Oscar winner Anthony Hopkins, Camille Rowe, The Handmaid Tale‘s Madeline Brewer, and Ray Nicholson (son of Jack Nicholson) will star in the indie drama Now Is Everything, along with Mickey Sumner, Brad Greenquist, Rits Taggard, and newcomer Georgian-American actor Irakli Kvirikadze. Valentina De Amicis and Riccardo Federico Spinotti are co-directing the film, which was written by Amicis, Spinotti, and Matt Handy.
The pic follows fashion photographer, Nicolas Yarna (Kvirikadze), emotionally devastated by the death of his younger brother, Cedric (Nicholson). The mysterious disappearance of Nicolas’ girlfriend, Matilda (Rowe), leads him into a journey of his unconscious where he discovers love and the absence of love.
Two-time Oscar-nominated cinematographer Dante Spinotti (LA Confidential, The Insider) is producing the pic with Marcella Spinotti and Heather Kritzer. Markus Bishop-Hill and Stephanie Rennie will serve as executive producers.
Four-time Oscar-winning costume designer Colleen Atwood (Chicago, Alice In Wonderland) is also on board. Filming is slated to begin this summer in Los Angeles. The film does not yet have distribution but is intended for the major film festival circuit in 2019.
Netflix is getting a head start on festival season by acquiring the thriller “Cam.”
The film, which premiered at this year’s Fantasia International Film Festival in Montreal, stars Madeline Brewer (“The Handmaid’s Tale”), Patch Darragh (“The First Purge”), Melora Walters (“Venom”), and Devin Druid (“13 Reasons Why”).
The horror movie is a technology-driven psychological thriller set in the world of webcam porn. It follows Alice (Brewer), an ambitious camgirl, who wakes up one day to discover she’s been replaced on her show with an exact replica of herself. As this copy begins to push the boundaries of Alice’s internet identity, the control that Alice has over her life, and the men in it, vanishes. While she struggles to regain what she’s lost, she slowly finds herself drawn back to her show and to the mysterious person who has taken her place.
Daniel Goldhaber directed the pic, which will be co-financed by Blumhouse Productions and Gunpowder & Sky and produced by Divide/Conquer. Goldhaber also co-wrote the story with Isabelle Link-Levy and Isa Mazzei, who penned the script. Link-Levy, Adam Hendricks, John Lang, Greg Gilreath are producing.
“Cam” was one of the big winners of the festival, taking home awards for best first feature and best screenplay.
This morning the list for the 2018 Emmy nominations was announced. In this list The Handmaid’s Tale was nominated for several awards including:
Outstanding Casting For A Drama Series
The Crown • Netflix
Game Of Thrones • HBO
The Handmaid’s Tale • Hulu
Stranger Things • Netflix
Westworld • HBO
Tune in Monday, September 17 for the 70th Emmy Awards on NBC.
In today’s roundup, “The Handmaid’s Tale” launches a campaign with international womens’ rights organization, Equality Now, while the Paley Center for Media reveals their upcoming screening series, which is set to feature a reunion of “West Side Story” cast members George Chakiris, Rita Moreno, Russ Tamblyn, and Eliot Feld.
Hulu’s “The Handmaid’s Tale” and international women’s rights organization “Equality Now” have partnered up to launch a new campaign to fight for equality under the law and urge for people to speak out in support of women and girls’ rights. The centerpiece of the campaign is soon-to-be-released short film “Hope Lives in Every Name,” which features series showrunner Bruce Miller, executive producer Warren Littlefield, and actors Joseph Fiennes, Samira Wiley, Madeline Brewer, Ann Dowd, O-T Fagbenle, Amanda Brugel, and Alexis Bledel. In the video, they share testimonies that may sound like lines from “The Handmaid’s Tale,” but are in fact the words of real women with personal experiences and issues covered in the hit show such as sexual violence, trafficking, and female genital mutilation.
Janine has been to hell and back. Yet the dystopian drama is still the most fun work the actress has ever had.
Madeline Brewer knows the second season of The Handmaid’s Tale is hard to watch. “I did not breathe for the first 20 minutes of the first episode,” says the actress, whose sunny personality parallels that of her character in the Hulu dystopian drama: Janine, an improbably, relentlessly cheery handmaid, all red curls and bounciness. “I had to stop watching it and just take a minute to sob, and feel what I was feeling.”
The scene she’s talking about—in which handmaids who refused to stone Janine last season think they are going to be hanged until, at the last minute, it’s revealed to be a cruel, punitive ruse—set the terrible tenor of the show’s sophomore season. Based on Margaret Atwood’s novel about a near-future, religiously radicalized America in which an underclass of fertile women are forced to become breeders for political elites, The Handmaid’s Tale has never been easy to stomach. And, unusually, even though she’s in the show, Brewer understands how emotional a viewing experience it can be for the unprepared: “I stopped reading the scripts, and I’m finding it out with everybody else,” she says. “I watch it with my boyfriend and my friends and my mom.”
Isn’t it challenging, watching a show in which her character is raped and tortured, her right eye removed for no bigger crime than insolence, with people who love her? In this season, Janine has been sent to work in the toxic wasteland of the Colonies, and also returned to the civic terrain of Gilead, where she is once more made to have sex each month with her designated commander in the hope that she’ll bear a child for him and his wife. “It makes you think of what people can become and what they’re capable of,” Brewer answers, pondering the show’s dark-mirror reflection of our own society. “It makes you think this of yourself too: Who would I be in that situation? Would I take on the role of the warrior, or would I take on the role of Janine—the eternal optimist, but who’s not ready to fight the fight yet? Would that be me?”
“Optimist” is putting it lightly. The other handmaids are crumbling in the regime’s grip. One abused handmaid detonated a suicide bomb inside a gleaming new government building. Since her own return to Gilead, Emily (Alexis Bledel) is becoming more brittle and angry by the day. June (Elisabeth Moss), prostrated by guilt and grief at the execution of a man who tried to help her escape, has finally internalized Gilead’s lies. Yet somehow, against the persistent hell of authoritarianism, Janine has managed to retain a sense of wonder and innocence. Brewer imbues her with an impossibly springy effervescence; much like a straggling dandelion in the Colonies that she makes a wish on, Janine is the one bright—even funny—spot of the show.
“It’s a real privilege, honestly, to not just be stuck in these intense dark moments,” she says. “Janine’s in her own world by choice. She’s like, No, can’t do that, I’m going to look for the good. This season, she’s just so grateful to be alive, and that is what keeps her going.” Take, for example, the scene in which Janine happily looks on as two women, one of whom is on her deathbed, are wed in the dingy Colonies barracks. The ceremony was her idea. “I think she feels like, I’m doing this because we need something beautiful…. Those two are still in love with each other. That hasn’t been taken from them.”
That is, until her return to Gilead brings her back into the orbit of her baby. Hearing a rumor that baby Charlotte—her Gilead “parents” call her Angela—is very ill, Janine stumbles; all the sunshine is suddenly gone, replaced by a desperate desire to see and touch her daughter again. “It’s excruciating to be away from your child. I’m sure several mothers know what that’s like right now,” she says, referring briefly but pointedly to current affairs. Despite not being able to raise or even see her, Janine has kept Charlotte close. “There’s this part of Janine’s costume, a woven vest,” Brewer explains. Ane Crabtree, the Handmaid’s Tale costume designer, started calling it a web, which naturally evolved into “Charlotte’s web.” “It’s like carrying Charlotte with her through her every day. Just a little piece, even if it’s just imaginary.”
In a future plagued by infertility, motherhood has become so fraught and valuable a capability that the handmaids, bound to sexual labor because of their fertility, have a strange sort of power. In the most recent episode, “Women’s Work,” this plays out explicitly: Because Charlotte is now ailing beyond the point of medical help, Janine is permitted to see her one last time. Her presence, though, is exactly what saves the child. The episode closes with Janine stripped down to her underclothes, holding Charlotte to her chest, and singing Dusty Springfield’s “I Only Wanna Be With You” to a now laughing, happy, healthy girl. “It’s a true testament to human touch, and the importance of a mother’s love,” Brewer says of the game-changing moment. With the handmaids angry and hopeless enough to commit terrorist attacks; with June reminded of what power feels like thanks to a brief, illicit political collaboration with Serena Joy; and now with this indication that at least one handmaid has a mothering advantage over a Wife, there’s a sense that the tide is turning.
But this slightly triumphal moment is a rare one in a season that has showed the growing cracks in Gilead and the ever more brutal ways in which it punishes those who want to destroy it. Simply watching an episode feels like an emotional marathon; what could it possibly be like to film? “I’m very lucky in that as soon as I put the eye on”—the prosthetic scarring over her character’s injury—”I feel more like Janine. And as soon as I take it off, I leave Janine there,” Brewer says. “If I’m on set, I have that eye on, and it feels weird and it itches and it’s claustrophobic. I imagine that’s some of how Janine feels, you know? She’s missing all of this periphery.”
Brewer laughs, though, saying that Nina Kiri, who plays fellow handmaid Alma, will try to surprise her by standing just outside her field of vision. I joke that the prank seems a little rude, and Brewer explains that while filming can be physically grueling—shooting for the Colonies took place 90 minutes outside Toronto, where it was “fucking frigid,” and the air was filled with tiny, throat-clogging feathers to create the evil haze we see on screen—the set is actually, surprisingly, a great place to be: “We’re goofy as hell, but we’re making this just incredibly heart-wrenching show. And it’s crazy to say it’s the most fun I’ve ever had working.” What do they do to decompress between scenes? “Honestly, sometimes we’re online shopping on our phones or, you know, Snapchatting people. Just talking about family and life and getting to know each other as people.”
By this point, Brewer must know Janine incredibly well. Did she have an idea of what Janine was wishing for when she spotted that tiny yellow flower in the barren Colonies? “Yeah,” Brewer says, eyes shining but resolute. Does she want that to be a secret? “I think I want to keep it,” she says, smiling. And what about Brewer herself—does she cherish any wishes about what she’d like people to take away from this demanding, soul-excavating show? That, at least, is something she’s all too ready to share. “I want people to be awake. I want them to be aware,” she says. “The show requires you to do some work. You have to feel. You have to open your eyes and open your heart, and I hope that people carry that into the rest of their lives.”
For herself, the show has already had an impact: “It makes me feel like I need to invest more in sisterhood. In my female relationships and in all walks of life. But it might not make a man feel that. It might make a man feel like, Maybe I need to get more involved in Planned Parenthood. Maybe I need to just shut up and listen.” It might be different for everyone, she muses, whether it’s running for congress (“I’m not qualified,” she whispers) or whatever. But: “If some part of The Handmaid’s Tale makes them feel like, I have something to say, then fucking say it. Please. Just get it out there.”
Watch Madeline on the AOL Build Series talk about The Handmaid’s Tale. I’ve added a photo from the event and will add more later today.
‘The Handmaid’s Tale’: Madeline Brewer On That ‘SNL’ Sketch, Working With Alexis Bledel & More
“The Handmaid’s Tale” star Madeline Brewer sits with Access and shares her reaction to the epic “Saturday Night Live” sketch in which Kate McKinnon played her character, Janine. Plus, Madeline shares why she believes Janine has such a positive attitude despite her bleak circumstances. And, what is it like working so closely with Alexis Bledel this season?
– View Source / Watch Video Interview
ABOUT THE EVENT
Hulu invites Television Academy National Active members and a guest to a special screening, panel, and reception
Thursday, June 07, 2018 – 7:30pm to 9:30pm PDT
Samuel Goldwyn Theater
8949 Wilshire Blvd.
Beverly Hills, CA 90212
Complimentary parking is available in the garages at 8920 Wilshire and 9025 Wilshire.
THE HANDMAID’S TALE
6:30 PM Parking opens, doors open
7:30 PM Screening & panel discussion
Bruce Miller, showrunner
Warren Littlefield, executive producer
Elisabeth Moss, star and executive producer
*subject to change
Reception to follow.
Click here to RSVP.
Only Television Academy National Active Members with valid membership cards and their guests will be admitted.
Seating is subject to availability; first come, first served. Admittance is not guaranteed.
“She’s been kind of a damsel in distress sometimes.”
For her role as Janine in the The Handmaid’s Tale, Madeline Brewer spent much of her first season on the show experiencing the very worst of what Gilead has to offer, complete with a cliffhanger in which her character was nearly stoned to death. Viewers were left with little in the way of answers regarding the future of the Handmaid when season one of the Hulu series concluded, but as recent episodes have revealed, everything is about to change in Gilead — including Janine.
“Janine is not really the same person that she was last season,” Madeline tells Teen Vogue. “She has kind of developed this new way of looking at the world. She’s changed a lot and evolved from when we last saw her.” During the second episode of season two, viewers caught a brief glance of the former Handmaid arriving at The Colonies, a labor camp used as punishment in Gilead’s autocratic society. It wasn’t until this week, in episode five, that we witnessed the full transformation Madeline speaks of.
Prior to this second season, Janine had faced continual hardships, the least of which included losing an eye for speaking out against a number of Gilead officials. At times, her story was heartbreaking, and although Janine had struggled to “find the light,” the heroic and lifesaving act of resistance her fellow Handmaids displayed in last season’s finale was a catalyst for change. “Last season, Janine was so drowning in darkness,” Madeline says. “She had to find a reason to keep going, and now that she’s danced with death twice she’s so grateful to be alive. She sees The Colony as another chance of life, even though they go to work there and die. She feels really deeply that by some divine miracle she’s been saved.”
This week’s episode highlighted just how different Janine’s outlook on life has become. In a scene with Emily (Alexis Bledel), another former Handmaid, Janine argues that despite how terrible the conditions of The Colony may be that her life had been spared twice and “there’s gotta be a reason.” Emily disagrees with the sentiments and notes their lives are devoid of purpose, saying: “We come here, we work, we die.”The contrasting viewpoints between the two stand out for much of the episode and culminate in a moving final scene. Janine orchestrates an exchange of wedding vows between two residents of The Colony. The nuptials, which occur between Fiona and Kit, causes a final scene of friction between Janine and Emily.
In a crucial moment of the episode, Emily reminds Janine that “this place is hell and covering it up in flowers doesn’t change anything.” Janine once again disagrees, saying: “So what? We come here, we die, so what if we die happy?”
Madeline tells Teen Vogue that the pair’s interactions were among some of her most important scenes. “Emily and Janine are so vastly different,” she says. “Janine sees it as an enchanted life, an opportunity and Emily sees it as hell on earth. I think it was good to show that juxtaposition of the two.”
It remains to be seen how Janine approaches the remainder of her time at The Colonies, but Madeline promises a continued evolution of her character in future episodes. She also shared her hopes for the role going forward, and has a few wishes for what the show might touch on in future episodes. “I’d like to see Janine in action,” she says. “I’d like to see her find her bravery, find her courage. She’s been kind of a damsel in distress sometimes. She has power in her and I’d like to see her save the day one time.”
With the rest of the Handmaids left behind in Gilead, it’s quite possible that Janine could someday become the hero. But in the meantime, Madeline believes her character has another mission. “I hope people take from Janine the recognition of that there’s a lack of empathy in the world,” she says. “And if we all felt a little bit more for each other the world wouldn’t be such a sh*\ty place.”