At the time of the US version’s release in 2007, his detractors questioned the utility of bringing his film back to life with zero alterations, save casting Naomi Watts, Tim Roth, Michael Pitt and Brady Corbet in the main quartet of roles. Balancing business imperatives with highly personal creative tinkering has resulted in some revealing oddities with a direct link to their authors’ psyche.įor cinephiles in the know, the aggressive similarity of Lelio’s films first bring to mind Michael Haneke’s notorious experiment with his 1997 film Funny Games.
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Each self-made remake is in part an artist’s reassessment of themselves, a chance to do what they wish they could have or change what they dislike, and in part a concession to the industry. When a director takes a second go at their own work, we get valuable insights both into their individual creative process and the difference between domestic and foreign film markets. It’s a solid recipe for success – though the box-office receipts will provide the final word on this strategy’s efficacy – but it robs the very concept of a remake of its purpose. If the original played like gangbusters on the global festival circuit, how could the same thing repackaged with the familiar face of a favored actress possibly not work? For the studio heads tasked with squeezing as much money out of the project as possible, it’s a can’t-fail proposition even safer than sanding off all of a foreign hit’s edges to prep it for Stateside viewers.
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In straying so minimally from the course he set for himself, Lelio has created a film that is not unpleasant (swapping in Julianne Moore for the lead role would improve pretty much every film ever made) but entirely free of risk. This is path of least resistance film-making.