![]() She had a table full of things in front of her: a feather, a pen, a knife, a bullet, a gun. She was just sat in a room, and the audience would come in. Whenever I think of relationships and being safe in them – any relationship – I always think about that Marina Abramović show Rhythm 0. ![]() Yeah, I think the emotional abuse is harder to spot. How important is it that Alice, Darling showcases that side of abuse? It was very specific, heart-led direction.Īs you were saying, Alice's abuse is not about violence, it's the psychological aspect. ![]() ![]() I want it to be like that scene in that other film." And I'm like, "I didn't watch that film." Because sometimes directors will be like, "It's like that other film. Did that come across in her filmmaking style? It's Mary Nighy's feature directorial debut but she started off as an actor. We were allowed to do that because it was on the property where we stayed, thankfully. We had to social distance, but we were kind of all living next door to each other, and chatting, and going for swims in the lake. Yeah, we were in self-isolation for two weeks before filming. Did you get time in pre-production to work on their bond with your co-stars? That friendship between Alice, Tess and Sophie does form such a core part of the movie. It focused more on the love, the friendship and the people. I really like that it didn't focus on the violence. I really like that it's told from that perspective because I felt that if anyone was in that position, telling it from the other perspective could become quite defensive. She's the focus, and the love of her friends. Wunmi Mosaku: I think the fact that we don't see the violence and the oppression of the women. When you got the script, what was it about the story that jumped out at you the most? It's such a powerful watch, and quite tough at points to watch as well. To mark its digital release in the UK, Digital Spy sat down with Wunmi Mosaku to talk about the movie's approach to violence, why she likes working with first-time directors and the important message she hopes the movie delivers. Alice's courage is tested, but at least she has her closest friends to rely on for support.Īlice, Darling marks the directorial debut of Mary Nighy and with excellent performances from its cast, it's a compelling and emotional watch, shining a light on a side of abuse that doesn't often get depicted on screen. However, just as Alice appears to be piecing her life back together, Simon makes a surprise appearance at their holiday home. The psychological thriller stars Anna Kendrick as Alice, who, while on vacation with her two close friends Sophie (Mosaku) and Tess (Kaniehtiio Horn), rediscovers herself and starts to understand how abusive her boyfriend Simon (Charlie Carrick) has been towards her. Joanna Di Mattia works as a bookseller at Readings Carlton.Wunmi Mosaku will be back in the MCU later this year for Loki season two, but you'll want to catch her powerful new movie Alice, Darling. Marina Abramović in Brazil: The Space in Between strengthens both the artist’s – and audience’s – belief in the power of art to transform individuals and the world. Posing the artist against exotic, striking landscapes, Del Fiol’s film expresses the idea that there is more to life than what we know of it, and draws a line between performance art and spiritual ritual. ![]() The ‘space in between’ referred to in the film’s title is the space where you discard the old and make yourself ‘open to destiny and new ideas.’ For Abramović this means connecting her present to her past experiences and using her memories, whether happy or not, to enhance her creative practice. Abramović also submits herself to what she calls the worst experience of her life, drinking the hallucinogenic tea, ayahuasca.Ībramović is unsurprisingly unguarded in her interactions with the Brazilian landscape and its people. Beginning with seemingly benign herb and crystal treatments, she then visits the so-called ‘psychic surgeon,’ John of God (like me, you might need to cover your eyes for this rather gruesome sequence). On her journey, she encounters various ways to deal with her pain. ‘I can deal with physical pain emotional pain gives me trouble.’Įxtending her concern – last seen in Marina Abramović: The Artist is Present (2012) – with the physical limits of the body, Abramović seeks a cure in the Brazilian countryside for what ails her. Abramović is worried that, in the aftermath of a divorce, she might die of a broken heart. In Marco Del Fiol’s film, Marina Abramović in Brazil: The Space in Between, she travels through Brazil to heal that body, both physically and spiritually, after an emotionally tumultuous period in her life. For over 40 years, Marina Abramović, the self-anointed ‘grandmother of performance art,’ has used her body to challenge audiences. ![]()
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