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TIFF Interview with Female-Led German Zombie Film ‘Endzeit’ Writer and Director

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Endzeit Ever After

Endzeit (Ever After) is a gorgeous, haunting, intimate, and hopeful German zombie film that gives the apocalypse a bit of a fairytale-like twist. The film – which features women in every role of the creative team and in every lead role – was featured as part of TIFF 2018’s Discovery programming.

The story was developed from a wonderful graphic novel of the same name by Olivia Vieweg – who also came on board to write the film’s screenplay.

I sat down with Writer Olivia Vieweg and Director Carolina Hellsgård to discuss nature, the apocalypse, and being a woman in film

Kelly McNeely: So the film has an all-female creative team, and all-female lead characters, which I absolutely love. What was the experience like of working in that all-female creative environment?

Carolina Hellsgård: Well for me it’s something very natural, it’s not necessarily a political statement, I just always work with a lot of women. The colleagues that made Endzeit with me were all amazing. I just enjoyed this time we had together. We worked very well together!

Kelly: The film has a distinct feeling of creation, not just destruction. It’s kind of a balance of the two.

Olivia Vieweg: Yeah, exactly. We’re hoping that it has a more optimistic outlook than other apocalyptic films. We also believe that there’s some opportunities in the apocalypse and we should kind of embrace that chaos, to a certain extent. There’s a possibility to coexist with each other and with nature that we might not have explored.

via TIFF

Kelly: Nature plays a very big part in the film and the story. Where it’s filmed – mostly outdoors – is absolutely gorgeous. Were there any challenges of filming in that environment, doing so much outdoors?

Carolina: We were just joking about that, when Olivia was writing it…

Olivia: When I was writing the script I normally sit in my pajamas at my desk and write with my tea, very comfy. I wrote that the story takes place in summer, and everything is outside. When I got to the set for the first time I realized that about 60 people have to do this film… it was hard! It was about 40-45 degrees or something, and they were all sunburned! I realized ok, maybe I should feel sorry for what I did? But I don’t [laughs].

Carolina: It was fun, at times, but it was hard. It was a hard shoot. I was really worried about the weather all the time – it was raining and when it wasn’t raining I couldn’t really enjoy the sun. I was just looking at the sun, like, “Why doesn’t it ever set!? Just go down!”, it was really staring at us. It was very apocalyptic. It was so hot!

Towards the end, we were in September, and suddenly there was a weather change. Like, oh, this is Fall. It was freezing and raining… so that was it. We wrapped the film on a very, very rainy, dark night in Weimar about a year ago. And I was like, “Wow. That was that summer”. It was extremely hot, then cold, then we wrapped. [laughs]

Kelly: So the script was adapted from [Olivia’s] comic. How did [Carolina] find the graphic novel? Did you know each other before?

Carolina: The production company sent me Olivia’s script and I loved it. I really loved it. So we met, and we talked – quite a lot – then we met again. Then they decided that I would be a good fit to direct it.

Kelly: What were your influences and inspirations when writing – as well as filming?

Olivia: I was inspired by a well-known Italian movie called Io Non Ho Paura (I’m Not Scared). I really liked this film.

Carolina: I didn’t know you were inspired by this!

Olivia: It’s about children in South Italy, and all the fields are yellow. Such a bright yellow! It’s like nature is a protagonist because it’s so intense. There is a horror plot also, which you don’t expect at the beginning. It was so terrifying, but was so beautiful! When I wanted to do something, this was my role model, kind of.

Carolina: I didn’t even know that!

Olivia: I love this film. The combination between so beautiful but also afraid of everything… this combination really inspired me.

Carolina: It’s really good!

via TIFF

Kelly: The entertainment industry is pretty male-dominated. What perspectives do you think women bring into the horror genre, or what does female representation in film – as a whole – mean to you?

Carolina: I think it is very important that we discuss why women are under-represented in this industry. Not only in horror films, but in the whole industry. Like, what really is going on. Why aren’t there more women?

In Germany, people always say that – in the film schools – it’s very 50/50. And the women excel in this environment and they make films that go to festivals and win awards, and then they just disappear.

We have to look into that. Why is that the case? I’m very much for regulating tax money, I think this should be a 50/50 split for film financing. Private money, you can’t do anything about that. So it’s up to people’s own moral standards to work towards change.

But I think if we had a 50/50 regulation, we would stop talking about the content. Because that’s often a problem – people talk about the content of the films. They say women do more of these kinds of films, or talk about quality… but it’s really not about quality. It’s about the fact that women – of course – have other experiences than men, but maybe we can’t even pinpoint what these experiences are about. So let’s move this discussion up to a structural level and say that they have the same rights as men to work and earn money, and to put out films.

Kelly: So what’s next for you both?

Carolina: I’m shooting another film – in four weeks, based on my own script – in Spain.

Olivia: Next year I’m doing another graphic novel for the same publisher, and I just wrote a concept for a teenage dance flick.

Carolina: It’s really cool! I think it’s going to blow up.

Olivia: It’s really cool, yeah, I hope this will be my next project. I think it will also be pretty expensive with special effects with holograms… but I really, really like the idea. I always like young protagonists. That’s kind of my thing.

 

For more TIFF coverage on female-focused horror, check out our reviews of The Wind and Assassination Nation.

via Kinderfilm

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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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