All you have to do is watch the four-and-a-half-minute trailer to know The Unknown Man of Shandigor (L’inconnu De Shandigor, 1967) is a spy-thriller. Any movie enthusiast wants to see the Blu-ray version of this classic.
Directed by Swiss filmmaker Jean-Louis Roy, this long-unseen 60s Cold War super-spy features legendary French singer and songwriter Serge Gainsbourg and famed Chilean cult actor Daniel Emilfork.
Marie-France Boyer as Sylvaine
Recently restored in 4K from the camera negative by the Cinémathèque Suisse, the visually stunningmovie screened initially at the Cannes Film Festival in 1967. The Blu-ray features new interviews with the director’s wife, Francoise Roy and first assistant director on the film Michel Schopfer, along with an ultra-rare 1967 Swiss TV “making of” documentary featuring the director with behind-the-scenes footage and new artwork by acclaimed illustrator Tony Stella.
I marveled at the surreal hall of mirrors, reminding me of Kubrick’s Dr. Strangelove and British TV shows like “The Avengers” and “Doctor Who.”
The fine cast includes most who’s who of great 60s European character actors starting with the unforgettable Daniel Emilfork as crazed scientist Herbert Von Krantz, who has invented a device to “sterilize” all nuclear weapons.
A mad herd of rival spies is desperate to get their hands on the device, including legendary French singer Serge Gainsbourg as the sect leader of bald, turtleneck-wearing assassins and Jess Franco veteran Howard Vernon.
Gainsbourg’s deranged jazz-lounge song, “Bye Bye Mr. Spy”— performed by him on a funeral parlor organ, no less — is arguably the film’s high point. “An accomplished spy is at the same time psychologist, artist, funambulist, conjurer,” to quote one of the film’s characters, and the same said of Roy’s exotic camera obscura of black and white Cold War paranoia. The movie is in Swiss French with English subtitles, like the trailer.
Blu-Ray Bonus Features
• New 4K Restoration from the original 35mm picture and sound elements by Cinémathèque Suisse with additional digital restoration by Craig Rogers of Deaf Crocodile
• New Commentary by film journalist Samm Deighan (Diabolique magazine, Daughters of Darkness podcast)
• New Booklet essay by filmmaker, punk musician and poet, and genre expert Chris D. (The Flesh Eaters; author of Outlaw Masters of Japanese Film)
• New interview with Francoise Roy, wife of director Jean-Louis Roy, and Michel Schopfer, first assistant director on The Unknown Man of Shandigor (17 min., in Swiss French with English subtitles)
• Ultra- rare 1967 “making of” documentary from Swiss TV’s “Cinema VIF” show, featuring interviews with director Jean-Louis Roy, cast members Daniel Emilfork, Jacques Dufilho, and Marie-France Boyer, and behind-the-scenes footage (28 min., in Swiss French with English subtitles)
• Restored original trailer (4 min., in French with English subtitles)
• Blu-ray encoding and authoring by David Mackenzie/Fidelity in Motion
Her husband, daughter, land and innocence ripped from her, she embarks on a brutal journey of retribution and revenge.
Written and directed by Victoria Wharfe McIntyre, The Flood is her debut feature film. The movie takes place during WWII. McIntyre brings a flavor of the Wild West throughout the movie. “The Flood is an action-packed, dramatic western-styled adventure that uses our nation’s history as a framework to support an uncompromising, exacting and romantic and delicate female-driven story that acts as a parable for race relations in our country.”
“It is a world of juxtapositions and grave injustice as we move through the lives of black, white and women of color, young and old, rich and poor, contrasting their grief, love, loss and rage against a ruthless rural patriarchy in WWII Australia.”
The story starts when Jarah’s Irish drover father and South Sea Islander mother die during a flood. She’s sent to live on Pastor Gerald Mackay’s mission, played by Peter McAllum.
Here, she meets Waru, an Aboriginal boy who becomes the love of her life and future husband. Jarah, played by Alexis Lane, and Waru, played by Shaka Cook, grow up together and have a daughter Binda, played by Simone Landers.
When WWII is in full swing, Waru and the mission men receive citizenship for military service. Waru goes to war against Jarah’s wishes.
While he was gone, the Aboriginal Welfare Board removed the children from the mission and subsumed their land. Jarah finds herself an enslaved person on a wealthy landholder’s estate and loses contact with Binda, who is working on the now-retired Gerald Mackay’s cattle farm.
Waru returns from the war with his mate Minto, played by Aaron Jeffery, a white soldier who owes his life to Waru on the battlefield. When Waru discovers what has happened to Binda and Jarah, he sets out to recover his family. Waru unwittingly kills Gerald’s son Kelly and flees with Binda to find Jarah.
Gerald sends for Kelly’s brother Shamus, played by Dean Kyrwood, and his brutal black tracking gang. Shamus arrives in town to find the local men incarcerated. Jarah is determined to use her to lure Waru back from the bush. Shamus and his gang violate Jarah, igniting a rage in her that stokes the fires of brutal and bloody revenge. Jarah forms an unlikely alliance with Pam, a mature white woman, played by Karen Garnsey, who has experienced her torment and is ready to act against the men and their atrocities.
Jarah plans, and with Pam’s help, she escapes her cell and travels with Minto to find Waru and Binda, who Shamus has captured.
Shamus kills Binda and drags Waru and Jarah back to town. Binda’s death transforms Jarah into something altogether new, something even she does not understand. She plunges into the unchartered territory of her darkness.
Jarah escapes once more and demands Waru’s help to destroy the town.
Through his own profound wartime experience, Waru understands that revenge will not ease Jarah’s pain, but he supports her.
With Waru’s help, Jarah wipes out the town and discovers Waru is correct. Her agony has not eased, but she is not ready to give up this approach. Jarah, Waru and Waru’s sister Maggie, played by Dalara Williams, flee, taking Shamus.
Jarah tortures Shamus, and eventually, he breaks. To Jarah’s consternation, Maggie determines to help Shamus connect once more to the goodness deep within. Through Maggie’s kindness, Shamus embarks on his inner journey of memory and feeling and can see he is a product of generations and generations of unending brutality. A seed of healing and hope births within him.
Jarah and Waru confront their rage and sorrow at the loss of Binda and the schism within their relationship.
Eventually, their love carries them through the darkness. Maggie is a pillar of compassion, understanding and spirit and is a catalyst for healing between them all.
Minto finds the near-dead Binda and brings her to Pam, a nurse in WWI. Together, they save her life. Gerald finds and takes them, with the police, to find Waru and Jarah and bring them to justice.
In a classic western show-down and shoot-out, Shamus willingly sacrifices himself for Maggie. Binda returns from the dead to her parents. Gerald goes the way of the dinosaurs, and Jarah touches on the prospect of forgiveness.
They find a fresh path of reconciliation and redemption between those who remain.
I am so glad that not everyone died. Justice is not as it appears, workable based on the circumstances of trying to survive.
The Flood garnered some awards at the Sydney Women’s International Film Festival: Best Director, Best Australian Film, and Best Actress for Alexis Lane.
Brand-new 4K restoration, written and directed by Ivan Zulueta, 1979 feature Arrebato’s is a popular Spanish cult horror movie. Some consider the film a dimension-shattering blend of heroin, sex, and Super-8 as a final word on Cinemania.
Arrebato follows horror movie director José Sirgado, played by Eusebio Poncela, adrift in a sea of doubt and drugs. As his belated second feature nears completion, two situations pop his reclusive bubble.
First, there is a sudden reappearance from an ex-girlfriend, played by Cecilia Roth. Second, a package arrives from past acquaintance Pedro, played by Will More. It contains a reel of Super-8 film, an audiotape and a door key.
From there, the boundaries of time, space and sexuality disappear as José is once more absorbed into Pedro’s vampiric orbit — a vampire camera that sucks up people, and they disappear.
Together, they attempt the ultimate hallucinogenic catharsis through a twisted strip of filming and being filmed.
The horror movie offers beauty, clearly describing a dark state of living — angst and joy of living with dangerous drugs, alcohol and sex and the love of making movies.
Special Features:
• Region Free Blu-ray
• Commentary Track with Mike White of The Projection Booth
The movie follows a fifteen-year-old French girl, played by Jane March. She returns to Saigon in 1930, where she attends an all-girls boarding school. On her way, a handsome and wealthy Chinese man, played by Tony Leung Ka Kai, of a respectable family, offers her a lift in his shiny black limo.
A passionate affair begins against her family’s disgust. The man becomes alienated from his family because they have selected his bride already. Against the conventions of society, the lustful pair continue their passionate affair, intensifying the attraction with the illicit nature of their rendezvous.
It starts with groping in the limo’s backseat and grows to nightly undertakings at his bachelor pad. Interestingly, the names of the young girl and wealthy man are never said. Slowly and eventually, their relationship disintegrates, and the man slides down into an opium-induced haze and unreturned love.
Many tastefully lit sex scenes allow little room for imagination, including Annaud’s skilled camera work, lingering delicately on the flesh. The paedophiliac situation sidesteps the moral nuances while using sensitivity. Today, the industry may frown even more profound on the issue.
March, a newcomer at the filming, comes across as photogenic and sultry. The character seems detached but amused.
Annaud’s brilliant direction takes in the vibrant scenery to divert from the senseless and gratuitous romantic scenes.
The release includes special features: Special collector’s media book packaging, Two-disc set, Original trailer.
Thank you, Empire, for more information about the production.
The fifth season of the machinations of Billionsis full of double-crosses, complex and shifting alliances and too many gut punches. Ultimately, the viewers know they’ll get a significant reset in the sixth season at the end of the season.
The most noteworthy plot thread in season 5 was the gradual move of Axelrod or Axe, played by Damian Lewis, and Wendy Roades, played by Maggie Siff, acting on their long, and otherwise unstated desire to be together. When we thought it would happen, the season ended, and it was not the happy ending we hoped to experience. We also know Axe is no longer on the show when season six arrives.
According to the showrunners and Variety, Axe leaving started about three years ago. They knew Wendy and Axe would struggle with love, but it would never flourish. If you remember the season finale, Axe is leaving for Europe, running away. He asks Wendy to join him, and she turns him down.
With an unfulfilled relationship ending, other complex plotlines develop with double-crosses, wordplays, and shifting alliances. Van Halen fans appreciated the character reciting his lyrics from “Antic Punk.”
Since rival billionaire Mike Prince, played by Corey Stoll, outmaneuvers Axe in his constant jousts in the marketplace. Prince comes across as kinder, gentle, and socially more appealing compared to Axe. At the end of the season, Axe is tricked by the marijuana kingpin, played by Janeane Garofalo, who moves both contraband and legal weed, which places Axe in a vulnerable posting of money laundering charges.
Taylor Mason, played by Aisa Kate Dillon, holds the cards as the analytical genius but grapples with her conscience and wealth accumulation. A newcomer, Rian, played by Eva Victor, challenges her idealism. Taylor wants to take down Axe and helps Chuck Rhoades, played by Paul Giamatti, bring criminal charges against him. But, in the end, Taylor feels sorry rather than victorious.
As Billions showrunner and co-creator Brian Koppelman explained to Variety, “The central theme of the show has always been can anybody resist the temptation of that level of money and power? Can anybody remain even close to their true selves when that much money is at hand?”
As a dark comedy of heavy-handed and trashy entertainment, this Christmas horror movie may make you wonder if some of its laughs are intentional or a bit off the rocker. You’ll see buckets of blood, along with bellies full of laughter.
Filmed on location in South Lake Tahoe for just 13 days, the low-budget production comes through with a talented cast that’s stiff and nightmarish.
Written and directed by Sean Nichols, Red Snow follows Olivia Romo, played by Dennice Cisneros, as a struggling vampire romance novelist holed up in South Lake Tahoe. Here, she’s forced to defend herself against real-life vampires during the holidays.
It all starts with an injured bat named Luke, played by Nico Bellamy, who becomes a handsome vampire after slamming into her living room window.
Unbeknownst to Olivia, she takes pity on the wounded animal and places it in her garage. She nurses the bat a bit, and the next day, the little creature transforms into a real-life Edward, a full-size vampire.
Olivia knows when opportunity knocks, so she makes a deal with Luke. Read her unpublished manuscript, and he can stay a few days in the garage to heal from an unpleasant wooden stake injury. She keeps him satisfied with microwaved pig blood in a mug. In return, he gives his feedback on the manuscript.
Luke is your typical vampire, but he takes a liking to Olivia. Their relationship barely flourishes when Olivia’s suspicion of Luke’s true intentions surfaces as his deadly past catches up with him.
The humor takes hold with a rather odd private detective, played by Vernon Wells, who acts more like a voyeur, spying on her and rummaging through her garage.
The evenings become sinister with pale figures dressed in black visiting the cabin, who turn out to be Luke’s vampire friends, played by Laura Kennon and Alan Silva. They want Luke to return to their brood, of course, after they help themselves to the blood of Olivia.
More romance and less terror, sticking with the Edward and Bella theme, might have saved the movie in the long run.
Thank you, The Guardian, for the information about the movie.
Based on Peter Wohlleben’s bestselling book of the same name and directed by Jorg Adolph, The Hidden Life of Trees, introduces you to a unique idea. The documentary immerses you into understanding how trees are sentient creatures. Despite being rooted to the ground with the inability to flee from danger, these living forces branch off and live to infinity as an unbeatable force. The movie shows how trees release chemicals into their cells to discourage predators, such as deer and insects. In fact, trees disperse chemical signals into the atmosphere to warn other species — prepare for the threat.
Together with scientists, and dedicated persons, the movie disabuses the idea that planting trees compensates for cutting down trees.
A renowned forester and writer Peter Wohlleben guides us through his most precious ideas and understanding of how trees work in this enlightening documentary. Presenting ecological, biological and academic expertise with matter-of-fact honestly, Peter inspires us to see the forest for the trees.
Traveling through Germany, Poland, Sweden and Vancouver, Peter discusses, debates, and explains the unique process of life, death and regeneration he has observed in the woodland and the fantastic scientific mechanisms behind these wonders. We are too often blissfully unaware.
Thanks to Peter and his bestseller, we are more aware of this valuable life force that aids our planet’s survival. After watching Adolph’s documentary, you’ll never walk into the woods the same again.
The Hidde Life of Trees will profoundly change believers’ understanding of forests. That trees can communicate with each other through a complicated system with the ability to feel. The old trees care for the young ones by providing nutrition.
Wohlleben charmingly takes us through the woods and shows us how the trees cooperate and communicate with nearby species. Sheltering and nurturing young offspring trees, they partner with other species in the forest like fungi — a synergy of survival.
Gratefully, Jan Haft’s camera work illustrates the fantastic process of life, death, and regeneration Peter has observed in the woodland for decades. Haft’s camera work is a wonder. The result is an immersive and eye-opening look at the scientific mechanisms behind these wonders of nature.
Thank you, We Are Movie Geeks and IMDB, for information about the documentary.
Directed by Kim Dae-Seung, The Concubine takes place in Korea during the early Joseon Dynasty. Like most movies about the lineage of royalty, machinations control the outcome. We meet Hwa-Yeon, played beautifully by Yeo-jeon Cho, a minister’s daughter and Kwon-Yoo, played brilliantly by Min-Joon Kim, a commoner. Both are deeply in love with each other. It’s a forbidden attraction because of the caste system.
For this reason, Hwa-Yeon is ordered to the royal palace to become the royal concubine. She and Kwon-Yoo attempt to flee and spend the night together. Hwa-Yeon’s father and men, who threaten to kill Kwon-yoo, intercepted them.
To save her one true love, Hwa-Yeon agrees to go to the palace as King’s concubine as instructed. Unbeknownst, her father castrates Kwon-yoo as a punishment, which sets up some compelling drama later in the movie.
Five years later, Hwa-Yeon is the mother of the heir to the throne, but the King slowly dies. After his death, the King’s stepmother, played by Ji-Young Park, uses her power to appoint her biological son Sung-won, played emotionally charged by Dong-Wook Kim, as the successor.
Sung-won has been madly in love with the unobtainable Hwa-Yeon for years. Now that he must procreate to produce an heir to the throne, he can have any woman he wants except Hwa-Yeon based on his mother’s manipulation. She has vengeance on Hwa-Yeon, whose life is in danger.
Kwon-Yoo reemerges into the story, pushing them into a dangerous chess game of lust, sex and power. When Hwa-Yeon discovers what her father has done to her true love, she’s devastated but regains strength.
The Concubine theatrical release in 2012 received accolades and was the 11th most-watched Korean movie. Some reviews at the time focused on the erotic aspect of some scenes, which caused audiences to misunderstand the director’s intent. Mainly, the film shows two powerful women fighting for power. However, the ending is tragic. The director gets us there with beautiful imagery thanks to Ki S. Hwang’s cinematography and Geun-Hyun Cho’s production design.
English subtitles suffice, but I prefer to watch the movie, but the storyline gets lost. The running time is 102 minutes.
“To the moon, Alice” is a familiar phrase of Jackie Gleason, as Ralph would say to his wife, played by Audrey Meadows. The Honeymooners was one of the first situation comedies of the 1950s. A half-hour show began as a segment on Cavalcade of Stars, then emerged even better on The Jackie Gleason Show in 1955.
The show developed with cast leavings, cast changes, and edited versions of close to 70 incarnations of what we call The Honeymooners. The series ended in 1971. If you look over the show’s history, you’ll realize it wasn’t a show, but it had stamina — popularity that people still recognize. So, it became a TV Sitcom.
Between 1976 and 1978, Jackie Gleason and his co-stars, Art Carney, Audrey Meadows and Jane Kean, were filmed in color with a live audience. Four shows were produced and filmed in Miami, Florida. The Honeymooners: A Christmas Carol was the second one made. It’s now available for your Christmas movie library.
The show opens with Ralph boasting about taking a trip to Miami with Alice as a Christmas vacation. Until his boss, played by Gale Gordon, asks Ralph to find a director for his wife’s Christmas charity play. The money raised gives homeless cats in New York City a feline Merry Christmas.
Ralph has concerns that the guy who takes the director’s job gets bumped up to the traffic manager. So, he accepts the task and tries to convince Alice that the charity play is more important than going to Miami. Charles Dickens’ play, A Christmas Carol, comes to mind, and Ralph rewrites the classic. The result is hilarious as it’s nothing like the original when Ed takes on the job as the inexperienced director. The best scene is when Ed plays both Scrooge and Tiny Tim.
Bonus features include an interview with Jane Kean and an extra episode from the 1960s sitcom.
The release gives the younger generation a chance to see how clean and straightforward a television show is possible. The Honeymooners: A Christmas Carol is everything you’d expect from a live television show of the 1960s. But this 1977 most likely will not garner fans. But if you are familiar with the show, you are in for a special treat. “Recapture my youth? If I keep this up, I’ll lose my old age!”
Respect is now available on Blu-ray, DVD and Digital.
“Be your own artist, and always be confident in what you’re doing. If you’re not going to be confident, you might as well not be doing it.” — Aretha Franklin
Vocal powerhouse and Oscar and Grammy awards winner Jennifer Hudson stars as legendary singer Aretha Franklin in a true story about the “Queen of Soul.” Respect focuses on Franklin’s formative years, in which director Liesl Tommy says that it “contained things the general public doesn’t know about her.”
Watching her journey to become the brilliant musician with Franklin’s original songs, sung by Hudson, was profound to witness. From the beginning, we see a young woman with the most incredible voice in the world. But something was amiss. She needed to find her own voice.
In the film’s production notes, Tommy stated he felt strongly about “showing a meaningful experience of a young Black girl’s childhood.”
I found it interesting that Franklin came from a wealthy family, dominating the film primarily through her father and sisters.
Tommy related to that aspect of Franklin’s life, “As a little girl myself who grew up listening to people talk around the dinner table about fighting for freedom for themselves and for future generations, I know firsthand that it affects your life forever. It’s who you are. Aretha understood that, and it’s what made her art activism. When you talk about the “Queen of Soul,” her church was her activism.”
The movie reminds us of listening to Aretha Franklin. The emotion she sang with and deep feelings she conveyed — she spoke to us. Tommy describes it well, “Millions of people have a beautiful voice, but she channeled her emotions into her music in a way that no one else could.”
R_07374_RC Actor Jennifer Hudson and director Liesl Tommy on the set of RESPECT A Metro Goldwyn Mayer Pictures film Photo credit: Quantrell D. Colbert
The movie tells us who she was and her history of protest music. We see Franklin heal herself through her music. You can feel the depth of who she was as a being, though there is complexity and depth based on her relationships.
As we all know, Aretha Franklin’s voice is the best, most powerful, and culturally significant voice of all time. In the movie, we hear hit songs: “Respect,” “Natural Woman,” “I Say a Little Prayer,” and “Think,” to name a few. They are classics that defined the resistance and resilience of Black people during the Civil Rights Movement, the Black Power Movement, and the Women’s Movement — and still resonate today at the moment in time where the world is in crisis and need of soulfulness.
The movie shows Franklin being a child music prodigy who grew up with great privilege in a household in Detroit that understood the importance of social protest, racial justice, and community organizing centered squarely in the foundation of the Black church — faith, service, and self-actualization. Respect shows us Franklin’s challenge in navigating and overcoming grief that would become the artistic inspiration. In return, she created musical masterpieces that saved lives and moved culture.
Respect establishes that she was a musical genius when she was a child. You discover she had all those albums that did not become hits at Columbia Records. The movie begins at the church and ends in the church with the journey in between. Tommy tells the story of a woman with the most incredible voice in the world but still doesn’t know what her voice is. “And that was the story that I felt like I wanted to tell, and that was what ended up being the center of the film, the spine of the film.”
Jennifer Hudson stars as Aretha Franklin and Mary J. Blige as Dinah Washington in RESPECT A Metro Goldwyn Mayer Pictures film Photo credit: Quantrell D. Colbert
Jennifer Hudson’s portrayal of Aretha Franklin is believable. She sings the icon’s songs herself, which is fantastic but not surprising. Hudson has a powerful voice. But she is not Franklin. She is a depiction of her.
Interestingly, Hudson was Franklin’s opening act one time. “After American Idol, Aretha Franklin was doing a show in Maryville, Indiana, and I wanted to open for her. Everyone knew she did not allow singers to open for her instead of starting her shows with a comedian. And, then, she approved of me to open for her. So, that was a dream, as are the many moments I shared with her.”
Marlon Wayans stars as Ted White and Jennifer Hudson as Aretha Franklin in RESPECT A Metro Goldwyn Mayer Pictures film Photo credit: Quantrell D. Colbert
Nabbing that gig as an opening act, as Hudson says, “I find especially now; she has been a huge guide for the structure and spirit of my career.”
Franklin’s niece, Sabrina Garrett Owens, was very close to her Auntie Aretha. And very proud to see Jennifer Hudson take on the role of her aunt. “A lot of it has to do with the similarities between the two [Aretha and Jennifer]. They both grew up in church. They both had that gospel sound to their voices. Jennifer has a wide range, the same as Aretha did. I see a lot of similarities in their style.”
The story begins with her childhood, her father, played brilliantly by Forest Whitaker. Affected by his wife’s death, he anoints Franklin at a young age to be a gospel star and be different and better than the rest.
Knowing that the movie producers, Scott Bernstein and Harvey Mason, Jr. talked with Aretha Franklin on the phone about her story, so she could gauge it as her legacy is astonishing. “So, we knew we were going to end at the ‘Amazing Grace’ live album recording. The spine of the story would be a movie about a father and daughter relationship. And, that gave us a focus to tell the period of her rise, and the origin story of her becoming the ‘Queen of Soul.”’
Written for the screen by Tracey Scott Wilson, the story captures that significant time in Franklin’s life, the sixties and seventies, establishing her relationship with her father, and she meets her first husband. Then, she broke up with her father, her church and had to find her own faith.
She meets Ted White, played by Marlon Wayans. They marry. He manages her career during the early days of her Atlantic Records. “She went from singing standards to, you know, gospel to, okay, let’s go take you into becoming the R&B queen or just the queen period, Aretha Franklin,” according to Wayans. “So he changed the way she dressed and changed her, changed the venues she was playing and changed the record company. He was a catalyst in Aretha’s life.”
Jennifer Hudson shares a different perspective. “The biggest impact on Aretha’s life was her father. I think he is what pushed her towards her legacy and helped her own her gift. There have been times when she didn’t necessarily feel like singing, but it was a calling. He reminded her of that often, and I think that she became like the symbolic first lady of the church in a way. It helped lead Aretha to her ministry and music, one reason why she became so experienced and impactful at the height of the Civil Rights Movement.”
The rest of the talented cast includes Audra McDonald, Marc Maron, Tituss Burgess and Mary J. Blige.
Blu-ray and DVD Bonus Features:
The Making of Respect: Explore the unique telling of this Aretha Franklin story, what the project meant to all involved and how music played a pivotal role in crafting this film.
Becoming Aretha: Take a behind-the-scenes look at Jennifer Hudson’s incredible transformation into the “Queen of Soul” including her commitment to the character, her connection with the late singer, and why inhabiting the legendary artist felt more like destiny than anything else.
Capturing a Legacy: A celebration of director Liesl Tommy’s artistry and professionalism as the cast and crew express their appreciation and admiration for her and her process.
From Muscle Shoals: Sit down with the cast, crew and some of the original musicians that recorded with Aretha at Muscle Shoals to learn about this crucial time period in Aretha’s life and how it helped propel her evolution.
Exploring the Design of Respect: Production designer Ina Mayhew and costume designer Clint Ramos discuss the research they conducted in order to create the beautiful sets in the film as well as the various custom-made wardrobes that span three decades of style.
