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Ellen Page shares her own #MeToo experiences on Facebook and joins Netflix's »The Umbrella Academy« series

Met Too - Ellen Page

After the Los Angeles Times first published accusations of sexual harassment or misconduct from six women against filmmaker Brett Ratner in early November, Ellen Page released an in-depth statement on Facebook this Friday detailing her own experiences with the abusive landscape of Hollywood and opening up about the »X-Men: The Last Stand« director's "homophobic and abusive behavior" on the set.

In her lengthy posting Page describes how Ratner "outed" her during a cast and crew "meet and greet" where he allegedly encouraged an older woman to have sex with her, saying: "You should f*ck her to make her realize she’s gay." This story, in particular, has been corroborated by fellow Canadian actress and X-Men co-star Anna Paquin who tweeted, "I was there when that comment was made. I stand with you." This public, aggressive outing also happened with no regard for Page's well-being and left the actress with long standing feelings of shame as it occurred at a time when she was trying to figure out her own sexuality. "I was a young adult who had not yet come out to myself. I knew I was gay, but did not know, so to speak. I felt violated when this happened ... This man, who had cast me in the film, started our months of filming at a work event with this horrific, unchallenged plea," she continued. Unfortunately for the entire film team, she says this wasn't the only incident of misconduct from Ratner during filming. "I proceeded to watch him on set say degrading things to women. I remember a woman walking by the monitor as he made a comment about her "flappy pussy."

Twitter - Anna Paquin

The Canadian actress also discussed further instances in which men in a position of power took advantage of the situation. "When I was sixteen a director took me to dinner (a professional obligation and a very common one). He fondled my leg under the table and said, 'You have to make the move, I can't,'" Page recounts. "I did not make the move and I was fortunate to get away from that situation. It was a painful realization: my safety was not guaranteed at work." Furthermore Ellen revealed she was sexually assaulted by a film crew member months later, and asked by a director to sleep with a man in his late twenties and to tell them about it. She did not.

In her post, Page also admitted that making a Woody Allen movie is the biggest regret of her career. "I am ashamed I did this. I had yet to find my voice and was not who I am now and felt pressured, because 'of course you have to say yes to this Woody Allen film.' Ultimately, however, it is my choice what films I decide to do and I made the wrong choice."

Although she didn't directly make use of the famous hashtag, Ellen Page eventually added her name to the growing list of Hollywood stars who have joined the #MeToo movement with this brave step. Her words not only hit the headlines of various websites including Forbes, People, Deadline and the Los Angeles Times and became a trending subject on Twitter with over 20.000 reactions, but also led to a wave of sincere condolences, sympathy and solidarity expressed by companions and loyal fans alike. We are deeply saddened that Ellen has gone through all this and thank her for speaking out about her experiences! It would be naive to think that this is just a Hollywood thing or a political thing. It's also not a male thing or a female thing, this is a human thing in the first place which happens in the workplace, in families and basically all places over the world. Still, Page's story demonstrates the corruption - some are already calling it the conspiracy Of inaction - at the heart of Hollywood: a place of intense power imbalance and zero oversight, where young actors are told their future career rests on pleasuring incredibly rich and influential people.

Although the current ongoing flood of revelations must be horrible for the victims, we strongly believe it's important to speak out and not be shamed by anyone. Otherwise offenders and other confidants involved will never receive their deserved punishment! Here is also another thing this decision accomplishes: the knowledge that you are probably sparing someone else from going through what you went through. If people in powerful positions get the message that there are consequences for being abusive and manipulative, then they will think twice or three times about behaving this way. What has led to this sort of toxic culture in politics, law, entertainment and essentially all parts of society is the fact that those who had the power knew there would be no consequences whatsoever. Nothing is going to change until that changes, and what we are experiencing at the present time is hopefully just the beginning of something much, much bigger!

We will give the last word on the subject to Ellen Page herself here, who says it better than we ever could:

"Don't allow this behavior to be normalized. Don't compare wrongs or criminal acts by their degrees of severity. Don’t allow yourselves to be numb to the voices of victims coming forward. Don't stop demanding our civil rights. I am grateful to anyone and everyone who speaks out against abuse and trauma they have suffered. You are breaking the silence. You are revolution."

Ellen Page's full statement:

“You should fuck her to make her realize she’s gay.” He said this about me during a cast and crew “meet and greet” before we began filming, X Men: The Last Stand. I was eighteen years old. He looked at a woman standing next to me, ten years my senior, pointed to me and said: “You should fuck her to make her realize she’s gay.” He was the film’s director, Brett Ratner.

I was a young adult who had not yet come out to myself. I knew I was gay, but did not know, so to speak. I felt violated when this happened. I looked down at my feet, didn’t say a word and watched as no one else did either. This man, who had cast me in the film, started our months of filming at a work event with this horrific, unchallenged plea. He “outed” me with no regard for my well-being, an act we all recognize as homophobic. I proceeded to watch him on set say degrading things to women. I remember a woman walking by the monitor as he made a comment about her “flappy pussy”.

We are all entitled to come into an awareness of our sexual orientation privately and on our own terms. I was young and although already a working actor for so long I had in many ways been insulated, growing up on film sets instead of surrounded by my peers. This public, aggressive outing left me with long standing feelings of shame, one of the most destructive results of homophobia. Making someone feel ashamed of who they are is a cruel manipulation, designed to oppress and repress. I was robbed of more than autonomy over my ability to define myself. Ratner’s comment replayed in my mind many times over the years as I encountered homophobia and coped with feelings of reluctance and uncertainty about the industry and my future in it. The difference is that I can now assert myself and use my voice to to fight back against the insidious queer and transphobic attitude in Hollywood and beyond. Hopefully having the position I have, I can help people who may be struggling to be accepted and allowed to be who they are –to thrive. Vulnerable young people without my advantages are so often diminished and made to feel they have no options for living the life they were meant to joyously lead.

I got into an altercation with Brett at a certain point. He was pressuring me, in front of many people, to don a t-shirt with “Team Ratner” on it. I said no and he insisted. I responded, “I am not on your team.” Later in the day, producers of the film came to my trailer to say that I “couldn’t talk like that to him.” I was being reprimanded, yet he was not being punished nor fired for the blatantly homophobic and abusive behavior we all witnessed. I was an actor that no one knew. I was eighteen and had no tools to know how to handle the situation.
I have been a professional actor since the age of ten. I’ve had the good fortune to work with many honorable and respectful collaborators both behind and in front of the camera. But the behavior I’m describing is ubiquitous. They (abusers), want you to feel small, to make you insecure, to make you feel like you are indebted to them, or that your actions are to blame for their unwelcome advances.

When I was sixteen a director took me to dinner (a professional obligation and a very common one). He fondled my leg under the table and said, “You have to make the move, I can’t.” I did not make the move and I was fortunate to get away from that situation. It was a painful realization: my safety was not guaranteed at work. An adult authority figure for whom I worked intended to exploit me, physically. I was sexually assaulted by a grip months later. I was asked by a director to sleep with a man in his late twenties and to tell them about it. I did not. This is just what happened during my sixteenth year, a teenager in the entertainment industry.

Look at the history of what’s happened to minors who’ve described sexual abuse in Hollywood. Some of them are no longer with us, lost to substance abuse and suicide. Their victimizers? Still working. Protected even as I write this. You know who they are; they’ve been discussed behind closed doors as often as Weinstein was. If I, a person with significant privilege, remain reluctant and at such risk simply by saying a person’s name, what are the options for those who do not have what I have?

Let’s remember the epidemic of violence against women in our society disproportionately affects low income women, particularly women of color, trans and queer women and indigenous women, who are silenced by their economic circumstances and profound mistrust of a justice system that acquits the guilty in the face of overwhelming evidence and continues to oppress people of color. I have the means to hire security if I feel threatened. I have the wealth and insurance to receive mental health care. I have the privilege of having a platform that enables me to write this and have it published, while the most marginalized do not have access to such resources. The reality is, women of color, trans and queer and indigenous women have been leading this fight for decades (forever actually). Marsha P. Johnson, Sylvia Rivera, Winona LaDuke, Miss Major, Audre Lorde, bell hooks, to name a few. Misty Upham fought tirelessly to end violence against indigenous women, domestic workers and undocumented women. Misty was found dead at the bottom of a cliff three years ago. Her father, Charles Upham, just made a Facebook post saying she was raped at a party by a Miramax executive. The most marginalized have been left behind. As a cis, white lesbian, I have benefited and have the privileges I have, because of these extraordinary and courageous individuals who have led the way and risked their lives while doing so. White supremacy continues to silence people of color, while I have the rights I have because of these leaders. They are who we should be listening to and learning from.

These abusers make us feel powerless and overwhelmed by their empire. Let’s not forget the sitting Supreme Court justice and President of the United States. One accused of sexual harassment by Anita Hill, whose testimony was discredited. The other proudly describing his own pattern of assault to an entertainment reporter. How many men in the media – titans of industry - need to be exposed for us to understand the gravity of the situation and to demand the fundamental safety and respect that is our right?

Bill Cosby was known to be predatory. The crimes were his, but many were complicit. Many more chose to look the other way. Harvey was known to be predatory. The crimes were his, but many were complicit. Many more chose to look the other way. We continue to celebrate filmmaker Roman Polanski, who was convicted of drugging and anally raping a young girl and who fled sentencing. A fugitive from justice. I’ve heard the industry decry Weinstein’s behavior and vow to affect meaningful change. But let’s be truthful: the list is long and still protected by the status quo. We have work to do. We cannot look the other way.

I did a Woody Allen movie and it is the biggest regret of my career. I am ashamed I did this. I had yet to find my voice and was not who I am now and felt pressured, because “of course you have to say yes to this Woody Allen film.” Ultimately, however, it is my choice what films I decide to do and I made the wrong choice. I made an awful mistake.
I want to see these men have to face what they have done. I want them to not have power anymore. I want them to sit and think about who they are without their lawyers, their millions, their fancy cars, houses upon houses, their “playboy” status and swagger.

What I want the most, is for this to result in healing for the victims. For Hollywood to wake up and start taking some responsibility for how we all have played a role in this. I want us to reflect on this endemic issue and how this power dynamic of abuse leads to an enormous amount of suffering. Violence against women is an epidemic in this country and around the world. How is this cascade of immorality and injustice shaping our society? One of the greatest risks to a pregnant woman’s health in the United States is murder. Trans women of color in this country have a life expectancy of thirty-five. Why are we not addressing this as a society? We must remember the consequences of such actions. Mental health issues, suicide, eating disorders, substance abuse, to name a few.

What are we afraid to say and why can’t we say it? Women, particularly the most marginalized, are silenced, while powerful abusers can scream as loudly as they want, lie as much as they want and continue to profit through it all.

This is a long awaited reckoning. It must be. It’s sad that“codes of conduct” have to be enforced to ensure we experience fundamental human decency and respect. Inclusion and representation are the answer. We’ve learned that the status quo perpetuates unfair, victimizing behavior to protect and perpetuate itself. Don’t allow this behavior to be normalized. Don’t compare wrongs or criminal acts by their degrees of severity. Don’t allow yourselves to be numb to the voices of victims coming forward. Don’t stop demanding our civil rights. I am grateful to anyone and everyone who speaks out against abuse and trauma they have suffered. You are breaking the silence. You are revolution.

Source: facebook.com/EllenPage

The Umbrella AcademyDue to the latest developements, another exciting news almost became a minor matter. According to Deadline and Variety, Ellen Page has been tapped for one of the leads in Netflix's »The Umbrella Academy«, a live-action series based on the popular graphic novels by Gerard Way and illustrated by Gabriel Bá.
The show is set for a 2018 premiere and follows the estranged members of a dysfunctional family of superheroes – Luther, Diego, Allison, Vanya, Klaus and Number Five – as they work together to solve their father’s mysterious death while coming apart at the seams due to their divergent personalities and abilities. Page will play Vanya, the black sheep of her family who is the only one of Reginald Hargreeves’ adopted children with no supernatural abilities. A meek and insecure wallflower, Vanya struggles to find her place in the world.


Date: 11/11/2017 - 12:26:17 Posted by Dominik
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Ellen Page and Emma Portner attend L.A. Dance Project's Annual Gala

On Saturday, October 7, the L.A. Dance Project hosted its annual gala unveiling the company's brand new performance space in Downtown Los Angeles to the public. The event brought out choreographer and cofounder Benjamin Millepied and his closest collaborators and friends, including wife Natalie Portman, Rashida Jones, Mikhail Baryshnikov, Gina Rodriguez, Jennifer Grey, Maria Valverde, Amber Valletta, Isla Fisher, Sacha BaRon Cohen, Erica Pelosini Leeman, Spike Jonze as well as Ellen Page and Emma Portner. Once inside, guests took in a presentation with performances by the artistic collective itself, Portner, and the students from The Colburn School, followed by dinner and more dancing to the sound of hip-hop classics played by DJ Kris Bones at a Rag & Bone-sponsored after party. Ellen reportedly made an early exit and left hand in hand with her girlfriend lauding, "Amazing, I loved it."

L.A. Dance Project Annual GalaL.A. Dance Project Annual Gala
L.A. Dance Project Annual GalaL.A. Dance Project Annual Gala

ABOUT L.A. DANCE PROJECT

L.A. DANCE PROJECT IS A DANCE COMPANY FOUNDED IN 2012 BY CHOREOGRAPHER AND DANCER BENJAMIN MILLEPIED, ALONG WITH COMPOSER NICO MUHLYART CONSULTANT MATTHIEU HUMERY, FOUNDING PRODUCER CHARLES FABIUS AND COMPOSER NICHOLAS BRITELL.

The L.A. Dance Project is a platform for the development, creation, support and presentation of world-class dance in Los Angeles. Comprised of an internationally acclaimed dance company, a brand new performance space in Los Angeles’ burgeoning Arts District and a program of media initiatives, LAPD promotes dance not only as an artistic practice but as a way of being in the world. LADP seeks to foster dance-centered artistic collaborations across all disciplines, cultures and communities in Los Angeles and around the globe.

Since its founding, the company of the L.A. Dance Project has toured and given master classes at international venues and festivals including the Holland Festival, the Edinburgh International Festival, La Maison de la Danse, the Saitama Arts Center, Sadler's Wells Theatre, Shanghai and Bejing Opera House, Theatre des Champs Elysees and Theatre du Chatelet. In the US, the company has performed at venues including Jacob’s Pillow, Brooklyn Academy of Music, New York City Center and the Joyce Theater.

In its home city of Los Angeles the company has performed at The Music Center's Walt Disney Music Hall, MOCA, Union Station, The Theatre at Ace Hotel, and The Wallis Annenberg Center for the Performing Arts.


Date: 10/08/2017 - 22:02:09 Posted by Dominik
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The »Flatliners« reboot celebrates its world premiere in Los Angeles and suffers a plethora of bad reviews

Following a press junket in LA and an appearance on Conan where she promoted the movie, talked about writing a joke book with actress Amy Seimetz as well as hanging out with her co-stars, and showed her new tattoos, Ellen Page celebrated the world premiere of »Flatliners« together with the cast including Nina Dobrev, Diego Luna, Kiersey Clemons, James Norton and Madison Brydges, director Niels Arden Oplev, producer Michael Douglas, composer Nathan Barr and a couple of special guests at The Theatre at Ace Hotel on September 27, 2017.


But the pleasure surrounding this event and the ensuing after-party did not last for long as the reboot of the eponymous 1990 film was savaged by critics for all sorts of reasons in the first reviews that came out alongside the theatrical release just two days later. As a result, the thriller intermediately scored a 0% rating on review-aggregate website Rotten Tomatoes which made it the worst reviewed film of 2017 and got it an undesirable "rotten" classification. Thanks to three critics (Jim Lane from Sacramento News & Review, Vicky Roach from Australia's Daily Telegraph and María Fernanda Mugica from La Nación in Argentina) the movie has, fittingly, returned from the dead and stands at 5 percent at the moment. The site's audience score, although much more optimistic, is still "rotten" at 38 percent on the other hand. As is always the case with such numbers, it's worth remembering that these ratings are not the end of the world. They are not the be-all, end-all in regards to a film's quality, but rather a snapshot of what certain critics and a part of the audience think. At the same time, it cannot be denied, however, that the negative trend also continued in regard to the financial success. With a budget of estimated $19 million, the thriller made only around $6.5 million during its opening weekend and a bit more than $24 million worldwide so far (as of October 15, 2017). The fact that Sony Pictures / Columbia Pictures neither did much pre-release marketing, nor screened the film for critics in advance or debut it in theaters on a Thursday night as usual also fits perfectly into the overall picture.

Flatliners - World PremiereFlatliners - World Premiere
Flatliners - World PremiereFlatliners - World Premiere

World Premiere After PartyFlatliners - World Premiere

Here is the obligatory summary of what the press wrote about the movie including all the best and worst puns that they could load into their respective reviews. First up is Glenn Kenny from The New York Times who is rather gracious by saying the new »Flatliners« is "new definition of 'meh'." IGN's William Bibbiani shows some evidence of openness and reconciliation by stating the reboot "had every opportunity to improve on the original, and it doesn't take most of them. It falls flat as a horror movie but the cast is good enough, and the sci-fi concepts are interesting enough, to keep it from crashing completely." A similar bottom line regarding the involved actors also comes from Bill Zwecker of Chicago Sun-Times claiming "while the talented cast — especially principals Ellen Page, Kiersey Clemons, Diego Luna, James Norton and Nina Dobrev — do as well as can be expected with the (excuse the weak pun) pretty flat script, this remake likely will be all but forgotten shortly after it hits multiplexes this weekend." Peter Travers from Rolling Stone jokes "the scariest thing in this fright-free fiasco is thinking medical schools are producing doctors this clueless" and eventually arrives at the conclusion that it is "even more witless and stupefyingly dull than the original." Consistent with the movie's subject, The A.V. Club's Mike D'Angelo notes "Flatliners shouldn’t have bothered coming back from the dead."

While John DeFore from The Hollywood Reporter simply figures the reboot is "as daffy as the original and a lot less fresh," CinemaBlend's Conner Schwerdtfeger concludes his review with the words "Though competently directed and well-acted, Flatliners does little to set itself apart from a run-of-the-mill thriller. True to the material, it simply lacks a pulse. On a superficial level, the film will most likely deliver the requisite scares (albeit cheap jump scares) to enter the Halloween season, but it probably will fail to leave a lasting impression." The resume by Andrew Barker posted on Variety isn't totally negative while raising a valid question: "As dull as it gets, Flatliners never sinks all the way into outright fiasco, and there's enough talent both behind and in front of the camera to keep things on the right side of basic competence. The actors do what they can with the material, and Oplev happens upon a few decent visual ideas. What's missing, however, is any indication why anyone involved wanted to revisit this material." "Flatliners is an agonizingly boring remake of a movie about the dangers of bringing things back from the dead. Even with Ellen Page and Diego Luna as sexy idiot doctors, this new version of a 1990 Joel Schumacher thriller is still a generic slog" is the word from David Ehrlich reviewing the movie for IndieWire. Adam Nayman from The Ringer even asserts "Page probably wishes that she was not in this movie either" and continues being sarcastic because "it's always nice when movies about which there's nothing worthwhile to say find the time to review themselves" after referring to a scene where "Courtney and James are comparing notes on what it's like to flatline, and she asks him if he saw anything disturbing, to which he replies, no." Screen Rant's Chris Agar takes the view that "Flatliners is an unmemorable redux hampered by poor writing and a general lack of thrills that fails to capture the attention of its audience" and suggests "even those intrigued by marketing would be better off waiting for home video, or simply rewatching the 1990 version."

Unusually plain words come from Christian Holub reviewing for Entertainment Weekly: "Flatliners is dull and indecisive. [...] It often feels like Flatliners is trapped between multiple genres without knowing exactly what kind of movie it wants to be, and the result is a confused mess." The Verge's Tasha Robinson points out that "the Flatliners team could have saved their remake — and chose not to. Instead, they made a film about the dangers of playing God, or at least playing God with sloppy scientific protocols." Ryan Porter of Toronto Star quips "the remake of this original Kiefer Sutherland/Julia Roberts blockbuster might be boring if it wasn't so unintentionally funny." And Mark Harrison from the website Den of Geek comments "Ellen Page is far better than this sort of thing, and although she comes out of it the best, Ben Ripley's script really doesn't give the cast much to do." and finally puts the movie's main dilemma in a nutshell by expressing "Flatliners is a mediocre remake that utterly fails to update the original in any meaningful way. There is no reason for it to exist. But its failure is compounded by the fact that there was every chance of it being superior, with the right take. Instead, it's not scary, it's not thought-provoking and it's simply not worth your time."

What do you think of all those harsh words? And most importantly, if you have already seen the movie yourself, are the largely negative reviews justified? Feel free to leave your point of views in the comment section below!

(Last Update: October 17, 2017)


Date: 09/30/2017 - 16:23:48 Posted by Dominik
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»My Days of Mercy« gets its world premiere and good reviews at the Toronto International Film Festival 2017

TIFF 2017 LogoAfter traveling to New York City to promote »Flatliners« by having a radio interview on SiriusXM Insight on Wednesday and making an appearance on AOL Build on the following day, Ellen Page returned to the Toronto International Film Festival where »My Days of Mercy« screened as a gala presentation on Friday evening. Together with her costars Kate Mara and Amy Seimetz, director Tali Shalom-Ezer as well as some of the film's crew, she walked the red carpet in front of the Roy Thomson Hall, took time to pose with fans for photos, had some small talk with journalists from eTalk, ET Canada, CP24 and The Canadian Press, and eventually enjoyed the warm welcome inside of the cinema auditorium. The live streams by TIFF itself and ET Canada are embedded below in case you missed them. We can especially recommend the latter one in which we received a couple of mentions by host Graeme O'Neil (at 7:17, 10:28 and 11:08)!



TIFF2017 - The Cured World PremiereTIFF2017 - My Days of Mercy World Premiere
TIFF2017 - My Days of Mercy World PremiereTIFF2017 - My Days of Mercy World Premiere




Prior to this first public premiere, Tali Shalom-Ezer and her three leading actresses already did some press work at the beginning of the week following the very first screening for press and industry representatives on September 8, 2017. They sat down with Deadline, MTV News, ET Canada and the Los Angeles Times to play a word-association game and to chat about the well-written script by Joe Barton, their respective roles, the relationships between the characters, emotional scenes, Page and Mara's influence as producers of the movie and "Tiny Detectives - The Motion Picture." On Monday evening, the cast and crew then came together one more time for a pre-screening party held at Soho House's third floor bar.

TIFF2017 - My Days of Mercy Premiere PartyTIFF2017 - My Days of Mercy Premiere Party
TIFF2017 - My Days of Mercy Premiere PartyTIFF2017 - My Days of Mercy Premiere Party

Because of the aforementioned early press screening, the first reviews for »My Days of Mercy« already came in on the festival's second night - and they all turned out to be very positive so far. Variety's Dennis Harvey put the very first article online stating that "Page [...] gives one of her best performances in a tailor-made role. Mara is fine as a character whose elusiveness ultimately transcends plot device. Seimetz excels as a woman who's held it together under duress for so long she may no longer know how to live in a state of non-crisis. Supporting roles are very well cast." Todd McCarthy from The Hollywood Reporter describes the movie as "an unlikely but affecting female love story" while predicting that it "won't go far commercially but will be embraced in circles particularly attuned to same-sex romance and death penalty subject matter." Writing for IndieWire, Jude Dry thinks "the greatest triumph of »My Days of Mercy« is that it handles such heavy subject matter with grace and — mercifully — as light a touch as good taste will allow" and also adds that "the movie doesn't buckle under the weight of its ambitions, and in straining to find the light it ends up engaging and compelling — even if it is overly complex" resulting in a solid B- grade. Jordan Hoffman says in the review for Vanity Fair that Ellen Page "is outstanding in an extremely difficult role" and Israeli director Tali Shalom-Ezer's American debut "is ultimately a very powerful, emotional, and universal story, despite the peculiarity of mixing an issue-oriented political film with an LGBT coming-of-age story." Susan G. Cole from the local "NOW" newspaper mentions "Joe Barton's script [...] is pointed and very smart [...] and the performances are excellent" while The Cinemaholic's Nicholas Maylor believes you should "definitely keep an eye out for this one" as the "resulting drama is emotional and riveting in a very affecting way; with Page, Mara, Koteas, Seimetz and Shotwell all delivering great performances."


Jordan Hoffman (@jhoffman)
"MY DAYS OF MERCY: A near-unbearable far-fetched plot can't hold back *really* great performances by Ellen Page, Amy Seimetz & K Mara."

Daniel Scott Tysdal (@dstiz)
"Highlight of MY DAYS OF MERCY is @EllenPage performance & romance with @katemara builds powerfully in capital punishment debate. #TIFF2017"

Jason LeRoy (@ExcessFaggage)
"MY DAYS OF MERCY: Underwhelming lesbian romantic drama set against backdrop of death penalty activism. Fine acting, stilted dialogue. C-"

Melissa Silverstein (@melsil)
"My Days of Mercy starred Ellen Page and Kate Mara and the issue of conversation about who the death penalty is for was interesting."

Brendan @ TIFF (@Bren1985)
"My Days Of Mercy is okay. Starts off clunky, but slowly becomes very affecting. Great actors doing good work with that they have. #TIFF2017"

C Mac (@ellyhigenbottem)
"Not enough words of praise exist for #MyDaysOfMercy @EllenPage & @katemara broke my heart then put it back together again"

Mark Towhey (@towhey)
"My Day of Mercy premiere at #TIFF2017. Brilliant performances by @EllenPage @katemara. Outstanding scene-stealing by young Charlie Shotwell!"

Nima (@nim_a)
"MY DAYS OF MERCY is an incredibly well-written love story, and reminds us why Ellen Page is a Canadian treasure. #TIFF17"

Despite these rave reviews and receiving good response from festival visitors, »My Days of Mercy« is still looking to be picked up as no distribution deals have been announced at this stage. Considering the great buzz it has created in Toronto in the past days, it hopefully won't be long before a wider audience gets to see this promising film. Up next is the world premiere of »Flatliners« in Los Angeles. So stay tuned for another update soon!


Date: 09/17/2017 - 21:50:36 Posted by Dominik
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Ellen Page, actor Sam Keeley and director David Freyne team up for the world premiere of »The Cured« at TIFF2017

TIFF 2017 LogoAccompanied by her girlfriend Emma Portner, Ellen Page headed for Toronto International Film Festival last weekend and teamed up with co-star Sam Keeley and director David Freyne for some promotion work for their movie »The Cured« prior to its world premiere on Saturday night. The trio made visits to the studios of Variety, IMDb, The Hollywood Reporter, Deadline, People, Entertainment Weekly and Instyle for interviews about the zombie thriller as well as portrait sessions before walking the red carpet at the Ryerson Theatre for the main event in the evening.

TIFF2017 - The Cured World PremiereTIFF2017 - The Cured World Premiere
TIFF2017 - The Cured World PremiereTIFF2017 - The Cured World Premiere

Thanks to the YouTuber dafilexAtMovies and PASSi'ON PROJECTS, we have recordings of both the introduction and the following Q&A which are embedded after the jump. A noteworthy incident happened after an hour during a crucial scene in between, when an alarm started sounding and the lights were turned on. The movie initially continued playing but staff soon appeared and told audience members to evacuate the cinema auditorium immediately causing some confusion as well as traffic jams outside. Fortunately, the building reopened around 30 minutes later and the premiere screening resumed from where it left off.




Reviews for Freyne's debut feature have been quite good so far considering its rather controversial genre. Fionnuala Halligan from ScreenDaily thinks the low-budget film is "at its sharpest when drawing acute political parallels. As a zombie film, the shocks are few – if effective – until The Cured lifts itself out of its porridgey aesthetic during the final act and its depressed cast of characters remembers to get their flesh-eating game on." The Hollywood Reporter's Jordan Mintzer describes it as "an intriguing horror-thriller" and says the "performances are strong, with Page fully committed to playing the major non-zombie character and Sam Keeley rather convincing as a young man too shocked by his blood-thirsty past to move ahead. Everyone is extremely serious, which can be a bit of a drag at times, but as a study in trauma The Cured has its moments and the film plays best when it remains intimate." And genre expert Joe Lipsett over at Bloody Disgusting agrees with this while stating "performances are uniformly good, particularly Vaughan-Lawlor, whose Conor walks a thin line between justifiable outrage and deranged narcissism. Leads Kelley and Page aren’t given too much heavy lifting to do, though wary audiences can rest assured that Page, who also executive produces, does not attempt an Irish accent." Furthermore, he adds that "The Cured may not be the killer new zombie film that horror enthusiasts are thirsting for, but it clearly still has its brains" and gives it a solid score of 4 out of 5. The audience, in turn, can probably be divided into two camps; those who don't like this kind of genre at all and therefore won't enjoy »The Cured« no matter how good it actually is and the others that are more open-minded and going to watch it without any prejudice. Here are some reactions from people probably belonging to the latter group:

The Cured - StillsThe Cured - Stills
Olia (@olia.m.g)
"Great film #thecured #tiff #tiff17 #ellenpage #samkeeley #movie #film #cinema"

D.S.V.E (@d.s.v.e)
"Had the pleasure of checking out the movie The Cured last night. And to my surprise I also got to do a Q&A with cast. It was a fantastic movie and if you get the chance you should go and see it. #thecured #ellenpage #davidfreyne #tiff #toronto #filmfestival #zombie #zombiemovie"

D.S.V.E
"David Freyne did a fantastic job with this movie. I can’t wait to see what he does next. It is one of my favorites of the year. A solid 9/10"

Lesley McKimm (@lmckimmdublin)
"Congrats to team @tiltedfilms for great screening of The Cured at #TIFF17 on stage with Ellen Page & Sam Keeley"

Tara (@tara_taralynn)
"#TheCured was one of the most brilliant and beautiful zombie films I've ever seen, all from a girl who doesn't like zombie films. @ellenpage and @_samkeeley were absolutely amazing and #DavidFreyne did a wonderful job directing. #thecuredfilm #TIFF17 #TIFF #samkeeley #ellenpage"

Matt Campagna (@mattcampagna)
"Enjoyed the hell out of #DavidFreyne's #TheCured at #tiff17, a modern, political zombie thriller starring @_SamKeeley & @EllenPage, who also is a producer on it. You should definitely see it once a wise North American distributor buys the rights."

James Wilkinson (@jay.wilk)
"Ellen Page! #TheCured was a pretty good zombie movie."

The Cured - StillsThe Cured - Stills

Doesn't sound too bad, don't you think?! We believe it's safe to say the movie is worth a look. This can also be underlined by the fact that »The Cured« has secured several distribution deals across Asia and the Middle East before it was even screened for the first time. According to Variety and The Hollywood Reporter, Bac Films, which handles international sales, confirmed deals with Fox for pan-Asia pay TV, Spentzos in Greece, Filmdom in Turkey, Falcon for the Middle East, Bravos in Hong Kong, Tanweer in Malaysia and Indonesia, Shaw in Singapore, Caichang in Taiwan, Sahamongkol in Thailand, Skyline in Vietnam and Silverline in the Philippines. With this in mind, it should only be a matter of time until the movie gets picked up by multi-territory distributors or streaming services for a wider release across the globe.

Update (09/13/2017): IFC Films has scooped up North American distribution rights to »The Cured«. The deal was in the seven-figure range, and the movie will receive a robust theatrical release in the spring of 2018, as Variety reports.


Date: 09/12/2017 - 12:12:12 Posted by Dominik
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