The film will explore themes of xenophobia and the refugee crisis and is told through a dynamic mixture of color and black with a dramatic narrative and international all-female voice cast, including Money Heist star Itziar Ituño. The pic, Salvation Has No Name, began production in 2020 at Aardman in Bristol and has since moved to Media City in Manchester to re-mount the shoot safely during Covid it is due to wrap in September.
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Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.Maisie Williams To Exec Produce UK AnimationĮXCLUSIVE: Maisie Williams and her production company Rapt are partnering with UK indie Delaval Film on a short stop motion animation from The Sparks Brothers animation director Joseph Wallace. HOW WILL IT PLAY? Although it’s a bit old, “Rapt” has received solid reviews and its DSK connection should bolster its business at Film Forum, but the movie’s popularity has already peaked elsewhere. In a way, the media has already done the work for her. However, now that Oscar-winning director Susanne Bier has plans for an English-language remake of “Rapt,” she has more than one source to draw from.
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Notwithstanding the DSK parallel, the movie actually takes the 1978 kidnapping of Baron Edouard-Jean Empain as its basis. “Rapt” concludes with a man alienated by both his public and personal interests, raising the question of whether he’s actually survived anything. (Perhaps, as DSK continues his exile in New York awaiting the outcome of the accusation of sexual assault by a hotel maid, he might want to sneak over to Film Forum and consider the movie’s advice.) He first proposes he play the victim to the press (“kidnapping as redemption,” he suggests), but a close confidante echoes an admonishment given to Stanislas’ wife earlier in the film: “You never played the part correctly,” he’s told.
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Stanislas is never truly a free man, having faced a public transformation of his image against his own will. The aftermath of that experience takes up the final 20-odd minutes of the movie and forms its most crucial bits. Attal’s face exudes ambiguity, making it possible that he may actually sympathize with his captors’ capitalistic motives. Belvaux challenges the tendency to sympathize with the man, placing his struggles at odds with the legacy he left behind. Nevertheless, Attal’s increasingly weary performance, which finds him growing bearded and thin over the course of a two-month period, enlivens his struggle to survive. Belvaux shows off with a few expertly directed sequences involving botched rescue attempts, but leaving out the POV of the kidnappers removes an essential part of the equation. Progressing with a coldly observational pace, “Rapt” often strains its drawn-out structure, creating a lethargic experience despite essentially taking the form of a Bressonian suspense-thriller.
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She faces nearly as difficult a trial as he does. Outside of Stanislas himself, who loses a finger and spends most of his time wearing handcuffs, nobody bears the brunt of the circumstances more than the woman expected to figuratively stand by his side (Anne Consigny) while tempering the mounting hostility from both their children and the outside world. Just as the affairs of DSK stimulated a discourse on the sexism plaguing modern French society, “Rapt” shows it in action. While the firm’s board grapples with police efforts to control the rescue operation, Belvaux’s methodical screenplay explores the sudden ripple effects of the events on Stanislas’s family, particularly his wife. In short order, they lop off a finger and demand his relatives pay $50 million that it turns out only he can access. The chairman of a massive French firm and the heir of an equally potent fortune, Stanislas Graff (Attal) abruptly leaves his comfort zone of sleek business suits and fine cigars when a group of masked men nab him off the street and drive him to a shadowy enclosure.
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