"Based on a true story" ("D'après une histoire vraie" in the French original) is the latest film by Roman Polanski, and a late addition to this year's Cannes program. The film was adapted from the namesake novel by author Delphine de Vigan. In it, a writer (played by French actress Emmanuelle Seigner, Polanski's real-life wife) living in Paris publishes an autobiographical novel, and it does not go over well with her relatives who now
Carnage tells the story of two couples who meet to discuss in as civilized and understanding a manner as possible the schoolyard spat of their sons that resulted in broken teeth and harsh words. One pair of parents comes to the other pair’s apartment to discuss the situation. After they come to an agreement about the wording of a document describing the incident, things start going downhill. For an excruciating hour and a half
Roman Polanski's latest effort is an adaptation of French dramatic auteur—and, for a short while, Nicolas Sarkozy confidante--Yasmine Reza's play “God of Carnage.” After being favorably received onstage, both Broadway and the West End mounted productions to mostly positive acclaim. It seems natural, then, that a film version—a ninety-minute set piece in which the characters barely leave the room
This week the Press Play blog's Serena Bramble and Simon Abrams are presenting the first chapter in a video-essay series on Roman Polanski's movies, called, unsurprisingly, Life’s work: the films of Roman Polanski, curated by Indiewire and Salon contributor Matt Zoller Seitz. Any doubt you may have on the producers' intentions will vanish as soon as you learn the first chapter’s title: Roman Polanski is God
As the film’s isolated hero and patsy, McGregor is silently intense, shrewd but vulnerable. He is matched and probably outdone by Olivia Williams as the Prime Minister’s Lady MacBeth, a slick, secretive steel matron losing her grip. Along with a memorable turn in "An Education," it’s been a strong year for an actress who has been missing too long, As the neocon devil, Tom Wilkinson makes every polished word feel like it hides a dagger.