Interview: Sadie Sink on Her Powerhouse Performance in ‘The Whale’

By Abe Friedtanzer

Despite early buzz from fall festivals, The Whale has not turned out to be a slam-dunk awards season player. After being shut out by the Independent Spirit Awards, star Brendan Fraser has earned nominations from most other awards bodies, with supporting actress Hong Chau and playwright/screenwriter Samuel D. Hunter also picking up bids along the way. There are those who say that the film and Fraser’s performance are manipulative and highly overrated, but I’m firmly in the opposite camp;  I think The Whale is the best film of 2022.

Fraser and Chau aren’t the only ones who turn in tremendous performances. As Ellie, the daughter of Fraser’s Charlie, Sadie Sink bursts in with anger to confront a father who has never been there for her but, at this moment, seems deeply interested in her happiness. Sink was already the best thing about season four of Stranger Things, and it’s wonderful to see her deliver so well in a role like this...

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Venice at Home – Day 5: Returning Champions

by Cláudio Alves

The fifth day of competition finds three award-winning filmmakers vying for more golden plaudits. Rebecca Zlotowsky's directorial works have left strong impressions across some of Europe's biggest festivals, and this is her first time in Venice. Her new film, Other People's Children, stars Virginie Efira and Roschdy Zem – he's also in competition as a director with a different film. Next, Italy's  Emanuele Crialese returns with L'immensità after nabbing nine prizes in past editions of the festival. Finally, there's Darren Aronofsky who is a former Venice champion whose new project, The Whale, is already enshrined in Best Actor Oscar buzz for Brendan Fraser.

So today we're looking back at Aronofsky's 2008 Golden Lion winner, Zlotowsky's sensual summer, and Crialese's voyage to the New World…

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Venice Diary #04 - "The Whale" is a major contender

by Elisa Giudici

As festival goers, we are always waiting for that moment in which we can clearly perceive a film moving into a territory of absolute excellence, far above the norm. It's a sensation that is rare and powerful, and the only response is to shout superlative and add to the hype. I'm happy to report that the new Darren Aronofsky feature, The Whale, is one of those gigantic achievements...

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Horror Costuming: Black Swan (2010)

by Cláudio Alves

Unintentionally, this year's Horror Costuming miniseries has featured a lot of designers' partnerships. In both Hellraiser and The Cell, we explored how one person created a fantasy world while another cared for the mundane existence and its subtler evils. Those films showed how exemplary collaboration could produce unforgettable movie wardrobes. Now, with Black Swan, we arrive at a more disharmonious sort of alliance, one that fell apart after the fact, as the media celebrated some designers' work while ignoring the other, and the awards bodies did the reverse. It's a pity how much the controversy came to dominate conversations on the film's costumes. But, beyond the acrimony and scandal, Black Swan is a superbly designed horror movie whose costumes deserve analysis, applause, awards too…

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Horror Actressing: Natalie Portman in "Black Swan"

by Jason Adams

We're in between seasons of our "Great Moments in Horror Actressing" series, taking the post-Halloween holidays off, but I decided to spring out from under my self-appointed mothballs to celebrate this week's 10th anniversary of Darren Aronofsky's le grande trash Black Swan -- to spring out, to do a lustily precise pirouette, and to plunk down some love here for Natalie Portman's spectacular and much-deserved Oscar-winning turn as the prima ballerina Nina Sayers, our favorite sweet girl slash toe-crunching psycho.

Over this past weekend I randomly ended up re-watching two seemingly disparate horror films that you might not immediately sense a sister-bond between... 

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