Tag Archives: 2oth Century Women

The AFI FEST Interview: Tributee Annette Bening, Star of 20TH CENTURY WOMEN

Annette Bening has triumphed on both stage and screen since the 1980s. Early in her career, she scored a Tony® nomination for her Broadway debut in COASTAL DISTURBANCES. She has four Academy Award® nominations to her name, for THE GRIFTERS (1990), AMERICAN BEAUTY (1999), BEING JULIA (2004) and THE KIDS ARE ALL RIGHT (2010), plus an Emmy® nomination in 2006 for MRS. HARRIS.

This year, AFI FEST highlights her role as a single mother in 1979 Santa Barbara in Mike Mills’ 20TH CENTURY WOMEN — one of her best performances yet. As Dorothea, Bening is a force of nature, channeling a smart, resourceful woman who anchors a rambling bohemian house with a slew of perfectly era-specific itinerants. Additionally, in RULES DON’T APPLY, the festival’s Opening Night Gala directed by and starring Bening’s husband Warren Beatty, she brings her sparkling charisma to a crucial supporting role.

AFI spoke with Bening about her films in the festival.

AFI: What initially attracted you to the character of Dorothea, and how did you join the project of 20TH CENTURY WOMEN?

Annette Bening: Mike Mills called and asked me to read the screenplay; we then met and had dinner. We talked extensively about his ideas, his mom and the character of Dorothea. Shortly after that he asked me to play Dorothea, and we’ve been talking about her ever since.

AFI: The film has an excellent and varied supporting cast, all of whom orbit around Dorothea in different ways. Can you talk about what it was like working with Greta Gerwig, Billy Crudup, Elle Fanning and Lucas Jade Zumann?

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AB: We were a tight and loving ensemble, thanks to Mike Mills putting us together in rehearsal in immediate and imaginative ways.  We danced, improv’d, did specific acting exercises and got to know each other. It was challenging and penetrative work, where we searched ourselves and each other to find the hearts of the characters. Hopefully that shows on the screen.

AFI: Does Mike Mills’ vision of 1979 resonate with your experience of it? 

AB: I was 19 in 1979, and for me, Mike is contextualizing that time in his own unique way.

AFI: One of the many great things about 20TH CENTURY WOMEN is how it grapples with the idea of confusing and contradictory expectations about femininity and masculinity. As an actress, was it exciting to tackle this?

AB: In rehearsal and preparation, intellectual ideas are naturally at play. In performance, these ideas become nascent for me, and I’m trying to listen, respond and be in the immediate moment with my fellow actors.

AFI: You have a supporting role in the festival’s Opening Night Gala, RULES DON’T APPLY, written and directed by and starring your husband, Warren Beatty. Do you two have a collaborative relationship when working together on set?

AB: Working on RULES DON’T APPLY with my husband was for me a dream come true. He’s a great director, enjoying his actors with zeal and humor. He’s demanding and exacting in the best way and even let me improvise a little, and that’s my favorite thing.

20TH CENTURY WOMEN screens on Wednesday, November 16, as a Gala Tribute; RULES DON’T APPLY screens on Thursday, November 10, as the Opening Night Gala.

Your Guide to 8 of the Most Exciting Movies at the New York Film Festival

Posted by Larry Gleeson

By Kevin LIncoln and Kyle Buchanan

While it doesn’t have the glitz of Venice, the breadth of Toronto, or the Cannesiness of Cannes, the New York Film Festival is still a heavy-hitting stop in the fall-prestige cycle. In addition to a few major fall releases that have already screened in the United States — including Kenneth Lonergan’s Manchester by the Sea, Kelly Reichardt’s Certain Women, and Barry Jenkins’s Moonlight — the slate includes the U.S. premieres of some big-time movies, as well as two major worldwide debuts. Here are the highlights.

13th
Ava DuVernay’s new documentary is named for the 13th Amendment, which contains the clause that seems to presage mass incarceration in the United States: “Neither slavery nor involuntary servitude, except as a punishment for crime whereof the party shall have been duly convicted, shall exist within the United States.” If there’s anyone who can take on a topic as weighty and complex as the prison system in modern America, it’s DuVernay, whose clear-eyed and humanizing approach seems like the ideal fit for a subject this inhumane.

20th Century Women
If you responded to Mills’s heartfelt and funny Beginners, which won Christopher Plummer a well-deserved Oscar, you’re likely to spark to this one, where Annette Bening stars as a witty, fretful single mother who enlists lodger Greta Gerwig and neighbor Elle Fanning to help raise her 15-year-old son. And if you respond to throwback attire, you’re definitely going to spark to every single jumpsuit, vintage tee, and denim jacket worn in this 1979-set film. 

Billy Lynn’s Long Halftime Walk
Besides being an Ang Lee film that’s likely going to be part of the Best Picture race, Billy Lynn’s Long Halftime Walk is also sure to generate conversation for its technical ambition. Lee shot the movie, which adapts Ben Fountain’s novel about an Iraq War hero who returns home, at 120 frames per second versus the standard 24, with the intent of creating one of the most realistic and hypervisceral depictions of war ever to be shown on a movie screen. Regardless of how Billy Lynn turns out — and hopes are high — the 4K 3-D showing at NYFF should be a notable experience in and of itself.

Elle
A comedy about — wait for it — a woman brazenly overcoming her own rape, director Paul Verhoeven’s first film in French was one of the most talked-about films at Cannes. It’s also one of two acclaimed movies coming out this fall featuring the French actress Isabelle Huppert, whose Things to Come, directed by up-and-comer Mia Hansen-Løve, is also showing at NYFF. While Huppert’s two-pronged Oscar push could be a major awards-season narrative, Elle is worth seeing in its own right: Verhoeven is many things, but he’s never boring.

Jackie
Natalie Portman gives a brave, ballsy performance as Jackie Kennedy in this Pablo Larrain–directed biopic, which shrugs off the stodginess so often endemic to this genre in pursuit of something even bigger than real. Portman’s Jackie is no shrinking violet, though the men around her would love it if she played the dutiful, porcelain-faced wife even after the tragic assassination of her husband. How she, in turn, manipulates the image-crafters around her in one last bid for agency gives Jackie its startling kick.

Paterson
In an industry defined by big, loud, expensive superhero movies, Jim Jarmusch exists as the ultimate outlier. His movies are quiet, cool, and indie to the core, and new one Paterson sounds no different: Adam Driver plays a bus driver in Paterson, New Jersey, whose name is also Paterson, and who writes poems, and who hangs out with his wife and dog, and … that’s pretty much it. But that’s enough, and after raves out of Cannes, this should be the kind of film that gives a certain kind of moviegoer hope.

Personal Shopper
Personal Shopper
director Olivier Assayas recently stated, in no uncertain terms, that Kristen Stewart is the best actress of her generation. If this comes as an unusual suggestion to you, then you haven’t been paying close-enough attention, because KStew has, truly, become a must-see performer — including in Assayas’s most recent movie, Clouds of Sils Maria, for which she won a César Award, something no American actress has ever done before. With a strange premise — Stewart’s character is a personal shopper and, also, a medium, meaning there are fancy clothes AND a ghost — and a famously divisive reception at Cannes, this gives the best actress of her generation one of the most anticipated films of the fall.

The Lost City of Z
James Gray’s last film The Immigrant was under-seen and under-heralded, as James Gray films tend to be. But his new one, The Lost City of Z, gives him an unusually sexy topic: The British explorer Percy Fawcett’s search for a city in the Amazon rain forest, based on the book of the same name by the virtuoso New Yorker writer David Grann. Hopefully, it can bring Gray the wide audience he deserves; at the very least, audiences in the know can savor a new film from one of the most thoughtful contemporary American directors.

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(Source: http://www.vulture.com)