Meanwhile, on the other side of the country, officials are investigating an incident involving a teenage boy who allegedly used artificial intelligence to create and distribute similar images of other students – also teen girls – that attend a high school in suburban Seattle, Washington. “So I don’t start with a default attitude or approach - or at least I try not to.Digital Replica Edition Home Page Close MenuĪ mother and her 14-year-old daughter are advocating for better protections for victims after AI-generated nude images of the teen and other female classmates were circulated at a high school in New Jersey. “I look at the world and I notice things that I’m interested in exploring, to shine a light on and let them reveal whatever it is beyond the surface,” he explains. Lanthimos doesn’t have a particularly fixed methodology, according to the filmmaker himself. Lanthimos is in post-production now with longtime editor Yorgos Mavropsaridis on what feels poised to likely to make a high-profile bow on the festival circuit later this year. His next effort will be “Kinds of Kindness,” an anthology film re-teaming him with distributor Searchlight Pictures. “In ‘Poor Things’ it’s empowerment - not to distill it to one theme, he’d hate that - a kaleidoscopic world of misadventure and one beautiful spirit finding her joy and truth in that place where the carnal meets the spirit, and abandon becomes the journey home,” he continues, calling Lanthimos a visual master. “I saw ‘Dogtooth’ and was so blown away by how the preposterous became almost banal, but no less riveting and fearsome for it,” says Colin Farrell, who starred in “The Lobster” and “Sacred Deer.” “All the worlds he’s created since are as demented as they are unique, but for me, there’s always the truth of some deeply human essence at play: loneliness, control, abandon, fear, death, powerlessness and fate. With them, Lanthimos graduated to a major arthouse player - and earned a litany of star collaborators who praise his talent. His first two films in English, 2015’s “The Lobster” and 2017’s “The Killing of a Sacred Deer,” each made splashy debuts at Cannes. His next effort, “Alps,” played in competition in Venice, where it won an award for its screenplay. The film won the top Un Certain Regard prize at Cannes in 2009 and went on to secure an Oscar nomination for foreign language film. “Dogtooth” gave Lanthimos an international foothold. The movie’s success helped solidify Lanthimos as a name-brand auteur with breakout potential - something his previous work had hinted at. The film was a major awards season player, racking up 10 Acad- emy Award nominations and a trophy for Colman, and grossed $96 million at the global box office. “The Favourite,” a sav- agely amusing female love triangle that marked Stone’s first collaboration with the director, took place in the 18th century court of England’s Queen Anne (Olivia Colman). “Poor Things” isn’t the director’s first film set against a historical backdrop. “The setup itself - a grown woman with the brain of a child - people didn’t know how to respond to it.” But he believes we’ve come a long way since then, “and it opened up the way to being able to tell stories like this.” “I think some people found it a little too much in terms of Bella’s freedom around sexuality,” he continues. “A story about a woman’s freedom in all aspects of society, humanity, or however you want to put it, wasn’t something that interested people a lot. “I explored options with other producers, but it didn’t go anywhere,” Lanthimos says. The challenges of the material proved considerable. Lanthimos first met with Gray in the author’s hometown of Glasgow in 2012 after spending a day together, Gray gave Lanthimos his blessing to tackle “Poor Things,” although he died before the movie made its debut. It was a project more than a decade in the making. Immediately you interpret the book as something very visual and complex.” “I was even drawn to it visually because Alasdair was also a painter and did his own illustrations. “I’d never read anything like it before, and I was drawn to the characters, the themes, the humor and the complexity of it,” says Lanthimos. Adapted from Alasdair Gray’s 1992 novel of the same name and anchored by a bravura turn from Emma Stone as Bella Baxter, the film is a singular work, a wickedly funny fairy tale riff on Mary Shelley’s “Frankenstein” that recasts it as a warped, sexually charged coming-of-age story. Following its Venice Film Festival premiere, where it picked up the Golden Lion, “Poor Things” has been named to both the AFI and National Board of Review lists of the year’s Top 10 films, and it recently received seven Golden Globe nominations, including musical or comedy film and director.
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