Though the stunt required Winslet to operate a complex apparatus, Reilly disputes that Winslet had the toughest job. But rigid Penelope's assertion that the parents of the alleged bully lack interest in their son's behaviour was more than Winslet's Nancy could stomach, literally.įittingly, Nancy projectile vomits the cobbler they have been eating - all over Penelope's cherished and rare art books. The parents manage to maintain the appearance decorum as they niggle over whether Nancy and Alan's son was armed with a stick, or just holding one. Reilly as Penelope and Michael - two sets of parents who meet to sort out the details of a playground fight that left one of the boys with swollen lips and broken teeth. The satire packed with comic moments stars Winslet and Christoph Waltz as husband and wife Nancy and Alan, appearing opposite Jodie Foster and John C. It was hysterical," Winslet told a news conference Thursday ahead of the world premiere of Polanski's latest film in competition at the Venice Film Festival.īased on the play by Yasmina Reza, "The God of Carnage," the film is a sort of "Lord of the Flies" for the adult set - where civilized intentions go horribly awry as each character reveals their baser sides. "My kids came to work for the vomit day, and I am so thrilled that they were there because they literally have not stopped talking about it since.
Winslet says they haven't forgotten about the day she had to projectile vomit on set. The film was backed by the Slovenian Film Centre, the Film Centre of Serbia and the North Macedonia Film Agency, with technical support from Viba Film Studio.VENICE, Italy - The most memorable scene in Roman Polanski's new film "Carnage" belongs to Oscar-winner Kate Winslet. Considerable added value can be found in Mitja Ličen’s stark, black-and-white cinematography via ARRI Alexa, Jurij Zornik and Ognjen Popić’s striking sound design and, above all, in the superb editing of Jurij Moškon and the recently deceased Andrija Zafranović, for whom Deadlock is his final credit.ĭeadlock is a Slovenian-Serbian-Macedonian film produced by Forum Ljubljana in co-production with Delirijum and Sektor Film. Musevski’s intuitive, heart-felt, “all in” approach suits the film perfectly, while Fürst’s sleazy charm also does the job. Fortunately, he can rely on his actors, especially the male component of the cast. On the other hand, he tries to break the monotony of the setting with situational shots from outside of the building and flashbacks in which his tendency to over-explain presents a bit of a problem. The same dilemma goes for parenting and feelings of pain and impending loss.įor the first time in his filmmaking career, Möderndorfer embraces his theatre background to the fullest, so his habit of talking through the characters is not that much of an obstacle here. Möderndorfer is more interested in plays on morality and questions such as whether one life is worth more than another depending on class or even ethnic background. Superficial parallels could be drawn with Roman Polanski’s Carnage, but apart from the apartment setting and argument dynamics, the two films have little in common. Negotiations, fights, begging and pleading ensue, and, as is usually the case with such argument-based dramas, people switch sides, and form and dissolve alliances, while time is of the essence and they are in an ongoing, well, deadlock. They might not know each other, but they are both lying in the same hospital and one of their hearts could be the perfect match for the other. The only thing that could possibly connect them is the age of their children, Mirsad and Anja. Emir and Mejra are poor, working-class immigrants from Bosnia, while Andrej and Barbara are members of the Slovene financial elite.
Mejra’s husband Emir (one of Slovenia’s best liked movie actors, the late Peter Musevski) comes back home after watching an important football game at a local bar, and the crew is completed when Andrej’s wife Barbara ( Barbara Cerar) joins them.Īt first, it seems the two couples have nothing in common.
A strange man, whose name is later revealed to be Andrej ( Uroš Fürst), appears at her door, saying that he has something important to talk to her about, though he is reluctant to tell her what the deal is exactly. Mejra ( Mirjam Korbar) is alone in her apartment in the Fužine district of Ljubljana, known for its predominant immigrant population from the southern ex-Yugoslav states. Deadlock starts with a thriller cliché: torrential rain that causes traffic troubles all over Europe and briefly steals the headlines from topics such as the refugee crisis.