Colette (2018)

Colette
Director: Wash Westmoreland
Writer: Richard Glatzer, Wash Westmoreland, Rebecca Lenkiewicz
Cast: Keira Knightley, Fiona Shaw, Dominic West, Eleanor Tomlinson, Denise Gough, Robert Pugh, Sloan Thompson, Arabella Weir, Máté Haumann, Ray Panthaki
Seen on: 7.1.2019

Content Note: abuse

Plot:
Sidonie-Gabrielle Colette (Keira Knightley) grows up in rural France where she meets Willy (Dominic West), author and entrepreneur. They start an affair and eventually, Willy marries Gabrielle and brings her to Paris. Once there, she realizes that Willy has ghostwriters working for him and she quickly becomes roped into his business, too, to try to stave off the continuous money problems. But when she tries her own hand at writing, she finds herself completely under his thumb – at least for a while.

Colette was a fascinating woman so any biopic about her is bound to be interesting, particularly with as engaging a lead as Knightley. There were a couple of weaknesses in the script and a cis person cast as a trans character, but overall, it’s absolutely a solid film.

The film poster showing Colette (Keira Knightley) over the city scape of Paris. Everything is in different hues of pink.
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Angels in America

Angels in America – Part One: The Millennium Approaches and Part Two: Perestroika
Director: Marianne Elliott
Writer: Tony Kushner
Cast: James McArdle, Andrew Garfield, Russell Tovey, Denise Gough, Susan Brown, Nathan Lane, Nathan Stewart-Jarrett
Seen on: 20. and 27.7.2017

Plot:
It’s the 80s and the AIDS crisis is in full swing. Louis Ironson (James McArdle) just found out that his boyfriend Prior Walter (Andrew Garfield) is infected and he doesn’t know how to deal. Joe Pitt (Russell Tovey) also isn’t able to deal: as a Mormon and a Republican and married to Harper (Denise Gough), he can’t possibly be gay, can he? Joe and Louis both work for Roy Cohn (Nathan Lane), a lawyer who may enjoy fucking other man, but that doesn’t make him gay. But Roy’s health is also on the decline.

Angels in America is an affective and effective play, and this production feels monumental. It weighs heavily – as is only right for the topic matter.

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