‘We couldn’t tell if he was conscious’: Tom Cruise got stuck on top of biplane shooting Mission: Impossible sequel

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The star, who at 62 performed his own stunts for the forthcoming Final Reckoning, tells Cannes press conference ‘I don’t mind encountering the unknown’ Tom Cruise got stuck on the wing of a biplane shortly before it ran out fuel during the filming of Mission: Impossible – The Final Reckoning, the director of the eighth instalment of the action franchise has revealed. Speaking to an audience at the Cannes film festival hours before the film’s premiere, director Christopher McQuarrie recounted the filming of a stunt sequence in which Cruise, in his long-running role as the field agent Ethan Hunt, walked between between the two wings of a biplane as the aircraft was mid-air over South Africa. Continue reading... from Film | The Guardian https://ift.tt/pOBI39Q via IFTTT
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1976 review – nerve-jangling noir unpicks middle-class guilt of Pinochet era

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A wealthy woman is drawn into Chile’s anti-Pinochet resistance in this thrilling feature debut from actor turned director Manuela Martelli

An outstanding performance from Aline Küppenheim is the driving force in this engrossing suspense drama-thriller about an elegant and prosperous woman being drawn into Chile’s anti-Pinochet resistance in 1976. It is a terrific feature debut from performer turned director Manuela Martelli, who herself acted opposite Küppenheim in the film Machuca, which was set in Chile in 1973, the time of the Allende overthrow. But this film has more bite.

Küppenheim plays Carmen, the stylish wife of a Santiago hospital doctor, currently working on the redecoration of the family’s holiday home by the sea, where she and her family mingle with reactionary friends of her husband’s from the local yacht club. Slightly imperiously, she lectures the contractor in his workshop on the exact shade of red paint she needs and as she does so, there is a terrified shout outside in the street and a squeal of tyres as someone is taken away by the secret police; everyone (including Carmen) looks away and goes into the woozy state of shock and denial that was commonplace among so many middle-class Chileans. (The enigmatic resemblance of the red paint to blood is echoed later when Carmen is using red food colouring in her kitchen.)

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