Why is it that French / Italian publications always get it right?

Emile Hirsch in Italian GQ via: ONTD

WHOA!…isn’t it though?

Having a good conversation is one of my favorite feelings. That moment when you feel almost buzzed with the excitement of how much you want to respond to and absorb what the other person is saying. These conversations happen both with the people I love most and oddly, the people I know least. With the latter category, the buzz comes from the fact that neither one has any expectations for what the other will contribute. I live for these chats.

Peace,

Sources: weheartit, imdb

Blog title from “The New Year” by Death Cab for Cutie

Taking Woodstock is Ang Lee’s newest movie, starring Demetri Martin, Imelda Staunton, Emile Hirsch, Jeffrey Dean Morgan, Liev Schreiber and Paul Dano.

Plot:
Taking Woodstock is based on the real life story of Elliot Tiber (Demetri Martin), an out of luck interior designer who has to move back to his parents’ motel and of how he gets the Woodstock festival to be in his small town after Woodstock (and a neughbouring village) both pull the permits for it to be held there.

Taking Woodstock is a funny and heartfelt movie but most of all, a movie that manages to capture the spirit of the time (or at least it seems that way to someone who wasn’t alive then). It’s a captivating coming of age story set in slightly crazy but definitely special times that is told with a lot of humour and respect. Loved it.

Taking Woodstock had practically no marketing campaign. If I wasn’t an obsessive looker-at-cinema-posters, I probably would have missed it (even though I’m a huge Ang Lee fan). And I really don’t know why (though I have a theory – there’s plenty of nudity and some swearing and *gasp* gay loving). In any case, the movie didn’t deserve this silence – it really was wonderful.

The acting was amazing. And every ten minutes or so there seemed to be another cameo. (Oh look! It’s Jeffrey Dean Morgan! Oh look! It’s Liev Schreiber! Oh look! It’s Emile Hirsch! Oh look! It’s Paul Dano!) And they just kept on coming.
Imelda Staunton was her usual wonderful self and newcomer Demetri Martin convinced me fully. It just seemed like everybody was really enjoying the shoot and had a lot of fun.

The story has a beautiful lightness to it and yet covers a whole lot of ground – the story of the festival itself, Elliot’s coming of age, Elliot’s parents’ relationship, sex, drugs, morality – it’s actually quite dense when you think about it, but it never feels heavy.

The cinematography is beautiful, but the most beautiful part about it might well be when Elliot tries LSD for the first time – the way the high is shown to us… I never saw such a realistic portrayal of a LSD high. [Just to clarify: I have never taken LSD myself, but this felt amazingly real - not so over the top as many other stylised highs seem to be.]

So, summarising I’d say it was an amazing film that should be a must see for anyone who is even only slightly interested in the Woodstock festival. The only caveat: Don’t expect the Woodstock music: Elliot never really got to hear the bands playing and neither do we.

Speed Racer è un adattamento cinematografico statunitense del 2008 di un cartone giapponese del 1960 con lo stesso nome. Il film è scritto e diretto dai fratelli Wachowski.

Leggi altre notizie su: | Andy Wachowski | Larry Wachowski | Emile Hirsch | Christina Ricci | Susan Sarandon | Matthew Fox

EMILE HIRSCH!!!!!!!! MMMMM!!! He’s so adorable and so smart and so talented. He’s my new favorite young actor. I’ve been watching ‘Milk’ over and over again on Demand just to see him

Ang Lee doesn’t owe me anything. If any, I owe him to be grateful for the impressive string of great films he has made over the years, from Sense and Sensibility and The Ice Storm, to Crouching Tiger Hidden Dragon and Brokeback Mountain. But being an acclaimed director sometimes has to feel like the most ungrateful job in the world. Every individual moviegoer will find their own, highly specific individual reason to tell themselves that they didn’t quite like your movies. But it doesn’t have to be something they didn’t like. It could just be something they think they’d have liked even better. When people are in that mood, it doesn’t help to ask them whether they think the movie would have been better if they’d taken over the reins (they’re supposed to say no), or more pointedly, to say that that’s the reason why you’re the director and they are not.

With great reluctance, I’m now going to give that grumpy moviegoer treatment to Ang Lee’s latest movie, Taking Woodstock. The grumpy moviegoer also has the privilege of being able to be completely unreasonable, and this is where my personal experience comes in. In a way, I actually felt like Ang Lee rejected my advice on this film. Never mind the small fact that I didn’t tell air my wishes and expectations for the movie until after it was finished, when the trailer was released back in March. To finally get to see the film and realize that many of the warning signs I saw back then were actually in the full product, felt, however unreasonable, like a double rejection. Here’s what I said I wanted from it back in March:

I’ve secretly yearned for a Woodstock epic every since I first saw Mike Wadleigh’s superb 1970 documentary Woodstock five years ago (…)

I don’t know if such a movie could ever be made, or even written, but Talking Woodstock doesn’t particularly look like an epic take on the cultural and social implication of the music festival and the movement of which it was a manifestation. Rather, it seems Lee has attempted to do a comedy about the hippie movement. It’s not that I have anything against comedies, or hippies for that matter, but at some moments in the trailer it feels like cliches are just around the corner.  Specifically, it will be absolutely crucial to the tone of the film that the hippie characters have a clear purpose, and that they are not included simply to symbolize free spirits and historical context. Ang Lee is not known to milk his audience for cheap laughs, but it certainly is a pitfall he’ll have to avoid, because the audience will come to the film  with a fixed impression of how hippies were.

While it may be unreasonable to hold Lee accountable for ignoring advice he never actually received, my disappointment in Taking Woodstock is not limited to shattered expectations. Having seen the final product, I think some of my above-mentioned points hold up quite well. Most importantly, I’m convinced the movie could have been made more interesting if it had taken a somewhat broader perspective on the event. Sure, the rules are different when you’re filming someone elses material, as Lee and his screenwriter James Schamus are doing with the memoir this movie is based upon. But in deference to the source material, Lee in my opinion narrows the scope too much. As a fan of what you might call craftmanship movies – movies about the nuts and bolts in making art (happen) – I was initially disposed to like the movie’s focus on all the work that has to be put in to make a festival happen, but in the sum of things, even that seemed to be too broad a focus for this movie. Treating the festival as a peripheral point, Taking Woodstock instead reads like part logistics comedy, about the logistical challenges in getting the festival going, and a far larger part quirky family drama/coming of age story.

A Woodstock epic it is not. Sadly.

The real story here, then,  is about the tightly wound family of Eliot Tiber (Demetri Martin), who has a series of things he can’t quite man up to tell his parents; instead of telling them that he feels somewhat trapped in the expectation that he’ll help them continue their financially disastrous family business (a motel), he secretly jumps on the chance to attract the Woodstock gathering to their neighborhood; and instead of confronting his homosexuality, he lets his countercultural new customers speak for him. In letting the family saga take center stage, Ang Lee takes this seminal moment in modern culture down to the absolute micro-level. The conflicts of the Tiber family (social ties versus self-realization and individualism, heteronormativity versus fluid sexuality etc) reflects Woodstock more than Woodstock itself reflects society at large. My problem with that is not this story itself (though I may have wanted a broader perspective) but that its narrowness makes it harder for me – aside from the fact that the movie is based on Eliot Tiber’s memoir – to understand why this story necessarily had to be told to the backdrop of Woodstock, when the festival is never more than a vague catalyst.

I don’t know if this too could be attributed to my set of unreasonably high and specific expectations, but it took too long before I actually started to care for the Tiber family. I’m sure Imelda Staunton had a great time playing Eliot’s mother, and her performance is certainly memorable, but she nevertheless is given such a caricatured and cold demeanor that I can’t quite bring myself to sympathize with her when the movie suddenly makes some revelations about her. The way Eliot’s father (Henry Goodman) finally lights up when his wife is forced to loosen her grip on the family and their business marks moments of warmth in the movie, but even they are sometimes played against a very specific, presumably loving play with the cliches of Jewish family life, that feels both somewhat alienating and even a little hostile.

At the margins of the family drama, Lee includes an eclectic selection of hippies and other representatives of frivolity, and to a point he succeeds with adding some light and a broader scope to the story. This is best captured by Liev Schreiber’s transvestite character, played with remarkable ease and comedic timing, and by Jonathan Groff, in the form of Woodstock organizer Michael Lang. Both actors have a certain magnetism about them that make them the movie’s best attempts to build a bridge between the micro and macro levels. Schreiber’s presence adds the element of sexual politics, while Lang brings the logistics in logistics comedy. His affable personality and chemistry with Eliot is the closest Lee comes to tackling the gay subplot, but although it’s as indirectly done as the frustrated handling of the festival itself, this part of the movie is actually quite satisfying. Jonathan Groff has something about him that makes him shine in a relativity small role.

That something used to be attributed to Emile Hirsch as well, but as Franz pointed out in his review, not even Hirsch can successfully play the hand he’s dealt here. Hirsch’s Vietnam veteran may stand as a symbol of what feels wrong about the hippies inhabiting this movie, much along the lines of my fears from March. Apart from the needed liveliness they add to the Tiber household, most of these characters retain the distinct feel of plot devices. The movie never really tries to present these people as anything more than slight variations of our cemented view of the cinematic hippie. This is particularly frustrating when it comes to Hirsch’s character, because he’s meant to harbor a wide emotional specter. In the end, he doesn’t move the story in any meaningful way, and when he’s on screen, his silly sides tends to stand in the way of his more somber side, and vice versa.

I’m not criticizing the fact that this is a comedy. I’m just disappointed that a director like Ang Lee, who has previously shown his ability to meld personal dynamics with broader stabs cultural shifts (The Ice Storm), somehow decided that Woodstock was not important enough to be an essential part of a movie titled Taking Woodstock. Unlike what he may have hoped, the family drama is neither strong nor funny enough to carry the movie, and its practically Woodstock-less nature threatens to undermine any sense of urgency the need to tell this story might have had. Again, I know this is a an adaptation of a memoir, but this at least raises the question whether the memoir was the right angle to go at the Woodstock phenomenon in the first place. This might be the disappointment talking, but then again two months have passed since I watched it, and my impression hasn’t improved much. I’m not sure if some of it could have been avoided by marketing the movie as less Woodstock-centric, but I did actually feel that I was tricked into expecting something they never intended to deliver.

I was looking up Edward Cullen on Wikipedia and I saw that it said that Edward was a Byronic hero. Because of that, I clicked on the link that explained what a Byronic hero was. Anyway, as I was reading the characteristics, it did sounds like Edward As I continued down the website, it mentioned that Lestat from the Vampire Chronicles and the Phantom from the Phantom of the Opera were Byronic heros as well, but I digress with the Phantom. That made me think about how much Lestat and Edward were alike in the sense that they are both Byronic heros. I think that’s the reason why I don’t like either character. I mean, it’s not that I hate them, but it’s just that they’re not my favorites characters from their respective series. Anyway, I think that’s the reason why I don’t like Lestat and Edward is the fact that they’re Byronic heros.

In my search for any Lestat vs. Edward stuff, I found quite a few pictures that made fun of Edward and the Twilight series or making fun of the fact the Twilight series “outshines” the Vampire Chronicles. The one that I found to be the most funny was the one where it showed Edward and Bella together in the first box, and the following three boxes showing Louis, Lestat, and Armand telling their opinions on the series. I found that Lestat’s and Armand’s reactions to be the most funny. Their reactions were classic Lestat and Armand. Anyway, the next one that I thought was funny was the one where Lestat as picking on Edward. I just found those funny. By the way, you can find the originals at this site.

Bei der GQ Men of The Year Veranstaltung in Los Angeles. Dabei waren Amanda Seyfried und der Schauspieler Chris O’ Connell, der Kult-Regisseur Quentin Tarantino, Olivia Wilde, Emile Hirsch und Christoph Waltz.

I was bored recently and was on my computer I don’t know why but I typed Lestat vs. Edward into Google to see what I would get. Anyway, a lot of stuff that popped up were drawings of people making fun of Edward through Lestat’s point of view, and videos and articles asking who would win in a no-holds bar fight. I immediately thought that Lestat would definitely win. I say that because, after looking up their powers as a refresher, while Edward has super strength, super speed, and can read minds, Lestat can do or has all of that, plus so much more. Lestat also has pyrokinesis, the ability to fly, and he’s telekinetic. Plus, he killed an entire wolf pack by himself, albeit with the help of his two mastiff dogs. Anyway, I really think that Lestat would definitely win the fight against Edward, and that’s assuming Lestat doesn’t fall in love with Edward first, which I doubt would actually happen, and that Lestat doesn’t hurt Bella.

Vez ou outra nos deparamos com filmes desconhecidos, mas que esbanjam qualidade (ou não). Não é raro nos atrairmos por um filme por causa de sua sinopse, ou ainda quando alguém nos indica e fala muito bem do mesmo. The Mudge Boy em parte pode ser encaixado em uma dessas situações. Um drama intenso, mas que deixa, e muito a desejar.

Escrito e dirigido por Michael Burke, o filme conta em seu elenco com Emile Hirsch, Thomas Guiry e Richard Jenkins. Não se pode dizer que os atores fazem a melhor atuação possível, porém dá pra dizer que é suficientemente boa o bastante para agradar.

Na história temos Duncan um garoto que mora com seu pai em uma fazenda. Após a morte de sua mãe Duncan fica com a tarefa que a ela pertencia, cuidar das galinhas. Segundo alguns personagens o garoto parece muito com a mãe, coisa que o filme em si não expõe. O rapaz vive sob os cuidados desconfiados do pai, que acha seu comportamento estranho e suspeito. Em meio a uma perturbação adolescente, ele se ver apunhalado pela partida da mãe. A falta da figura materna acarreta ou acentua o comportamento estranho dele, que começa a usar as roupas da mulher.

O pai do garoto temeroso da opinião e comentários das pessoas de uma cidade pequena passa a controlar o garoto e tenta mudá-lo. Inevitavelmente, Duncan conhece outros jovens que o mostram o que é curtir a vida, e nesse ínterim suas dúvidas se fortificam quando este se vê diante das atitudes de seu novo amigo Perry. Ele em meio as angustias pessoais vai se desenvolvendo e adquirindo maturidade, seja por experiência de vida ou por imposições alheias.

É notável que este tema não é novo nem inovador, mas mesmo assim gera um certo ar estranho, que foge do convencional. Tratar de adolescência, relacionamento familiar, sexualidade e temas da vida pessoal é de certa forma algo positivo, pois isso faz quem assiste se identificar com uma ou outra situação. Mas se não for bem feito, torna-se um pouco desagradável.

The Mudge Boy até que é bom. O que o estraga é o final ridiculamente aberto, sem nenhuma explicação, o clímax não tão evidente não se completa decepcionando até os que o assistam no maior desinteresse.  Dá até para pensar que trata-se de um piloto de alguma série, e que haverá uma continuação, simplesmente para justificar tudo, mas não há. Caso queira saber o que acontece depois, simplesmente imagine, isso mesmo, intencional ou não do diretor, mas é você que escolhe o que lhe “der na telha”, baseando-se nos ocorridos finais do filme.

Trailer:

Pre-Production is when the filmmakers and Producers have been green lit to make a film and are finishing the script, gathering funds, casting and hiring. There is a good chance the film will be made at this point, though until it’s in post-production, there is never any guarantee. And sometimes there’s no guarantee it will be released even when it’s completely finished.

But, on IMDB Pro, here are some of the films listed as in Pre-Production:

Saw 7 - In 3D! (I’m not kidding.)

Beverly Hills Chihuahua 2

Wanted 2

Lethal Weapon 5

Kung Fu Panda 2

Rambo 5: The Savage Hunt

Scream 4 (Do you see a theme with sequels? There are plenty more coming.)

The Three Stooges - with Benicio Del Toro as Moe and Paul Giamatti as Larry. Sean Penn was originally Larry, but dropped out. I loved the Three Stooges growing up, but I’m shocked at the quality of actors they are getting. This may actually be pretty good.

Total Recall – This is still in the script phase. The original film with Arnold Schwarzenegger is super cool. They better not cast someone like Vin Diesel in the lead role.

Red Sonja - Rose McGowen starts, but her boyfriend Robert Rodriguez is not directing, only producing this film. I’m a Rodriguez fan, but with him not at the helm, I’m uncertain about this film. I’m not a big McGowen fan.

20,000 Leagues Under The Sea: Sam Worthington from Terminator is Captain Nemo. There’s potential here.

My Fair Lady - A remake to star Kiera Knightley as Eliza Dolittle. She looks the part (Audrey Hepburn played the part in the original film, though she didn’t sing.) Can Kiera sing? Guess we’ll see. Wonder who will play Professor Higgins? An interesting note: Emma Thompson is writing the screenplay.

Spring Awakening - A very successful new musical. I’m very curious to see who will be cast. The girl from Glee was in the original Broadway production. Maybe she has a shot.

Mary the Mother of Christ - with Al Pacino as Herod. Oh, the jokes, the jokes…

The Warriors – A remake Benny is super excited about. No news on casting yet. Probably will be mostly unknowns.

Hamlet - Another one? This one with Emile Hirsch. The Speed Racer guy? He better have the acting chops for this or it could be a disaster. I am always interested in who will be Ophelia. Kate Winslet rocked it in Kenneth Branagh’s version and the best part of the Mel Gibson one was Helena Bonham Carter’s Ophelia.

Jack and Jill - with Adam Sandler playing both parts. Was Jim Carrey busy?

Excalibur - Bryan Singer is doing this film. Love him. The Usual Suspects is an all time favorite of mine and I love the King Arthur mythology. However, the original Excalibur film is awesome, so I’m not sure what Singer can bring to the story. No casting news yet. I wonder if they will remake Camelot the musical too?

Battlestar Galactica- I’m a huge fan of this series and I’d love to see a film version. Right now Bryan Singer is also slated to direct this, though it looks like it’s a long way from being a done deal.

Warcraft - Directed by Sam Raimi, this could be fun.

I’m just now seeing this movie, and it absolutely took my breath away. It was like a compelling and intriguing book. I could not take my eyes away it was a great watch and it was very heavy as well. It was extremely sad, well more so towards the end, the more of it was epic; VERY EPIC.

I now have a fascination of Emile Hirsch which I already had, but this film has resurfaced that fascination.

Robert Francis @The Fly, Camden 9/11/09

The mystery that surrounds Robert Francis is how he manages to turn from socially awkward agoraphobe to passionate singer with the strum of one chord.
The Californian Emile Hirsch look-a-like wanders up to the stage like a man carrying the burdens of 1,000 souls, and fiddles around with his instruments like a 13-year-old before a music recital.
But once he starts playing a different Francis emerges – still tormented, like a prisoner recently released from 30 years incarceration – but a confidence flows out of him while he delivers his White Lies-esque mellow folk pop.
The most striking things about Francis and his band at The Fly in Camden last night was their apparent insistence to look like one another, all decked in plaid shirts with messy indie haircuts and David Beckham it-looks-like-I-haven’t-shaved-but-actually-I’ve-spent-ages-sculpting-this beards. It was like standing outside a GAP window.
Ignoring the appearance faux pas, Francis served up soulful sounds that lent a little of everything, at times sounding like roots blues from deep Mississippi and then flowing into country rock, all served with a dash of self deprecation and humility.
Which is less than can be said for Francis’ mid-song demeanour, a confidence, bordering on arrogance, that unfortunately manifested itself in more than enough cum-faces-during-guitar-solos than is necessary.
What is undeniable was the boy Robert’s voice, pitch perfect every song, and hauntingly chilling during each tormented verse. Coupled with melodically memorable songs and pretty boy looks, Robert Francis has potential. Just enough with the weird faces, my friend.

Taking Woodstock (2009)
★★★ / ★★★★

Directed by Ang Lee (“The Ice Storm,” “Crouching Tiger, Hidden Dragon,” “Brokeback Mountain”), “Taking Woodstock” was about the summer of 1969 and the flourishing counterculture that culminated in the Woodstock Music and Arts Festival. Caught among the powerful movement was a family and their debt concerning a motel that no one ever visits. Demetri Martin tried to help out his mother (Imelda Staunton) and father (Henry Goodman) with money and moral support as best he could to the point where he had to sacrifice his career as an interior designer. Stuck in the ennui of rural town, the arrival of his childhood friend (Jonathan Groff) and concert organizers gave Martin and his family a chance to finally get out of debt. The only catch was that they had to somehow take in hundreds and thousands of people (which eventually grew to about a million or so) and deal with the frustrations of the citizens of their own town, the neighboring cities and the media coverage. They also had to find a land owner (Eugene Levy) who was willing to take in all sorts of people and be able to deal with the mess afterwards.

I’ll admit right away that “Taking Woodstock” could have been so much bigger and more interesting. However, I do admire Lee’s choice of telling a story from a struggling family’s perspective, especially from a son who was more than ready to leave the nest but was chained at home because of his own guilt of abandoning his parents when they needed him most. Making that decision gave the film a much-needed heart. I was amused when I saw the family dynamics because Staunton was so intense, Goodman was so passive and Martin was inbetween. But then there were truly touching moments, especially a scene toward the end between Martin and his father when the son finally summoned the courage to do whatever it was that he wanted to do in the first place.

The storytelling was light (even for a comedy-drama) and all over the place which worked at some parts because it reflected that era. With a little bit more focus on the event at hand, stronger script and storytelling, this could have been an Oscar contender. I also would have liked to see more of Jonathan Groff. He had a certain spark about him that intrigued me. It might have been his extremely laidback nature or the way he looked into the main character’s eyes, I’m not exactly sure, but what I’m sure of is that the film would have benefited if it had fully explored characters. On the other hand, as much as I love Emile Hirsch, I felt like his character was simpy a distraction. His scenes could have been cut off from the picture and the final product would pretty much have been the same. But then Liev Schreiber as a cross-dresser and having great comedic timing really had me engaged. With this picture, one thing that didn’t work was almost always coupled with two or three things that worked.

I cannot say that “Taking Woodstock” was a disappointment because it managed to entertain and it had a fresh perspective on the monumental event. But it definitely would have won extra brownie points if it had actual footages of several artists’ performance such as Janis Joplin or Jimi Hendrix, or at least a restaging of some sort.

Il faut reconnaître à Ang Lee sa grande habileté à savoir s’insinuer avec grâce dans les bonheurs et les affres de la passion amoureuse. Il peut y consacrer un film entier (Raisons et sentiments, son meilleur à ce jour) tout comme la traiter en toile de fond (Tigre et dragon, pas mal non plus). Débarqué de nulle part, Taking Woodstock sonne le début de la récré. Au placard les problèmes, on enlève les fringues et on va se baigner à poil dans l’étang le plus proche. Retour, donc, en 1969 sur les collines de Bethel dans l’état de New York, à l’endroit même où s’est déroulé le mythique festival de musique qui a rassemblé plus de 450 000 spectateurs. Plutôt que de se focaliser sur les concerts, Ang Lee décale son objectif à quelques mètres des lieux, sur le motel pouilleux de la famille Teichberg. On y retrouve Elliot, jeune décorateur new-yorkais venu prêter main forte à ses parents menacés de saisie. Animé par le désir de réveiller sa petite ville natale, il portera sur lui l’initiative de l’évènement : apprenant qu’une bourgade voisine a refusé d’accueillir un festival de musique hippie il décide d’inviter les organisateurs à venir s’installer dans le coin, du côté de Woodstock.

Le film n’est finalement rien de moins qu’une petite chose bien sympathique n’ayant pour autre ambition que de retranscrire une ambiance, et accessoirement de faire rire à deux ou trois reprises. Le réalisateur s’amuse comme un petit fou avec le personnage d’Elliot : il lui fait fumer des joints avant de l’envoyer en conférence de presse, le met face à sa condition d’homosexuel, lui fait rencontrer des vétérans du Vietnam devenus complètement cinglés. Puis quand il en a marre il passe aux parents, les gave de brownies au hasch, les fait nager dans des billets de banque, leur trouve des atomes crochus avec des transexuels, etc, etc… Bref, Ang Lee navigue en plein océan d’amour et de paix, s’appliquant à trouver une alternative à la tendance ‘crise économique’ qui sévit en cette année 2009. Tant mieux pour lui, et tant mieux pour nous !

Ceci dit, même en mode récré, Ang Lee reste un perfectionniste. Loin de lui l’idée de bâcler un film ! Par conséquent Taking Woodstock (dont la traduction française du titre est décidément bien ridicule) remplit son contrat en s’appliquant à recréer un décor et à toucher du doigt une ambiance, le tout sur un ton joyeux et dans un rythme effréné. Par moments il est vrai qu’on fait plus que froler la caricature (en témoigne le personnage d’Imelda Staunton, juive loufoque rongée par l’avarice), mais finalement qu’importe ! Le film aspire à la légèreté. Par conséquent il serait idiot de lui reprocher un quelconque manque de profondeur. En revanche, à bien y repenser, Taking Woodstock en compétition à Cannes, c’était bel et bien une erreur de casting !

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TAKING WOODSTOCK (USA, 2009) R. : Ang Lee ; Sc. : Jake  Schamus d’après l’oeuvre d’Elliot Tiber et Tom Monte ; Ph. : Eric Gautier ; M. : Danny Elfman ; Int. : Demetri Martin (Elliot Teichberg), Imelda Staunton (Sonia Teichberg), Henry Goodman (Jake Teichberg), Emile Hirsch (Billy), Liev Schreiber (Vilma), Jeffrey Dean Morgan (Dan), Paul Dano, Kelli Garner. Couleurs, 110mn.