‘It deals with my own blood, my inheritance’: Asia Argento on historical trauma in Death Has No Master

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Cannes film festival: The actor’s role in Jorge Thielen Armand’s Venezuela-set surrealist thriller explores deep-rooted tensions of ownership and colonialism In Death Has No Master, Asia Argento stars as an anxious foreigner in Venezuela. Her character, Caro, is on a harried mission to reclaim inherited property from the local caretakers who still reside there. That’s the setup in a surrealist psychological thriller, in which Venezuelan-Canadian film-maker Jorge Thielen Armand unpacks personal history alongside deep-rooted and “eternal” tensions that still affect the country today. “The film has multiple layers of meaning,” says Armand, ahead of the film’s premiere in the director’s fortnight section at Cannes. “Recent events only make those multitudes greater.” Continue reading... from Film | The Guardian https://ift.tt/VutlFjb via IFTTT
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Shelley Duvall was a sublime and subversive screen presence | Peter Bradshaw

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The unique and often misunderstood actor, who has died at the age of 75, was frequently at her best with Robert Altman and memorably terrorised by Stanley Kubrick

Shelley Duvall, star of The Shining and Annie Hall, dies aged 75

It was Shelley Duvall’s destiny to become most widely known for a single film or maybe for a single poster image from it, shockingly and cartoonishly explicit. The image certainly did justice to her intensity and capacity for utterly unselfconscious performance, but said nothing about the subtlety, strength, wit and unfakable superstar quality that otherwise marked her work.

This was her Wendy Torrance in Stanley Kubrick’s The Shining in 1980, playing the terrified wife of Jack Nicholson’s Jack Torrance, marooned together in a haunted offseason hotel. To the right of the poster’s frame, Duvall’s wide-open eyes and mouth – black chasms of fear, an almost supernatural and faintly eroticised image. To the left, the grinningly crazy face of Nicholson as he crashes through the door with an axe, intent on killing her. For many, the image came to epitomise the sexual politics of Hollywood that shaped (but did not destroy) Duvall’s career. For all that he’s sweatily deranged, Nicholson looks relaxed and enjoying himself. Duvall looks genuinely afraid, a testament of course to her talent, but it’s uncomfortable to perceive given what we later found out about the toll that The Shining took on her, endless takes and punishing schedules without a word of emollient praise, having to deal with those alpha males Kubrick and Nicholson.

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