They both had Julianne Moore in mind
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Ingrid and Martha were close friends in their youth, when they worked together at the same magazine. After years of not being in touch, they meet again in an extreme but strangely sweet situation. When Pedro Almodóvar sent the script to Tilda Swinton, he asked who should play Ingrid.
Featured in The 7PM Project: Episode dated September 8, 2024 (2024)
Almodóvar’s cinematic worlds have always been interesting to inhabit and his first English-language feature film is no exception, as all parts of the art world are beautifully present and presented: literature is read (Joyce), books are never far away anyway, architecture, furniture, paintings, decoration, everything refers to an intellectually challenging world, of which every sophisticated being in this world would eagerly like to be a part. However, despite this constant reference to works of art, the film feels empty and hollow, intellectually and emotionally not that engaging. Iglesias’s music is beautiful, the opening credits are quintessential Almodóvar, and Moore and Swinton are two of the greatest actresses alive, but the script is too simple to carry this beyond a merely staged piece.
Same for Moore, who is a writer, but little is done with that element here
For example, Swinton is a former war correspondent, but that never adds any interesting twist to the film. Another interesting part of the story is where Swinton seems to manipulate Moore into her guilt and goodness, but it’s also very underdeveloped. Almodóvar’s direction of Moore and Swinton is generally very lacking, so it’s hard to see what he wants from them.
Turturro (Almodóvar?) is particularly helpless in this film, not only with uninteresting lines but also with a character whose political message and worldview are simplistic
(See how Fincher’s small role in last year’s The Killer makes her perfectly suited to the film, with great attention to body movement and diction.) Here, characters and stories from the past come and go, yes, just as they do in real life, but that doesn’t make for compelling viewing. This is a film in which all the parts do their job relatively well, but the sum total of it all is disappointing, and the director is unfortunately to blame for that. In Dolor and Gloria he bravely put his own pain front and center, but like Woody Allen, his great inspiration seems to have run out and his films are mere copies and abstractions of earlier ideas.
The film references Bergman’s Persona, but it is a shadow of that masterpiece
(Also, the 1-minute trailer contains the entire film.) One last note: The fact that it won the Golden Lion at Venice this year is not only an indication of how weak the 2024 edition of the festival was, but, as usual, also a summation of the composition of the jury this time chaired by Huppert: first prize for a film about a woman who wants to be sacrificed, second prize for a woman torn apart by war, love and her community, and third prize for a woman fighting for abortion. Maybe it would be an idea to let the filmmakers be the presidents of the jury instead of the actors and actresses, so that the best film would win the top prize (The Brutalist).
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