Snake Eyes
This cycle of six films is an opportunity to rediscover a cult period in Abel Ferrara's filmography. Ms.45, his second feature, already contains elements that will make his films of the 1990s a success: the collaboration with Nicholas St-John (who will also write King of New York, The Funeral, Snake Eyes and Body Snatchers) and actress Zoë Lund (who will co-write Bad Lieutenant), the world of neo-noir and thriller – and, of course, New York City and its urban violence. Ferrara flirts with extreme experiences in scenarios that combine crime and spirituality and the breathtaking performances of his actors - Christopher Walken and Harvey Keitel in particular. The Body Snatchers remake show how Ferrara's slowly start to explore other horizons. This cinematic tribune is a chance to present the previous adaptations of the science fiction novel in the Body Snatchers cycle.
In this fascinating film by Abel Ferrara, Harvey Keitel plays a filmmaker trying to shoot a marital drama who encounters problems on and off the set, including with his leading lady, played by Madonna.
Abel Ferrara
Born in 1951 in the Bronx, Abel Ferrara grew up in New York, a city that would become the setting for many of his films. As a student at the San Francisco Art School, he began directing a few independent shorts and then a pornographic film under a pseudonym. But it was The Driller Killer, a low-budget feature film that quickly became a cult move, which launched his career as a filmmaker in 1979. In the 1980's, he made his debut in the neo-noir vein with the help of Nicholas St. John, who wrote the screenplay for almost all his films until The Funeral in 1996. After the public and critical success of his films in the 1990s, Ferrara began to explore other dramatic avenues and to slow down his production pace. In the 2010s, he began a new period in his career, marked by his collaboration with a new favorite actor, Willem Dafoe, and by his move to Europe, where it is easier to get financing for his atypical projects.
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Les débordements d'Abel Ferrara
Au début de la carrière de Ferrara et au cours de sa faste période de la première moitié des années 1990, quelque chose se joue au cœur de ses films de l’ordre du débordement – au sens de démesure, d’outrance et de jaillissement. Tout dans son cinéma semble alors sur le point de basculer: les individus, la ville, la société, le cinéma lui-même… (...)
