, I immediately wanted to know more. From the way the film was shot to the script’s layered and cryptic conclusion, the more I thought about it, the more I wanted to see how it all unfolds. Months later, I still need to know. 

So if you’re intrigued by a complex thriller with a good hook and a strong weight, definitely check out The Oak Room. Pull up a stool, grab a drink, and settle in. Things are about to get interesting.

 

Breakthrough Entertainment Inc. and Black Fawn Films will be bringing The Oak Room to Cannes’ upcoming virtual film market “Marche du Film”, where first viewings of the film will be taking place on Tuesday, June 23, 2020. You can view the brand new trailer and poster below.

 

The Oak Room

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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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