![]() ![]() I'd love for us to just be in the background of one of Zendaya's scenes, just because they're two of my best friends and I would love to do anything with them, but also I love that show, so it'd be nice to be a part of that. Zendaya opened up Sunday about her characters journey and what she hoped viewers would take away from season two of HBOs hit series 'Euphoria. He said, "I'd love to be in Euphoria, but with Jacob Batalon. However there could well be another tagalong to add into the mix as Holland previously told Collider that he would like to appear in the series with another Spider-Man star. Zendaya laughed and smoothed over her boyfriend’s disappointment, saying, “We should've tried to, like, easter egg, put you in there. I must have come to visit Euphoria at least 30 times this season.” In these moments the film is also very funny, driven by combustible, mutable performances."Listen, I have been petitioning for this for a long time and it has not happened yet and I'm very disappointed. "You're full of shit," Marie replies, and by way of illustration, she snaps into an overwrought, awards-season acting performance that shows just how easy authenticity can be switched on - and through art's funhouse mirror they go. ![]() "Authenticity doesn't matter," spits Malcolm. Where is the authorial perspective in a collaborative piece, the film wonders. Much of the electricity of Malcolm and Marie is how it raises these questions and deliberately pushes forward ideas that challenge the identity politics that characterises so much of today's criticism, while also poking fun at the idea of artistic genius. ( Supplied: Netflix/Dominic Miller)Ĭertainly it'd be easy to scoff at Levinson, a privileged white director making a race-themed film with Black stars, who might be seen as trying to preemptively insulate himself against criticism.īut to do so feels reductive, given the project's collaborative nature: it risks diminishing the agency of the two stars, both of whom are producers, and ignores the rejoinders built into the script.Īs Marie gently reminds Malcolm after his speech, "Do you think you're the first writer in the history of writing to have this issue with critics?" ![]() Levinson said as soon as he started writing the character of Malcolm, he knew it had to be played by John David Washington. On Thursday the former Disney star, 23, was spotted at the Skylight Modern in. (The rant has, perhaps predictably, earned the scorn of some reviewers for whom the words might have hit a little too close to home.) Zendaya and Euphoria costar Jacob Elordi have left the suburban streets and are spending some time in the big city. The movie's most divisive scene involves a long, amusingly exasperated monologue in which Malcolm calls out the performative writing of certain white critics who want to box in Black directors - reading aloud from a review peppered with race theory, loaded language, and white-saviour remarks. While answering fan questions for an IMDb interview with Zendaya, the Spider-Man: No Way Home star. If Levinson riffs affectionately on film history, then he's apparently less fond of contemporary critics. Tom Holland is ready to join his girlfriend, Zendaya, on the set of her hit HBO series Euphoria. The show, which premiered on HBO in 2019, began as a study of protagonist Rue ( Zendaya ), her drug addiction and her burgeoning relationship with her best friend Jules ( Hunter Schafer ). ![]() Chloe Cherry is one of Euphoria season 2s breakout stars. Levinson and Euphoria cinematographer Marcell Rev shoot in an inky 35mm black and white that abstracts the work from realism and plays into film's themes around artifice, while the jazz-inflected soundtrack and self-consciously arty imagery hearken back at times to the 60s - a little bit of Michelangelo Antonioni, a lot of Mike Nichols' Who's Afraid of Virginia Woolf?. Euphoria s Chloe Cherry has opened up about working with Zendaya and the scenes they filmed that got cut from season 2. There are vague echoes of the character dramas of John Cassavetes here, but Malcolm and Marie is only superficially interested in improvised verite rather than run ragged into weird, uncomfortable places, Levinson's scenes are highly stylised, with an exacting kind of fluidity - dolly shots that glide along the house as its subjects pace like caged animals, frames that set traps from which the couple have to escape, and rapid cutting and jittery, hand-held camera that reflects the jangled nerves of the protagonists. The film was shot over six weeks with a small crew, and strict COVID-19 protocols meant that no-one could leave the house. ![]()
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