Ready for a movie experience that combines luxury with the coziness of your bedroom? Set your sights on Uptown Bonifacio as it introduces an unprecedented cinematic experience this November!
Megaworld Cinemas and Tempur: A Collaboration of Comfort and Innovation
In a remarkable partnership, Megaworld Cinemas teams up with globally-renowned comfort experts, Tempur, to bring to life the Uptown Tempur Cinema. This cutting-edge theater takes pride in offering a viewing experience that rivals the comfort of first-class flights, allowing patrons to lounge or fully recline on Tempur beds and mattresses. Who wouldn’t love watching their favorite films while ensconced in unparalleled comfort?
Redefining Movie Magic with State-of-the-Art Features
But the luxury doesn’t stop at just plush beds! The Uptown Tempur Cinema is also a fortress of technological sophistication. Equipped with Dolby Atmos, the cinema provides audiences with sound quality that’s as immersive as the seating is comfortable. Every explosion, whisper, or chorus will resonate with crystal-clear precision, enveloping viewers in every scene’s emotional grip. Are you ready to be transported right into the heart of the action?
The Legacy of Innovation Continues
Megaworld Cinemas isn’t new to the game of revolutionizing how Filipinos enjoy their movies. As the trailblazing force behind the country’s first Ultra Cinemas, they’ve consistently raised the bar for what a movie theater can be. And the Uptown Tempur Cinema is just the latest in their string of innovations. Stay tuned, cinephiles! Megaworld Cinemas has more surprises up its sleeve, guaranteed to further ignite your passion for films.
Eager for more details? Keep your eyes peeled for updates by following Megaworld Cinemas on Facebook and Instagram. Whether you’re a movie buff or a comfort enthusiast, the Uptown Tempur Cinema is your newest must-visit destination. So, why settle for the usual, when you can indulge in a movie experience that’s truly first-class?
For more of what’s in store, follow Megaworld Cinemas on Facebook and on Instagram @MegaworldCinemas, or visit their official website at megaworldcinemas.com.
Devoted anime fans and film enthusiasts can look forward to a jampacked November with the successive release of anime films along with a live-action Japanese film best seen and experienced at the cinemas.
The Tunnel to Summer, The Exit of Goodbyes leads two young people to Urashima Tunnel, a mysterious tunnel that can grant one’s fondest wish but with a price. High school student Kaoru is plagued by a troubled past and fatefully teams up with Anzu, a girl who struggles to place obligations before her dreams. Destined to meet to unravel the mystery of the tunnel, Kaoru and Anzu learn along the way about young love and bending time itself. An SM Cinema exclusive on November 1, the film is directed by Tomohisa Taguchi and the main characters in the movie are voiced by Ouji Suzuka and Marie Iitoyo.
City Hunter The Movie: Angel Dust is the latest anime theatrical film produced by Aniplex and animated by Sunrise, City Hunter’s 35th anniversary. With the franchise’s main protagonist Ryo Saeba, the movie involves an all-new drug named Angel Dust and is controlled by an underground organization that’s also covertly creating secret soldiers. Also an SM Cinema exclusive on November 8, “City Hunter The Movie: Angel Dust” is directed by Kenji Kodama and featuring the voices of Akira Kamiya (Ryo) and Kazue Ikura as Kaori.
Tokyo MER: Mobile Emergency Room is a live action-packed film on the hazards that medical workers face to save 193 lives from the fire trapped at the 70th floor of a Yokohama skyscraper. Based on the TV series of the same title, the movie adaptation deploys a team of emergency professionals on wheels formed by the Tokyo governor with one mission only: to prevent a single death. Tasked with rushing to the scene of major accidents, disasters, and crimes, MER is armed with state-of-the-art medical equipment, a mobile operating room, and an elite staff ready to risk all to save lives. Check out “Tokyo MER: Mobile Emergency Room” when it opens exclusively at Ayala Malls Cinemas on November 22.
Finally, Hayao Miyazaki’s The Boy and The Heron will open on November 29 in local cinemas nationwide. Dubbed as a big fantastical film, the movie follows a boy named Mahito (voiced by Soma Santoki) who enters a magical world with a talking grey heron after finding an abandoned tower in his new town. Yearning for his mother, Mahito ventures into a world shared by the living and the dead where death comes to an end and life finds a new beginning. “The Boy and The Heron” is a semi-autobiographical fantasy about life, death, creation and a tribute to friendship that can only come from the mind of Hayao Miyazaki.
An Encore Films presentation under Warner Bros. distribution, check your favorite cinemas for the advance online ticket selling of these thrilling anime and live action Japanese films. Follow Encore Films PH (Facebook) for more updates on the thrilling lineup of November films.
Guess what? Illumination’s stirring the animated pot yet again! This time, they’re whisking you away on a delightful, feathery escapade that’s, well, hilariously wild. Presenting… Migration! Picture this: A duck family’s wanderlust adventure voiced by the likes of Awkwafina, Elizabeth Banks, and oh, the ever-charismatic Danny DeVito. Add a pinch of Keegan-Michael Key and a dash of Kumail Nanjiani, and you’ve got a recipe for a rollicking cinematic experience.
Fluttering Beyond The Familiar
Helmed by the talented Benjamin Renner, Migration isn’t just any animated feature. This duck family’s quest for more goes hand-in-hand with a certain catchy tune. Yup, Taylor Swift’s rendition of “Out of the Woods” sets the beat as our feathered protagonists step out of their cozy pond and venture into the vast, unpredictable world. Ah, the things one does for a change of scene!
Save the Date for a Quacking Good Time!
Mark your calendars! Migration is flapping its way to the big screen on January 17. Brought to you by Universal Pictures, this flick promises to be a delightful escape you won’t want to miss. So, grab your flock, and get ready for a hearty dose of laughter, adventure, and of course, Taylor’s enchanting voice.
Director and writer Irene Emma Villamor takes an interesting approach to the romantic drama in her latest film ‘Five Breakups and a Romance.’ Villamor fills up her 102-minute movie with only certain key points during the tumultuous relationship of her two main characters, Lance and Justine. The chosen moments? The film chronicles their union and their breakups. It never shows us the relationship of the two. We always witness them at the point when they get together (or get back together) and the point when they break up. It is a theatrical structure that is interesting to use in a film, but it has its own advantages and disadvantages.
The film opens in Singapore in 2015, when Lance and Justine meet for the first time. He’s visiting with his friends to watch a concert and he meets Justine, who is a friend of a friend who has been living in Singapore for 3 years. It’s love at first sight as Lance can’t get let Justine leave without making his move. One thing leads to another and the two make a go for it. Lance extends his stay for an extra day and the two get to know each other more. When we get back to them again for scene number two, it is two years later, they are now a couple, but the cracks are already there. They are on the verge of splitting up.
The movie continues on in this manner. Each scene is either of them coming back together or breaking up (hence the title). The advantages of this is that Villamor can focus her narrative on just the highly emotional parts of her character’s world. She can situate her character and these emotions in particular locations for full use of any symbolic meaning whether it be the streets of Singapore at night, a mansion in Alabang during a barkada Christmas party, a beach-side celebration of Justine’s parent’s renewal of vows, or the claustrophobic hallways of a hospital during the height of the Covid pandemic. This is a space for nuanced and detailed filmmaking. It is an arena for capturing human behavior and passion and longing in confined spaces.
The disadvantage here is that the film favors telling over showing, a risky endeavor for any filmmaker. David Fincher does it well in his series ‘Mindhunter.’ Ridley Scott also manages this well in his film ‘The Counselor.’ There are great moments in both where the story is told rather than shown but it works because of the actors involved. This structure puts the whole burden of director and writer Irene Emma Villamor’s film on the shoulders of its leads, Alden Richards and Julia Montes. We never get to see the relationship in action so all of each other’s joyous moments together and the growing resentments are not for us to see. We need to see it when Richards and Montes go through these raw, emotional moments in the respective scenes.
And this is where the film doesn’t find its footing. There is a missing chemistry between the two that happens as early as the first scene and they never quite pick it up as the film progresses. At the beginning, Montes struggles with Justine’s cold and dismissive attitude towards the forward Lance. Montes doesn’t seem comfortable being mean or cruel and you can see this later on because when she has to play Justine as warm and loving, she does it so well. She seems more comfortable with Justine’s vulnerable side than she is with her strong moments. Montes gets better as the film unfolds. I can’t say the same for Richards.
Richards has never looked better than in this movie. He has the looks and the presence of a leading man. Unfortunately, he has a tendency to push out a rehearsed smile and that sparkle in his eye that I see in his commercials. I feel that he is afraid to get ugly for the scenes that requires it. The scenes Villamor wrote and directed requires a rawness of emotion that Richards doesn’t quite get. He is always poised, always pretty, I needed him to get real.
‘Five Breakups and a Romance’ does not have Irene Emma Villamor’s usual masterful navigation of the intricacies of the economic factors that affect a relationship. Here, Lance is supposed to be privileged and rich and it is supposed to inform on some of his choices (and mistakes) while Justine is from a simple, middle-class family from Batangas. But Justine’s first appearance is that of a professional in the cosmopolitan Singapore and that never actually leaves her. And Richards never seem to carry the posture or the air of the upper class, which he is supposed to be from. And as much as the film tries to bring these issues up as important ones to the story, there are no real implications of it to the characters and their relationship because we never get to see it at play.
Both actors needed to really live out their character’s whole lives in each other their scenes with their posture, line delivery, their physicality. The film doesn’t allow us to really get to know them, so they have to completely inhabit these characters in those five or six scenes that they are given. It’s a great demand for any actor and unfortunately, these two can’t seem to bridge it together.
The chemistry isn’t there. There are scenes where I truly wonder what it is that they see in each other, other than physical attraction. This is something both deliver well. When they kiss, there’s magic. But when they talk to each other, something is missing. Richards comes off as stiff in comparison to Montes’ outpouring of pain and affection. The love that is at the center of this film is missing and doesn’t allow the film to fully realise its risky cinematic structure.
Sydney Sweeney (Yep, from Euphoria) and Glen Powell (You know, the hunky pilot from Top Gun: Maverick) are lighting up the big screen in the teaser trailer for the spicy comedy Anyone But You. Steering this fun roller-coaster is none other than director Will Gluck, the mastermind behind hits like Easy A and Friends with Benefits. Heads up, movie lovers: This one’s reserved for cinema screens only!
Meet Bea and Ben. Played by the sensational Sydney Sweeney and the charismatic Glen Powell, they appear to be the picture-perfect pair. Ah, but life loves its twists! After an unforgettable first date, things take a, well, frosty turn. Then fate decides to toss them a curveball – a destination wedding in sunny Australia. Instead of running in opposite directions, these two whip up a plan so crazy it might just work: they pretend to be madly in love.
Steering the ship of this wild escapade is director Will Gluck, who’s teamed up with Ilana Wolpert on the screenplay. The movie magic doesn’t stop there. Gluck wears multiple hats as he’s not only the director but also a producer alongside Jeff Kirschenbaum and Joe Roth. Oh, and did we mention Sydney Sweeney is an executive producer? Talk about a power move!
Joining the dynamite duo of Sweeney and Powell on screen are stars Alexandra Shipp, Darren Barnet, Hadley Robinson, and a host of other big names like Dermot Mulroney and Michelle Hurd. Gosh, talk about a star-studded ensemble!
Coming soon in Cinemas!
Though we can’t spill the beans on the exact release date just yet, make sure to keep those eyes peeled. Anyone But You is on its way, and you won’t want to miss it! Brought to the Philippines by Columbia Pictures, the local wing of Sony Pictures Releasing International. For all the spicy updates, jump into the conversation online with #AnyoneButYou.
Hold onto your golden tickets, folks! The enchanting world of Willy Wonka is ready to open its gates once more. This time, though, it’s a younger, dreamier version of the chocolate maestro, played by none other than Timothée Chalamet. And, oh boy, are we in for a treat! Wonka is set to premiere in Philippine cinemas on December 6.
Roald Dahl’s enchanting tales have always held a special place in our hearts. And now, inspired by Dahl’s celebrated “Charlie and the Chocolate Factory,” Wonka offers us a fresh, vibrant take on how the ingenious inventor and chocolate-maker became the iconic Willy Wonka. Picture this: a young Willy, bursting with creativity, passion, and the drive to sprinkle magic in every corner of the world. Ah, sounds dreamy, right? With a dash of whimsy, a pinch of emotion, and heaps of heartwarming moments, this film promises to be an unforgettable cinematic treat!
Behind the Magic
Paul King, the genius behind “Paddington,” directs this marvel, with a screenplay co-penned with Simon Farnaby. Hats off to the production trio David Heyman, Alexandra Derbyshire, and Luke Kelly for bringing this chocolate dream to life!
A Star-Studded Affair
Our chocolate prince, Timothée Chalamet, is joined by a galaxy of stars! From Calah Lane to Emmy winner Keegan-Michael Key, and the delightful Rowan Atkinson (yes, Mr. Bean himself!), to the radiant Oscar winner Olivia Colman—this film has got the crème de la crème of the acting world. And trust us, the list goes on!
Don’t forget! Mark those calendars for December 6 and be the first to indulge in this choco-fantasy. Brought to the Philippines by Warner Bros. Pictures, Wonka is one spectacle you don’t want to miss.
Engage with fellow choco-fanatics and hop onto the #WonkaMovie buzz. Let the chocolatey chats begin!
Heads up, film fanatics! A battle-scarred spectacle is storming the silver screen. Say hello to Ridley Scott’s latest masterpiece, Napoleon, with the magnetic Joaquin Phoenix leading the charge!
Joaquin Takes The Throne
Joaquin Phoenix is back, and dare I say…more powerful than ever? Ridley Scott’s new trailer for Napoleon just dropped, and it’s a feast for the eyes. Paired alongside the equally captivating Vanessa Kirby as Josephine, this one’s gonna be a cinematic ride. Mark the date – November 29. And it’s hitting IMAX too.
From battlegrounds to palace intrigues, Napoleon takes you on an exhilarating journey through the life of the legendary French Emperor – Napoleon Bonaparte. And who better than Oscar® maestro Joaquin Phoenix to breathe life into such an enigmatic character? The film’s essence? It’s Napoleon’s insatiable hunger for power, intertwined with his tempestuous romance with Josephine, set against mind-blowing battle sequences that will make you grip your armrest. Classic Ridley Scott, right?
The Brains Behind the Battle
With the legendary Ridley Scott at the helm, and David Scarpa weaving the screenplay magic, you’re in for a rollercoaster of emotions. The producing ensemble? Ridley Scott, Kevin J. Walsh, Mark Huffam, and yes, Joaquin Phoenix himself!
Coming to a Theater Near You
Gear up for a cinematic journey like no other! Napoleon launches in cinemas come November 29. Big shoutout to Columbia Pictures, the Philippine arm of Sony Pictures Releasing International, for bringing this epic to our shores.
Don’t forget to join the conversation with #Napoleon. Let the cinematic discussions begin!
Terrifying and brutal, South Korean suspense/thriller ‘Target’ is at its most scary when it’s focused on how vulnerable we are once our private information is no longer private. There’s an ingenious way by which director Park Hee-kon manages to highlight how interconnected the whole world has become through the internet. It opens with SMS exchanges over shots of the city, showing the constant contact people have with strangers for a variety of things. In this movie, the highlight is on the buying and selling of second-hand goods.
Soo-hyun (Shin Hae-sun) is at a difficult time in her life. She’s being harassed by her boss and she’s balancing an architectural project while moving to a new place simultaneously. When a washing machine she buys second-hand through an online market ends up being defective, she takes her anger out on the seller and informs all his other potential customers to not buy anything from the scammer. A heated exchange on text with the said buyer sends Soo-hyun into a scary, crazy world of internet violence.
The scammer is no ordinary scammer, and he tracks down Soo-hyun’s information and begins to terrorize her. First, he sends food delivery to her doorstep repeatedly from various restaurants. Then from these frustrating and time-consuming pranks, it gets more sinister and insidious as time goes by. The helplessness of Soo-hyun is on full display here and the inability of the police to trace down and track this sort of criminals is also put into the spotlight.
‘Target’ is actual thin on story. A lot of what happens in the film is just to showcase the relentless barrage of the scammer on Soo-hyun’s world. He threatens her work, her sanity, and even her own physical safety. At the beginning, we see her strong and fighting back but as the terror increases in size, frequency, and scope, we even see her whittle down to a broken mess. This is where Shin Hae-sun shines. In Korean dramas like ‘Mr. Queen’ and ‘See You in my 19th Life,’ we’ve seen her tackle complex roles with ease. She has excellent comedic timing and can carry off improbably characterizations so well. To see her play a character working in primordial emotional states – fear and anger – is a different thing altogether. She is so committed to each scene and each moment that is enhances the fear factor of the dramatic situation.
Rounding out the narrative is that of the police detective (Kim Sung-kyung of ‘Moving’ and ‘Reply 1988’) who feels powerless in being unable to help Soo-hyun. The number of cases that are on his lap and lack of resources bears down on him. He wants to do things by the book but as he sees the growing danger that Soo-hyun is in, you can see how it affects him by the increase in violence he takes on suspects and the like.
Everything here is interconnected and by doing so, the film really highlights are interdependence on each other. It is filled with, “If only this character did this…” or “if that character did not do that…” and it escalates all because of it. The film reminds us about how much we live on our phones and on the internet and the full range of dangers that could happen if ever this information goes to the wrong hands.
On the onset, just knowing your name, phone number, and address can already present a lot of problems, but as the film shows, so much more is available for abuse with a person who is a little more skilled in the areas of cyber security. The situations that are present in the film are based on actual police cases and when all of these are placed within the confines of one movie, it can be a little over-the-top and unrealistic (but it does create a very enjoyable yet terrifying time in the cinema). It’s even brough into the extreme as murder is added along for the ride.
Unlike other South Korean crime and suspense/thriller films that I’ve seen, ‘Target’ takes a more Hollywood approach to the story. It manages to navigate the story breaking down all of Soo-hyun’s strength, bringing her to her most fragile, and then reclaiming that strength back to attempt to fight back. It’s a very commercial approach to the movie and marks the filmmaker’s own judgment on people such as the scammer in his film. By doing so, the film loses a bit of its own teeth but it’s frightening, nonetheless.
This will be a great date movie with friends or a partner. The tension would be a great bonding experience and there were even some emphatic screams and shouts in the cinema when I saw it. It’s a great conversation starter and will really make you think twice about your cyber security.
My Rating:
Target is now showing. Get your screening times and tickets here.
The cinematic masterpiece, “Killers of the Flower Moon,” has garnered immense attention for its gripping portrayal of dark historical events. As the 20th century began, the Osage Nation stumbled upon a fortune in the form of oil, propelling them into the limelight of wealth. However, this boon became a bane as white interlopers, lured by the Osage’s prosperity, employed sinister means to exploit them, leading to an unsettling chain of events. At the heart of this narrative is the tender romance between Ernest Burkhart (Leonardo DiCaprio) and Mollie Kyle (Lily Gladstone). Supported by eminent actors like Robert De Niro and Jesse Plemons, and directed by the iconic Martin Scorsese, this film adapts David Grann’s acclaimed book, intertwining love, deceit, and historical intrigue. If you’re among the curious minds yearning for a deeper understanding of the intricate layers that make this movie a standout, you’re in luck. We’re about to unfold 10 enthralling facts that will cast “Killers of the Flower Moon” in an even more intriguing light!
1) Unearthing History: The Making of “Killers of the Flower Moon”
“Killers of the Flower Moon” emerged from the profound storytelling of acclaimed author and investigative journalist, David Grann. His knack for reviving forgotten histories came to the forefront yet again with his 2017 book, serving as the movie’s foundation. This true American tale, set in the 1920s, doesn’t just recount the greed-fueled exploitation and harrowing injustices suffered by the wealthy Osage Nation at the hands of white opportunists. It also marks a pivotal moment in U.S. history, chronicling the inception of the FBI.
Grann’s narrative caught the attention of Leonardo DiCaprio, leading to a passionate collaboration with director Martin Scorsese. Despite Scorsese’s busy schedule, the potential for this story to be his unique take on a “western” fueled his commitment. Drawn to the genre since childhood, Scorsese saw “Killers of the Flower Moon” as an opportunity to delve deeper into real history, rather than repeat traditional myths. His approach? To create a film that wouldn’t just narrate but would inspire dialogue about America’s past and its ongoing impact on the present.
2) Scorsese’s “Killers of the Flower Moon”: From FBI Procedural to Personal Betrayal
Initially centered on FBI agent Thomas Bruce White Sr. as the hero, Scorsese and Roth’s adaptation of David Grann’s “Killers of the Flower Moon” underwent a significant transformation. Following concerns about perpetuating a “white-savior” narrative, the filmmakers found their emotional core in the complicated relationship between Ernest Burkhart and his Osage wife, Mollie, turning the narrative from a straightforward investigation to a deeply personal story of trust, love, and betrayal. This pivot was sparked by an informal script read that left DiCaprio questioning where the story’s heart lay. Their solution emerged from the real-life court transcripts and Grann’s retelling of the Osage murder trial, focusing on Burkhart’s chilling testimony of his role in the conspiracy against his wife’s family, orchestrated by his own uncle for financial gain.
This pivot wasn’t just a storytelling choice, but a reflection of the filmmakers’ dedication to truth and representation. Leonardo DiCaprio, who was deeply involved in the project, expressed the importance of capturing the Osage perspective, a sentiment echoed by Grann himself. Instead of just being another crime story, the movie evolved into a haunting exploration of personal dynamics set against a backdrop of cultural and economic exploitation. Scorsese, known for his character-driven films, found the story’s heart in the intricacies of human relationships and the corrosive nature of greed, ensuring that the adaptation was both captivating and culturally sensitive.
3) Leonardo DiCaprio and Lily Gladstone’s Deep Connection to “Finding Killers” Casting Choices
Leonardo DiCaprio’s portrayal of Ernest Burkhart was deeply influenced by the Osage community, shedding light on the actor’s dedication to authenticity. Similarly, the selection of Lily Gladstone as Mollie was not just a casting choice, but a nod to the importance of representing indigenous voices. Her Native American heritage and experiences brought layers of depth to the character and the story as a whole.
This emphasis on genuine representation and character depth didn’t stop with the film’s leads. Martin Scorsese, a master at crafting layered narratives, ensured that every character, from major to minor, had depth and dimension. Robert De Niro’s role as William “King” Hale echoes this, presenting a character not easily boxed into the conventional dichotomy of hero and villain. De Niro’s Hale is depicted as a multifaceted individual, reflecting the complexities of real-life figures. Furthermore, the film’s decision to cast established actors like John Lithgow and Brendan Fraser in seemingly smaller roles demonstrates the narrative’s commitment to storytelling richness. Every character, no matter how small, adds to the film’s intricate tapestry, painting a vivid picture of a historically significant era and the intertwining lives within it.
4) Embracing Authenticity: How Scorsese’s “Killers of the Flower Moon” Intertwined with the Osage Nation
In an unprecedented move of cultural immersion and respect, Martin Scorsese, in his preparation for “Killers of the Flower Moon,” involved the Osage Nation at every stage of production. The film was shot on location in the Osage reservation, incorporating insights and personal stories from the community to ensure a truthful representation of their history. Notably, the cast featured over 44 Osage actors, with key roles filled by Native Americans, affirming the film’s commitment to authenticity.
Beyond the on-screen representation, Scorsese’s production set a new benchmark for behind-the-scenes inclusivity and cultural engagement in filmmaking. The production team’s dedication extended to hiring Osage artisans, craftspeople, and consultants who contributed significantly to various departments of the film. The involvement of the Osage was not just ceremonial but integrative, with individuals like Osage artist Addie Roanhorse playing a pivotal role in production design, and cultural consultant Julie O’Keefe influencing the wardrobe department, ensuring cultural accuracy and respect were woven into the film’s very fabric. Furthermore, the engagement with the Osage language program demonstrated a profound commitment to linguistic authenticity, with native speakers coaching the cast in the language that would resonate throughout the drama. This deep collaboration signified a broader move towards not just telling stories about indigenous communities, but actively inviting them to participate in the storytelling, creating a narrative that’s not only compelling but also culturally truthful and respectful. This collaborative spirit culminated in a poignant land blessing ceremony attended by cast, crew, and the Osage community, underscoring the deep mutual respect and commitment to telling this impactful story with the reverence it deserves.
5) The Magic of Set Design with Jack Fisk
For the production of “Killers of the Flower Moon,” legendary production designer Jack Fisk, known for his expertise in constructing outdoor sets, faced the challenge of recreating 1920s Fairfax on Osage land. The modernization and wear of the original town over the years posed challenges, but an opportunity arose when the Osage Nation bought land in Pawhuska, planning to transform it into a parks and recreation area. After obtaining permission, Fisk built a train station on this land, complete with twelve hundred feet of track and an authentic locomotive.
In addition to his remarkable contributions to the film’s setting, Fisk’s approach to set design goes beyond mere visual appeal; it’s a complex, multi-layered process aimed at narrative enrichment. His commitment to historical accuracy is evident not just in the grandeur of the main sets, but also in the intimate spaces the characters inhabit. Every home, office, and marketplace was a deliberate construct, reflecting the lifestyles and cultures of the Osage people during the 1920s. Fisk’s dedication extended to covering a street with dirt to enhance the western feel of the setting, a testament to his attention to detail and deep respect for historical veracity.
Moreover, Fisk’s emphasis on character-driven design — influenced by his unique perspective as the spouse of an actress — ensures that every set serves as a backdrop that informs and complements the character development and plot progression. His collaboration with Scorsese was not just about building sets; it was about creating a world rich with history and nuance, offering audiences not just a glimpse into the past but an immersive experience that connects them to a profound, shared human story. This deep, narrative-focused approach to set design highlights how integral Fisk’s work is to the storytelling magic of “Killers of the Flower Moon,” blending meticulous research with an understanding of character and story to create a compelling visual narrative.
6) Unique History of the Osage Nation: Ownership and Wealth in Early 20th Century America
One compelling fact that stands out from the history of the Osage Nation is their unprecedented economic autonomy and wealth, particularly in the context of Native American history. The Osage people are notably the only Native American tribe to have purchased their reservation — located in what is now Oklahoma — using their own funds in the 1870s. This autonomy extended to their savvy negotiation with the U.S. government in the early twentieth century, ensuring collective ownership of mineral rights, specifically oil, discovered on their land.
These mineral rights, which were fiercely negotiated to benefit the Osage people as a collective, resulted in significant oil royalties, catapulting the tribe to among the wealthiest groups globally during that era. This wealth was so vast that it led to the establishment of a government-mandated Guardian System, intended to “assist” the Osage in managing their newfound resources. Unfortunately, this system became rife with corruption, leading to large-scale financial exploitation of the Osage people. Their determined efforts culminated in the 1925 congressional act that restricted the inheritance of headrights, ensuring that they remained within the Osage community. This showed their resilience in maintaining their cultural and economic integrity amidst external pressures. Today, the story of the Osage serves as a powerful reminder of the need for economic autonomy, vigilant oversight over systemic frameworks, and the persistent fight against exploitation. Their journey, from buying their own land to navigating the treacherous waters of wealth and exploitation, serves as an enduring testament to their spirit and determination.
In the cinematic realm, where tales are often a blend of fiction and reality, “Killers of the Flower Moon” doesn’t just bring with it a cast of stellar actors and a legendary director, but a profound historical narrative that beckons us to reflect on America’s past. This film is more than a cinematic experience; it’s an invitation to acknowledge and discuss the often-overlooked chapters of American history, a chance to engage with the stories that shape our present. Whether you’re a cinephile, a history buff, or someone who loves a well-told story, this movie is a must-watch, promising not only top-tier entertainment but also important education and discourse. Don’t miss the opportunity to be part of this crucial cultural conversation.
Epic in scale and scope, ‘Killers of the Flower Moon’ is another sweeping story from legendary director Martin Scorsese that highlights the relationship of crime and American history. Much like his earlier masterworks like ‘Gangs of New York,’ ‘The Irishman,’ ‘Casino,’ ‘Goodfellas,’ ‘’The Irishman,’ and the like, ‘Killers of the Flower Moon’ is a study of the inner worlds of the people who’ve turned crime into their lifeblood. Based on the nonfiction book of the same name by David Grann, Scorsese takes his time to build a world at the turn of the century in America when the Native American tribe of Osage found oil in their lands and made them extremely wealthy overnight. It changed the landscape of that part of America, but it also brought in the white people who did everything they could to take that money for themselves.
At 206 minutes, Scorsese takes his time to introduce us into a world that we never get to see on cinema – a world where Native Americans were rich and powerful, wearing expensive clothes and jewelry while being served by white people – by putting into film, he cements this actual occurrence in history into an image we can carry with us after seeing the movie. By taking this narrative and putting it on the big screen, he highlights how in the 1920s, the white people were envious at the richness and power of the Native Americans. He introduces us to Ernest Burkhart (played by Leonardo DiCaprio), a war veteran, who seems like he is never the smartest man in the room. He returns home to the ranch of his uncle, William King Hale (Robert De Niro), who takes him in and helps him get a job as a driver.
Within the first hour of the movie, Scorsese drills into us this universe. On one hand, the Osage people are wealthy but due to government policy, they need guardians to access their wealth and stigma and discrimination just hovers over the boundaries. William King Hale sells himself as a friend of the Osage people, but he likes to set up his men to marry the Osage women with the hopes of becoming a part of the will so that they can take the land if anything happens to their wives. It just so happens, Osage people are dying left and right and oftentimes, with no investigation.
And in the middle of all of this, Ernest falls in love with one of his regular clients, Mollie (Lily Gladstone). Mollie, with her sisters and aging mother, owns a huge property with a lot of oil and is one of Hale’s targets to acquire that land. He leverages Ernest’s and Mollie’s feelings to get his hands on the property and this is the crux of the film.
On one hand, this movie is exposing the lengths by which the white people have come to take what belongs to the Osage people and how it was protected by members of the government as it became a battle of the whites versus the Native Americans. On the other hand, it is also a cruel and brutal love story between a dumb, impressionable white man and his Native American wife, whom he doesn’t really realise he’s hurting in a huge, huge way.
Scorsese uses the film’s epic running time to really lay the groundwork to show the complex relationship between his three lead characters: DiCaprio, De Niro, and Gladstone. The push and pull of these characters against one another is what makes this movie so powerful because in the backdrop of it all is the metaphor of America’s history left bare for us to criticise and challenge.
This is immense work from DiCaprio and De Niro. They are in fine form and working the multiple layers of their characters with ease. Gladstone is also luminescent. Mollie is silent but strong and oftentimes her character is still, taking it all in, and in later scenes, feels very strongly as tragedy hits her again and again. She stands on her own with her two Oscar winning co-stars and will probably deservedly earn an Oscar nomination herself.
Unfortunately, Scorsese finds more interest in telling the story through the eyes of Ernest and leaves Mollie as the least developed character amongst the three. By choosing Ernest as the film’s point-of-view, he highlights the witless and unconscious act of destruction of the lives of the Osage people and makes this the point of the story. If it were Mollie’s movie, it would highlight the struggle against that destruction.
But I feel that Scorsese is out here to judge and criticize. He does not romanticize or glorify Hale or Burkhart’s actions. They are as reprehensible as they appear to be on the film. Scorsese doesn’t shy away from that. By doing so, he questions the idea of America’s greatness by amplifying the narrative of how this greatness was built on the robbing of the land and culture of the Native Americans.As a director, Scorsese has done a wide range of incredible films from ‘Age of Innocence,’ to his love letter to cinema in ‘Hugo,’ to his meditations on religion and faith in movies like ‘Silence’ and ‘The Passion of Christ.’ But it’s his films that delve into the dark soul of America like ‘Gangs of New York,’ ‘The Wolf of Wall Street,’ ‘The Irishman,’ ‘Casino,’ and even ‘The Departed’ that I feel is also an area of expertise on his part. The way by which he chronicles those lives and times and explores the factors that made America the way that it is. ‘Killers of the Flower Moon’ joins that pantheon of films and will be one of his many, many accomplishments when one decides to look at his filmography.
