167 Gretel & Hansel
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- Genres=Horror
- release Year=2020
- Cast=Jessica De Gouw
- Writers=Rob Hayes
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1 Posted by 4 days ago
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Gretel & hansel. january 31.
3
3 Posted by 7 days ago
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Gretel and hansel release date.
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Gretel & hansel rating.
Gretel & hansel imdb.
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This is so good 🖤🖤🖤🖤😈.
3
3 Posted by 3 days ago
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Gretel & hansel official trailer.
Killing it make sure to come to SLC.
I remember that I played the gretel and hansel game and it was creepy but I never expected that this is more creepier obviously and it is exactly as the game and story but some stuff changes, can't wait...
Gretel & hansel (2020.
La mejorrr.
Dee Wallace rocked as Lilith, the evil witch.
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1 Posted by 7 hours ago
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Beware the stare or Mary Shaw she had no children only doll...
The Garden doesnt have a video on YouTube with at least a million views (or at least i cant find it) hopefully this one will be the first video from them to hit a million views😭.
Gretel & hansel trailer subtitulado.
Gretel and hansel its hansel and gretel.
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Hansel y Gretel 2020 ✔️ ➽...
Gretel y hansel cazadores de brujas en español.
Gretel y hansel pelicula completa en español.
Gretel & hansel pewdiepie.
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Osgood Perkins — “Oz, ” to friends and fans — thinks of terror as a tangible, space-occupying thing. The fear in his films fills the room and slowly turns the unlikeliest locations into torture chambers, from a girls boarding school (in his feature debut, The Blackcoats Daughter) to a Massachusetts mansion (in his follow-up, I Am the Pretty Thing That Lives in the House. A triangular hut tucked away in the forbidding woods sets the scene for his third feature-length effort, the outstanding new Gretel & Hansel, and acts as yet another gathering place for mighty malevolent energies. He puts an ambient unease in the air with a synth score thats jarring in this fairy-tale milieu. And he uses reality-distorting lenses and bizarre imagery, cribbed from an eclectic array of sources, to unsettle the audience further.
Perkins creative adventurous streak has given him a respectable name among genre-movie nerds. (Though not for the first time — his father happens to be Psycho star Anthony Perkins. Hes ready to ascend to the next tier of the indie circuit, and with Gretel and Hansel, hell have a ferocious new calling card to show off to studio brass. Perkins got on the phone to talk through his new film with Polygon, from its feminist bona fides to its cinematographic black magic, and he still had time to prophesy the return of the erotic thriller.
[ Ed. note: This interview has been edited for clarity and concision. ]
Your first three films are all about reverential fear for young women and their power. Why is that a focus for you?
Oz Perkins: That kind of escaped from me, made its way to the surface. Im not 100% sure why that is. It just has to do with the fact that the experience of a horror movie is about what we dont understand and cant see, whats hidden from us. For me, female protagonists add a welcome layer of mystique and mystery, things I cant easily grasp. Keeps me in a place of not-knowing, which is the place where I like to create art.
Gretel and Hansel is definitely focused on the feminine, especially in the relationship between Gretel and the Witch. Do you see them as representing different modes of feminism?
I certainly see an empowerment of the feminine in this movie, but I dont know that thats necessarily the same as being feminist. I try to approach my stories from a feminist standpoint, to the degree that feminism is about equal-handedness in treatment. Ive always assumed that as the right position to be in. Now, the cultural expectation is such that we foreground different experiences, ones that havent been overstudied, and the perspective I liked was using a fairytale to map a young woman coming into her own.
Which half of that equation comes first, the underlying idea or the story used to convey it?
Its different with each project. Blackcoats Daughter started with me asking where I was in my life, what was important to me, and what I wanted to see more of in movies. As facile as it sounds, that movie grew out of the location. I forced myself to commit to the concept of a horror movie in a school, and then kind of like a crossword puzzle, I used that one answer to start figuring out the rest.
Gretel and Hansel came to me as a script based on beautiful, classical material, and what turned me on about that was how faithful it was to the Brothers Grimm.
Writer-director Oz Perkins and Sophia Lillis on the set of Gretel and Hansel.
Photo: Patrick Redmond/Orion Pictures
Really? The finished film seems to be doing its own thing, especially in terms of aesthetics.
Well, what I wanted to be faithful to was the notion of fairy tales being self-contained, and not contingent on any context. In “Little Red Riding Hood, ” it hardly matters what time or country this is supposed to take place in. It exists outside of time and place. Stories like that work because theyre a set of markers that dont correspond to one metaphorical or allegorical reading. I did my own thing by leaning all the way into the metaphorical, fitting the archetypes into it.
Thats why we shot it the way we did. There are barely any two-shots. Everyones got the frame to themselves. We settled on a formalist bent once it was clear this movie would be self-contained like that, and it allowed us to pull from all styles and tastes and epochs. Brutalist stuff, Soviet design stuff, Alejandro] Jodorowsky stuff, magic-book stuff — I filled up my shopping cart with everything that interested me.
How did the conversations with your cinematographer, Galo Olivares, go as you were figuring out the look of the film, particularly in the early sequences in the woods?
We started thinking of the film as having a prologue and the body of the movie, and we talked about what would be expected for the first section. Probably square formatting, not quite sepia, but some kind of Instagram discoloration that looks like it came from your phone. We wanted to avoid all this. We dont want to do something that anyone could do on an app. So we shot in widescreen, almost looking like the extreme wide shots youd see in Westerns, and made the rest of the film — the “present” — squarer in its aspect ratio… Basically, you marry yourself to someone who you hope has a taste compatible with yours, and I got really lucky with Galo. The fact that we literally speak different languages allowed us to find a new grammar rooted in the visual. What he was thinking and what I was thinking were often the same thing, but sometimes it was a surprise to both of us what the other person meant.
How did you design the Witchs cabin?
Jeremy Reed, our production designer, knew that there would be expectations for what the Witchs house would look like, and it was the same deal, where he just wanted to undermine all of them. He saw it as an opportunity to be in only our world, instead of yoked to anything else. “What if her house has more of a sci-fi look than the rustic cabin everyone will think of? ” He wanted less Middle Earth, and more severity in architecture. We built one version on a soundstage, and then we found ourselves a nice clearing in the woods in Ireland. On a film set these days, youre happily aware that youre potentially destroying peoples shit, coming into peoples houses and fucking their rugs up and cutting their trees down. Fortunately, we found somewhere that wouldnt have too much for us to mess up.
Image: United Artists Releasing
Alice Kriges performance as the Witch is another thing that defies the usual audience expectations. What did you want her to bring across?
We wanted the performance to come from a place that was real for her, and not be someone who just rubs her hands and leers. The most iconic and impactful villains are the ones who are upset, reacting to a life that hasnt gone their way. Wicked Witch of the East, Darth Vader — everyones heartbroken.
I hope its not a faux pas to say that the first one coming to mind is Norman Bates.
Ha, not at all. What my dad did with that role was a modern, humanistic, naturalistic look at a deeply hurt person. And we get put right in his head, as someone whos been abused and abandoned, and then has to cope with that. Alice and I tried to find where this womans coming from, and at what stage in her life weve met her. Shes entered into a magical bargain with herself that requires her to kill children, and we wondered what kind of effect that would have on a person in the long term. Everyone whos addicted to anything, or dependent on anything, comes to feel not so great about it. You get more of whatever you need to make yourself feel less bad, but then you feel bad again. Thats a loop, and shes caught in it.
Triangles are a really prominent, recurring image in this film. Do they have any special meaning to you?
Its a primal, elemental, simple, undeniable force. It says to the audience, “This movie is what it is, itself in an immovable way. ” The triangle announces the film as concretely and recognizably different. It came to me as a way to focus the visuals around something distinct.
Working with child actors in the horror genre seems like it would present some obstacles. Was that the case?
Yeah, especially with Sammy, who was 8 when we filmed the movie. Theres no such thing as an 8-year-old whos not easily scared. Hed come up to me sometimes, take his little finger, and point at an action line in the script that was too much for him. He wouldnt say anything, just underline it and point and look at me. I knew what that meant. The one scene in which Gretel and Hansel are getting chased by the zombie-looking guy, we restaged the approach so that he wasnt in the heat of it all that much. That day, the guy playing the role made a sort of high-pitched moan I really loved, and we ended up changing it for the movie because I could see it bothered Sammy. Hes a sweet kid, and when he looks borderline miserable, you know you have to do something.
Your movies in the horror genre stand out for how they interact with specific, distinct literary traditions. Having covered the 19th-century ghost story and old-school folklore, do you have your eye on new territory?
As nicely as horror movies have come out of the reputation-gutter and become more well-thought-of by the general public, I think the thriller should be next up. The Hitchcockian thriller had a moment in the 90s, a brief resurgence, but its spent most of the past two decades in shittier stature. Wheres our Vertigo? Thats what Im working on next. Ive started writing now, and Vertigo is the big one, with trace amounts of Frankenstein and The Social Network in there too.
Esta peli si es de violencia a lo extremo.
Hansel e gretel associazione scandalo affidi.
Finally been waiting for this hansel and gretel movie since the last one they released that was awsome.
This is the best thing since the that movie war stars.
Maybe something from knives out or the goldfinch.
Beautiful, so looking forward to hearing the rest of the album i'll be listening to this till then.
When he was looking in the bath tub why tf would he go so close 😂.
They put the chicks name first. How incredibly clever 🙄😒.
Peter Sobczynski
January 31, 2020
During this past month, the horror genre has taken it especially hard on the chin with the release of such instantly and intensely forgettable duds as “The Grudge, ” “ Underwater ” and “ The Turning, ” a trio of films that collectively failed to inspire the same amount of raw terror found in the trailer for that “ Peter Rabbit ” sequel. Therefore, people might understandably look at “Gretel & Hansel, ” a film being dropped into theaters with little advance word and on Super Bowl weekend to boot, and assume that it's just another movie destined to come and go from the multiplex in net-record time. In reality, this is the kind of low-key gem that horror fans are always looking for but so rarely find—one that is smartly conceived, visually stylish and genuinely creepy at times.
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As one might surmise from the arrangement of the names in the title, the focus of this version of perhaps the grimmest of all the Grimm fairy tales is on Gretel ( Sophia Lillis) who is depicted here as several years older than brother Hansel ( Samuel Leakey)—old enough so that when she goes out to seek work to provide for herself, Hansel, and their insane mother, her lecherous prospective employer inquires as to whether she has “kept her maidenhood. ” Needless to say, that opportunity goes sour and Gretels troubles are compounded when her mother kicks her and her brother out to fend for themselves. (“Dig yourself some pretty little graves. ”) They spend one night with a kindly woodsman ( Charles Babalola) who gives them food, directions, and sage advice but the journey is long and arduous, lightened only by a brief respite when they consume some wild mushrooms with certain unexpected qualities. Just when all seems lost for the two, they stumble upon a house in the middle of nowhere and spy a lavish and seemingly unattended feast sitting on the table just waiting for someone to eat. This is the home of Holda ( Alice Krige) a strange older woman who invites the two in to eat and take refuge. While Hansel is more concerned with filling his belly to notice anything else, even when his host appears to be sniffing his hair, Gretel picks up right from the start that strange things are afoot. The house seems way bigger on the inside than logic should dictate. The enormous spread of food never seems to abate despite the lack of any garden or livestock on or around the premises. And while Gretel has always odd dreams and premonitions, they take on a decidedly darker turn the longer that they stay with Holda. You probably think you know where this is going from here. You may not be correct in your assumptions. “Gretel & Hansel” is the third film from director Osgood Perkins, whose previous efforts included “The Blackcoats Daughter” and “ I Am the Pretty Thing That Lives in the House. ” Neither of those movies quite worked for me, I admit, but they did do enough to suggest that he was an intriguing new directorial voice who was clearly on the cusp of doing something really interesting once he got a hold of the right material. With this film, he has done that and the results are often startlingly good. The screenplay by Rob Hayes takes the familiar narrative and finds a fresh approach, leaning towards a feminist take on the tale that may not exactly be subtle at times (her symbolic passage from childhood to womanhood is prefigured by the appearance of a long wooden staff and a vat of mysterious viscous goo that is perhaps the most over-the-top touch in the otherwise subdued story) but it does offer up an audacious and often surprising slant to the proceedings. As much as it is a horror story, this perspective allows the film to also work as a thoughtful coming-of-age tale of a young woman gradually realizing that she does have power after all, and can use it to make a path into the world that is entirely of her own design.
Many of the other elements of the film click in unexpectedly rewarding ways as well. Visually, the film is a constant knockout as Perkins and cinematographer Galo Olivares lend it a hypnotic and stylishly moody look that makes it feel at times like a lost work from Italian horror maestro Mario Bava, a sensation helped by the inspired production design by Jeremy Reed. The synth-heavy score by composer Robin Coudert adds an extra layer of Goblin-like unease to the proceedings that is also enormously effective. The performances by the three lead actors are strong and sure, all the more so because they all commit to their roles and never come across as though they are goofing on the material. (Although there are a couple of dark laughs here and there, the film is refreshingly straight-faced for the most part. As for the hardcore genre buffs wondering how effectively scary a PG-13 horror film can be will be happy to know that Perkins creates a strong aura of unease that never lets up and only once devolves into anything resembling a cheap “BOO! ” moment. My only real problem with “Gretel & Hansel” is that it contains an intermittent voiceover from Gretel that feels as if it was added at the last second in order to overtly explain things that could have been easily and more effectively left unsaid. That said, with its offbeat narrative and emphasis on moodiness over ham-handed shocks, this is the kind of genre film that is probably a better fit for arthouses than multiplexes—it will almost certainly join “ Color Out of Space ” as one of the first new cult favorites of the new decade—and those who go to it expect the usual nonsense may find themselves put off by its quieter and more ultimately unsettling approach. Those in the mood for something that is off the beaten path, on the other hand, should make a beeline to catch it while you can.
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