‘Ozark’: Golden Globe-Nominated Netflix Drama Will Teach You How to be a Criminal — Watch

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If you have ever wondered how Ruth Langmore (played by Julia Garner) from Netflix’s “Ozark” gets by in the Missouri criminal underworld, you can stop looking. Netflix released a new video on Tuesday afternoon with Garner in character explaining the knots and bolts on how to be a true criminal like Ruth.

Edited with infomercial-type graphics, Ruth instructs people that in order to be a successful criminal, for instance, you need to “learn some goddamn self defense.” Watch the video below to find out the other “trade secrets” that Ruth has so generously disclosed:

https://www.youtube.com/watch?v=pK7FcTfpJD4

After a deal with a drug cartel goes south, “Ozark” follows financial planner Marty Byrde (Jason Bateman) and his family as they are forced to relocate from Chicago to a summer resort community in the Missouri Ozarks. Laura Linney stars as Marty’s wife who gets involved with real estate to help Marty launder money after they move to Missouri. Their paths cross with fan favorite and resident badass Ruth Langmore (Julia Garner), who also gets involved in Marty’s laundering business.

Jason Bateman recently snagged a Golden Globe nomination for Best Performance by an Actor in a Drama Series. Bateman also directed four out of the 10 episodes of the first season and he executive produced the show alongside Chris Mundy, Bill Dubuque, and Mark Williams.

“Ozark” is currently streaming its first season on Netflix. The second season is currently in production.


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‘Burial Rites’: Jennifer Lawrence to Star in Luca Guadagnino’s True-Crime Drama About Iceland’s Last Public Execution

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Luca Guadagnino is quickly becoming one of our most prolific filmmakers. With “Call Me by Your Name” currently in theaters and his “Suspiria” remake on the way, the Italian auteur will next direct Jennifer Lawrence in “Burial Rites.” The news comes from Variety, who note that the true-crime drama is in the works at TriStar Pictures.

The film is to be based on Hannah Kent’s novel of the same name, which tells of Agnes Magnúsdóttir — the last woman to be publicly executed in Iceland. That event took place in 1830 and was the result of her conviction for killing two men and setting their home on fire, suggesting that “Burial Rites” will be a light, airy affair that definitely won’t anger viewers for killing off J-Law’s character.

“Luca is a rare talent. His movies capture an exquisite sense of place inextricably linked to the emotional state of the complex characters he creates,” said producer Hannah Minghella in a statement. “I can’t imagine a more thrilling partnership than Luca and Jennifer coming together to bring Agnes’ beautiful and tragic story to life.”

Capital punishment no longer exists in Iceland, a magical land populated by the likes of Björk and next year’s World Cup winners.


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Michael Haneke Says He’s Not ‘Dark’ but If ‘Happy End’ Disturbs, That’s Your Problem

http://www.indiewire.com/2017/12/michael-haneke-interview-happy-end-oscars-1201906826/

ConsiderThis

Michael Haneke received worldwide acclaim and two Oscar nominations for his tragic romance “Amour,” the mesmerizing tale of an elderly couple facing the inevitable specter of death. Though downbeat in the Haneke fashion, “Amour” also registered as the Austrian filmmaker’s most emotionally accessible work. His followup, “Happy End,” found a more mixed response — and yet, for serious Haneke devotees, it should hit all the right buttons. Still, Haneke remains such a singular director that, 30 years into his career, he continues to challenge even his greatest devotees.

For those among us, “Happy End” delivers one of the most enjoyably twisted movies of Haneke’s career. The story of a dysfunctional bourgeois family where self-loathing and suicidal thoughts loom large, it’s a profoundly cynical work so incisive that it renewed a once-familiar element in Haneke’s career trajectory: divisiveness. Following the filmmaker’s back-to-back Palme d’Or wins for “Amour” and “The White Ribbon,” he went home empty handed with “Happy End.”

“I’m not concerned about audience expectations,” Haneke told me at the Toronto International Film Festival. “I don’t find that my reputation is accurate — I don’t see myself as this sort of dark auteur. I think my works are realistic. I’m concerned with holding up a mirror to society.”

Isabelle Huppert, Michael Haneke and Jean-Louis Trintignant'Happy End' photocall, 70th Cannes Film Festival, France - 22 May 2017

Isabelle Huppert, Michael Haneke and Jean-Louis Trintignant at the ‘Happy End’ photocall, 2017 Cannes Film Festival

David Fisher/REX/Shutterstock

That mirror may be too close for comfort. In dealing with the alienating powers of wealth, class and social media, Haneke calls bullshit on the one percent better than most liberal activists. Though it did become Austria’s Oscar submission, audiences have largely regarded “Happy End” as a kind of reductive Haneke self-homage. The film deserves better and, as it opens in limited release December 22 ahead of national expansion, it should be considered among some of the more probing works over the past year.

“Happy End” is a sharp, perceptive indictment of modern times, and therein lies the rub: Who wants to watch another story about obnoxious rich people isolated from the world’s biggest problems? However, “Happy End” burrows inside this world and deconstructs it from the inside.There’s much to absorb about the bitter Laurent family, from the crude assertiveness of family patriarch Georges (Jean-Louis Trintignant, riffing on a variation of his “Amour” character), to the sullen attitude of his daughter Anne (Isabelle Huppert), who runs the family construction business with icy confidence while her grown son Pierre (Franz Rogowski) sulks around the house with a silver spoon in his mouth.

“Happy End”

Pierre is sick of his family’s luxurious world and, finding no better outlet for his frustrations, he decides to take a moral high ground by calling out the persecution of the immigrant staff at posh events, humiliating dinner guests. His holier-than-thou position makes him at once a voice of reason and a walking contradiction, as he calls out the privilege that sustains his existence. Haneke’s script balances this boorish figure with one of his most intriguing characters in years —  Georges’ 10-year-old granddaughter Eve (Fantine Harduin), who secretly uploads her family’s dysfunction online.

The family’s various passive-aggressive exchanges collide in the jolting finale, when one man’s death wish becomes another person’s online video diary. The final minutes are some of the very best in Haneke’s career, culminating with an iPhone image that suggests even the worst aspects of human nature can be reduced to a viral video punchline.

“The whole thing is a farce,” Haneke said. “I wanted to show how people in first world countries deal, or don’t deal, with the problems facing the rest of the world.”

And so the 75-year-old filmmaker finds a cogent metaphor in a young child for whom the family’s insular existence is little more than content for her online audience. “Scores and scores of young kids between the ages of 10 and 14 record their confessions and publish them online,” he said. “If you used to go to a coffee shop, you’d see everyone talking. Now everyone’s looking down…The internet has, to some extent, replaced the confessional. We confess online.”

Haneke scripted the drama in direct response to “Amour,” which wields powerful emotional insights into the dying process. “I wanted a more realistic ending than what we see in ‘Amour,’ which is more of a metaphor,” he said.

Ever since “Funny Games,” critics have complained that Haneke displays contempt for his characters, but he insists much of that perception comes from projection. “They’re not so terrible,” he said. “It’s just that in their everyday lives, their relationships are complicated.”

Another way of putting it: “Happy End” positions his affluent relatives as slipping on the banana peel of their wealth, and relishes the opportunity to show that they’ve become victims of their lifestyle. “People react to it because I’m spoiling their fun — they want to be able to enjoy it,” he said. “I forbid them that. Then I get this rap of being such a violent filmmaker, and I find that grotesque.” But didn’t he just say that he’s not a gloomy filmmaker? “I simply present things the way they are,” Haneke said.

“Happy End” certainly derives some of its ferocious edge from observations about the prevailing powers of the Western world. “The way that people are elected now is that populists come to power,” he said. “It would’ve been inconceivable for Trump to become president without the internet and the media presence that allowed him to become popular. It’s the populists who have obtained power by playing to our fears and gaining greater importance. Unfortunately, there are uneducated, complete idiots who have the right to vote and their fears are preyed on by politicians.”

To some extent, “Happy End” peers beyond some of the mortifying headlines about Trump and his colleagues to offer a more acerbic look at the intimate roots of their dispositions. “The only television show that I find the least bit believable,” Haneke said, “is the weather report.”

“Happy End” opens in New York and Los Angeles on December 22, with a national expansion to follow in 2018. 


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