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For young female pop stars, dropping choice F-bombs in songs proves liberating and profitable

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Gayle was 6 years outdated when CeeLo Inexperienced launched the gleefully profane “F— You” in 2010 — sufficiently old to be thrilled by the track’s signature four-letter obscenity, younger sufficient to suppose she would possibly get away with performing it at an elementary college expertise present.

“I instructed my mother I wished to do it, and she or he regarded it up and was like, ‘Oh my God — no,’” the singer, now 17, says with fun.

A decade and alter later, Gayle (born Taylor Gayle Rutherford) is the one setting off dad and mom’ alarm bells with “abcdefu,” her gloriously caustic grunge-pop smash during which she tells a feckless ex, “F— you and your mother and your sister and your job / And your broke-ass automotive and that s— you name artwork.” Inescapable over the previous few months on TikTok and Instagram, the track reached a brand new peak of No. 3 final week on Billboard’s Scorching 100; because it got here out in August, it’s racked up greater than half a billion streams on Spotify and YouTube.

As cleverly because it deploys its harsh language, “abcdefu” is simply the most recent in a sequence of huge pop songs to brandish the F-word, together with Olivia Rodrigo’s “Drivers License” and “Good 4 U,” each of which hit No. 1 final 12 months, and Billie Eilish’s “Happier Than Ever,” which is able to compete in opposition to “Drivers License” for report of the 12 months and track of the 12 months at subsequent month’s Grammy Awards. In November, Taylor Swift topped the Scorching 100 with a 10-minute re-recording of her outdated track “All Too Effectively” that includes a conspicuous F-bomb. And Demi Lovato simply teamed with Winnetka Bowling League for a collaborative single referred to as “Fiimy” — quick for “F— it, I miss you.”

(Warning: video incorporates aforementioned swear phrase.)

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Curse phrases are nothing new in pop music, in fact. Says Winnetka Bowling League’s Matthew Koma, who duets with Lovato in “Fiimy” and has written songs for Zedd and 5 Seconds of Summer time: “Each few years, I feel the concept to say one thing actually bluntly feels authentic once more, so everybody seems like they’ve a license to do it.” (Koma himself remembers being struck by folk-punk singer Ani DiFranco’s use of the F-word in her 1996 track “Untouchable Face.”)

What is new is who’s dropping the F-bombs: younger feminine artists whose speech has traditionally been way more tightly policed than that of their freewheeling male counterparts. Past the A-listers scoring platinum plaques and Grammy nominations with foulmouthed bangers, Spotify’s standard Teen Beats playlist showcases specific tunes by up-and-comers together with Nessa Barrett’s “Dying on the Inside,” Lexi Jayde’s “Drunk Textual content Me,” Cat Burns’ “Go” and “Quick Instances” by Sabrina Carpenter, the previous Disney Channel star stated to have performed a task within the real-life romantic drama behind Rodrigo’s “Drivers License.”

Every makes use of the F-word to totally different ends: In Carpenter’s breezy soul-pop jam, it’s a method to get throughout her pleasure a couple of new romance; in Barrett’s throbbing disco-goth observe, the phrase underlines the ache of an consuming dysfunction. But all of them attain for a degree of depth that rockers and rappers have had entry to for many years.

“I knew that ‘abc’ had the potential for offending individuals,” says Gayle, who was born in Dallas and now lives in Nashville. “I didn’t suppose it was offensive. However I do know {that a} teenage woman being very snug in her feelings and in her anger and never being apologetic about it — that may be jarring to some individuals.”

Gayle recollects taking part in “abcdefu” for her grandmother for the primary time. “And clearly I used to be nervous about what she was gonna say.” After the track, her grandmother “checked out me and was like, ‘You get to say all of the issues that I wasn’t in a position to at 17.’ Sort of put the whole lot into perspective.”

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So what’s enabling these younger girls to search out an viewers with out censoring themselves as their predecessors needed to? Gayle factors to the rise of digital streaming, which has largely supplanted Prime 40 radio because the place the place pop hits are made — minus the moderating hand of programmers nervous about falling foul of the Federal Communications Fee.

“On the radio you’ll be able to’t curse,” she says. “Spotify and TikTok and all these different platforms began bringing eyes to songs that didn’t essentially should comply with the outdated guidelines.”

Provides Kara DioGuardi, the veteran pop songwriter and former “American Idol” choose who signed Gayle to her Arthouse label: “Streaming permits artists to inform their story in the way in which they need.”

For Spotify, that promise of inventive freedom has led to bother involving the platform’s relationship with its star podcaster, Joe Rogan, who critics say has unfold COVID-19 misinformation on his present. But Sulinna Ong, Spotify’s world head of editorial, says streaming expertise “permits girls to reclaim their company” in a tradition that also treats “girls’s expression of anger and frustration as the final word taboo.

“There’s no philosophical distinction between the Child Laroi and Gayle apart from sexist expectations,” Ong says, referring to the 18-year-old Australian singer and rapper with an enormous streaming hit in his album “F— Love.”

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But when streaming has facilitated using the F-word, with its punchy hard-consonant ending, why are artists and listeners more and more drawn to it within the first place? Based on Ong, the “overwhelming majority” of Spotify customers go for an specific model of a given track even when a clear model is out there. “abc (Nicer),” an edited tackle Gayle’s hit, has 6 million performs versus the unique’s 473 million. Small surprise, then, that not one of the execs the singer works with “had been ever like, ‘Do you suppose you say “f—” one too many occasions?’” Gayle says with fun.

Cultural observers lament an general coarsening of our verbal discourse — see the pearl-clutching over Cardi B and Megan Thee Stallion’s ultra-raunchy “WAP” and the outrage over former President Trump’s often-impolite language. (Till not too long ago, The Instances hardly ever allowed four-letter phrases to even be rendered with em dashes.) In DioGuardi’s view, the proliferation of F-bombs is merely bringing pop into alignment with how youngsters speak in actual life (and on social media). “If you happen to’re considering that youngsters don’t use these phrases,” she says, “then you definately’re not likely being sincere with your self.”

Stated Rodrigo final 12 months in an interview with Nylon: “I’ve a unclean mouth.”

A pair of hits from teen star Olivia Rodrigo, “Drivers License” and “Good 4 U,” make pointed use of well-placed expletives.

(Jay L. Clendenin / Los Angeles Instances)

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Ruby Ryan, a 12-year-old middle-school scholar from Los Angeles, was stunned the primary time she heard “Drivers License” — during which Rodrigo sings, “I nonetheless f— love you, babe” — as a result of she’d seen the singer and actress on Disney’s “Excessive College Musical: The Musical: The Collection,” “and I by no means heard her speak like that on the present,” Ryan says. (Certainly, for kiddie-TV veterans like Rodrigo and Carpenter, a selection F-bomb can present a form of rhetorical bridge to maturity.)

“However clearly,” Ryan provides, “the track wasn’t the primary time I heard the phrase.” Ryan’s dad, Brandon, who’s 49 and works in product advertising and marketing on the Roland musical-instrument firm, says he doesn’t concern his daughter’s publicity to tough language in a musical context: “It’s not like she’s gonna soften right into a puddle.”

For Brandon, it’s about “whether or not or not the phrase serves the artist’s imaginative and prescient,” which Ruby thinks has usually been the case in songs about how younger girls navigate a world outlined by instantaneous, unfiltered communication. Incorporating the occasional cuss, Ruby says, “makes the music really feel extra fashionable.”

The F-word additionally has a novel emotional worth. Koma says there’s “a weight to it” that’s essential to the story he and Lovato inform in “Fiimy” about two lovers reconnecting regardless of their misgivings. “You’re increase this complete narrative to principally say, ‘No matter all this different s—, I miss you,’” he explains. “It doesn’t have that very same we’ve-arrived-at-this really feel when you’ll be able to’t say the phrase.”

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In “abcdefu,” DioGuardi says, Gayle is singing from the viewpoint of “a really cheap one who tried to present her boyfriend the good thing about the doubt and take the excessive street, and he was not doing the identical by her. And in that second, she’s like, ‘You don’t get to try this to me. F— you!’

“I imply, how else would you place it?” DioGuardi asks. “If I may’ve used the phrase again after I was writing” — her hits from the early 2000s embody Ashlee Simpson’s “Items of Me” and Christina Aguilera’s “Ain’t No Different Man” — “I completely would have.”

At the least one feminine pop celebrity did use the phrase again in 2011: That 12 months Pink scored a No. 2 hit with “F— Excellent,” a feel-good empowerment jam concerning the illusory nature of perfection. However Pink was in her early 30s when “F— Excellent” got here out, not a teen like Gayle or the not too long ago turned 19-year-old Rodrigo. And within the pre-streaming age, the curse-free radio edit of Pink’s track was seemingly extra ubiquitous than the unexpurgated model obtainable to consumers of CDs and MP3s; in the present day, YouTube and Spotify playlists, the latter of which Ong says hardly ever characteristic clear edits, are the radio for hundreds of thousands of listeners like Ruby Ryan, who says she tunes into AM/FM stations solely “on occasion, possibly within the automotive.”

Which isn’t to say the clear edit is a factor of the previous — or that pop acts not care about Prime 40 radio.

“I take a look at radio as being type of that tipping level the place what you discover at Spotify turns into mainstream and multigenerational,” DioGuardi says. Koma acknowledges he’s ready a censored tackle “Fiimy” in case the track takes off on streaming and begins attracting curiosity from programmers.

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That’s what occurred with “abcdefu,” which months after topping Spotify’s World Prime 50 chart reached No. 1 final week — albeit with Gayle telling her ex, “Neglect you” — on Billboard’s nationwide airplay tally.

The singer, who’s set to play the Roxy in West Hollywood on Monday and launch a brand new EP on March 18, is philosophical about having to make an old-school concession — the identical one, because it occurs, that CeeLo made to get “F— You” on the airwaves in 2010.

“Would I really like to have the ability to say ‘f—’ on the radio? Sure,” Gayle says. “However [at 17] I don’t know what it’s prefer to be driving my youngsters to high school at 7 a.m. after which hear this super-vulgar track and never be capable of management it. So I perceive the foundations and laws.

“Even when ‘Neglect you’ hurts my coronary heart a bit of bit.”

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‘The Substance’ Review: An Excellent Demi Moore Helps Sustain Coralie Fargeat’s Stylish but Redundant Body Horror

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‘The Substance’ Review: An Excellent Demi Moore Helps Sustain Coralie Fargeat’s Stylish but Redundant Body Horror

Not long into Coralie Fargeat’s campy body horror The Substance, Elisabeth Sparkle (Demi Moore) is unceremoniously fired from her gig as the celebrity host of a daytime exercise program. The former actress’ credentials — an Academy Award, a prominent place on the Hollywood Walk of Fame — aren’t enough to save her Zumba-meets-Jillian-Michaels-style show, fittingly called Sparkle Your Life. Her producer, an oily personality conspicuously named Harvey (Dennis Quaid), wants to replace Elisabeth with a younger, more beautiful star. In his words: “This is network TV, not charity.” 

The Substance, which premiered at Cannes in competition, is Fargeat’s second feature. It builds on the director’s interest in the disposability of women in a sexist society, a theme she first explored in her hyper-stylized and gory 2017 thriller Revenge. She gave that film a subversive feminist bent by turning the trophy girlfriend — a sunny blonde who is raped and murdered — into a vengeance-seeking hunter.

The Substance

The Bottom Line

Uneven genre offering boosted by formal ambition and Demi Moore.

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Venue: Cannes Film Festival (Competition)
Cast: Demi Moore, Dennis Quaid, Margaret Qualley
Director-screenwriter: Coralie Fargeat

2 hours 20 minutes

In The Substance, a woman also takes fate into her own hands and combats underestimation, only this time she’s at war with herself, too. Fargeat combines sci-fi elements (as in her early short Reality+) with body horror and satire to show how women are trapped by the dual forces of sexism and ageism. Beauty and youth are the targets at the heart of this film, but the director also takes aim at Hollywood’s ghoulish machinations and the compulsive physical and psychological intrusiveness of cisgender heterosexual men. 

Fargeat flaunts an exciting hyperactive style. Ultra wide-angle shots, close-ups and a bubble-gum color palette contribute to the film’s surreal — and at times uncanny — visual language. The British composer Raffertie’s thunderous score adds an appropriately ominous touch, especially during moments of corporeal mutilation. 

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There’s a lot going on in The Substance, and while the ambition is admirable, not everything works. The thin plotting strains under the weight of its 2 hour 20 minute runtime; there are scenes, especially in the middle of the film, that land as leaden repetition instead of clever mirroring. But strong performances — especially from Moore and Quaid — help sustain momentum through the film’s triumphantly amusing end.

During his final meeting with Elisabeth, Harvey doubles down on his offensiveness. By the time women reach the age of 50, he suggests to Elisabeth while stuffing his mouth with shrimp, it’s over for them. Fargeat heightens the perversity of Harvey’s blunt assessment with shots of his mouth masticating on shellfish bits. As he crushes the coral-colored creatures with his molars, Elisabeth stares at him with a faint disgust bordering on hatred. Quaid’s character lives in the more satirical notes of The Substance, and the actor responds with an appropriately mocking performance.

Harvey’s words, coupled with the blank stares Elisabeth now receives from passersby, drive the actress to seek a solution. She reaches out to the anonymous purveyors of The Substance, a program that allows people to essentially clone a younger version of themselves. While Fargeat’s screenplay leaves much to be desired when it comes to conveying the company’s scale of operations or how they function in her version of Los Angeles, the rules of the experiment are straightforward. After individuals spawn their duplicates, it’s critical they maintain a balanced life. Every 7 days one of them enters a coma, kept alive through a feeding tube, while the other roams free. Then they switch. The catch, of course, is the addiction of youth. 

Elisabeth and her younger self (Margaret Qualley), Sue, follow the program rules for a bit. The middle of The Substance is packed with scenes underscoring the difference in treatment they receive. While Sue blossoms, winning the affection of Harvey and getting her own exercise show, Elisabeth languishes in the shadow of her invisibility.

Moore imbues her character with a visceral desperation, one that enriches the unsettling undercurrents of Fargeat’s film. She plays a woman who can’t quit the addiction of having youth at her fingertips despite its lacerating effect on her psyche. In one particularly strong scene, Elisabeth, haunted by a giant billboard of Sue outside her window, struggles to leave the house for a date. She tirelessly redoes her makeup and each attempt reveals the layers of anguish behind the actress’s pristine facade. 

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Moore leans into the physical requirements of her role later in the film. Elisabeth eventually learns that upsetting the balance of the experiment reduces her vitality. Sue, greedier for more time outside the coma, becomes a kind of vampire, and Elisabeth wilts. Moore’s slow walk and hunched shoulders add to the sense of her character’s suffering. Special makeup effects by Pierre-Olivier Persin render Elisabeth’s withering even more startling and persuasive.  

Qualley does not have as meaty a role as Moore. Her character functions as Elisabeth’s foil, seeming to exist only to help us understand the perversion of Hollywood’s gaze on the starlet. That’s a shame, because The Substance’s smart premise and direction promise more revelatory confrontations between Elisabeth and Sue than the one we are offered.

The reality of this experiment is that it traps both characters in the same toxic, self-hating cycle as the standards imposed by society. The most compelling parts of The Substance deal with how social conventions turn women against themselves. A stronger version of the film might have dug into the complexities of that truth, instead of simply arranging itself around it. 

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Sean 'Diddy' Combs apologizes for attack on his former girlfriend revealed in 2016 video

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Sean 'Diddy' Combs apologizes for attack on his former girlfriend revealed in 2016 video

Embattled hip-hop mogul Sean “Diddy” Combs issued an apology Sunday for his 2016 assault of his former girlfriend that was captured on a hotel security video.

The video, released Friday in a CNN report, shows Combs chasing, kicking, dragging and hurling a glass vase at Casandra Ventura, who filed a lawsuit against Combs last year. Ventura, a singer who goes by the name Cassie, settled the suit the day after it was filed in U.S. District Court.

The video matched the details of the incident at the InterContinental Hotel in Century City as described in Ventura’s lawsuit. Combs denied all of the allegations at the time the suit was filed.

But Combs acknowledged his actions in a video posted on Instagram.

“It’s so difficult to reflect on the darkest times in your life, but sometimes you got to do that,” Combs said. “I was f— up — I hit rock bottom — but I make no excuses. My behavior on that video is inexcusable. I take full responsibility for my actions in that video.”

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Combs went on to say he sought mental health counseling after the incident. “I got into going to therapy, going to rehab,” he said. “I had to ask God for his mercy and grace. I’m so sorry. But I’m committed to be a better man each and every day. I’m not asking for forgiveness. I’m truly sorry.”

Combs’ apology comes two days after the video first appeared. The Los Angeles Police Department and the Los Angeles County District Attorney’s office have both said they are aware of the video but could not prosecute Combs for his actions as the statute of limitations has passed.

Ventura’s attorney Douglas Wigdor issued a statement Sunday that said the Combs apology was self-serving.

“Combs’ most recent statement is more about himself than the many people he has hurt,” Wigdor said. “When Cassie and multiple other women came forward, he denied everything and suggested that his victims were looking for a payday. That he was only compelled to ‘apologize’ once his repeated denials were proven false shows his pathetic desperation, and no one will be swayed by his disingenuous words.”

Law enforcement sources have told The Times that Combs is the subject of a sweeping inquiry into sex-trafficking allegations that resulted in a federal raid in March at his estates in Los Angeles and Miami. Combs has not been charged with any crime and has denied any wrongdoing.

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‘Rumours’ Review: Cate Blanchett and Alicia Vikander Play Clueless World Leaders in Guy Maddin’s Very Funny, Truly Silly Dark Comedy

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‘Rumours’ Review: Cate Blanchett and Alicia Vikander Play Clueless World Leaders in Guy Maddin’s Very Funny, Truly Silly Dark Comedy

World leaders at a G7 conference politely bicker, copulate in the bushes and work on wafty, content-free speeches while a worldwide apocalypse commences — politicians, they’re just like us! — in collaborating Canadian directors Guy Maddin, Evan Johnson and Galen Johnson’s frequently hilarious latest feature.

Although they’ve kept busy with a steady stream of shorts, the trio haven’t made a feature with actors since the fantastical The Forbidden Room from 2015. With a proper beginning, middle and end, and barely any tributes to silent cinema or interactive tricksiness, Rumours may arguably be Maddin’s most conventional film ever, or at least since The Saddest Music in the World (2003). That is, if you can call a film conventional that’s got furiously masturbating bog zombies, a giant brain the size of a hatchback, and an AI chatbot that catfishes pedophiles. All the same, it’s a hoot, even if the energy flags in the middle.

Rumours

The Bottom Line

The last laugh before it all burns down.

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Venue: Cannes Film Festival (Special Screening)
Cast: Cate Blanchett, Roy Dupuis, Denis Monochet, Charles Dance, Nikki Amuka-Bird, Rolando Ravello, Takehiro Hira, Alicia Vikander
Directors: Guy Maddin, Evan Johnson, Galen Johnson
Screenwriter: Evan Johnson, based on a story by Guy Maddin, Evan Johnson and Galen Johnson

1 hours 58 minutes

For those who like to keep score on these sort of things, this is also the first film directed by Maddin, let alone brothers Evan and Galen Johnson, that’s been programmed in Cannes’ official selection. Apart from the fact that it’s a welcome rib-tickler that breaks up this year’s festival’s monotonous procession of poverty porn and disappointments by fading auteurs, Rumours’ path to the Croisette was almost certainly smoothed by the presence of major names in the cast including Cate Blanchett, Alicia Vikander, Charles Dance and French star Denis Ménochet (Beau Is Afraid, Peter von Kant). That cast and the festival showcase won’t do any harm to the film’s commercial prospects. Bleecker Street recently announced they’ve acquired the rights for U.S. distribution.

The satire here isn’t necessarily aimed at any specific politician given that the characters are all clearly living in a fictional world, one where ideology barely seems to matter. Nevertheless, there’s a distinct sharpness in the way the script, credited to Evan Johnson but based on a story by all three directors, pokes the bears. Pointedly it lampoons the airy, non-committal language of world summits, the promises that mean nothing, and the outcomes that achieve little in a world that, while admittedly always in crisis, really is on the verge of burning up thanks to climate change.

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The film’s most consistent running joke — worked so hard it goes from guffaw-inducing to stale to weirdly suddenly hilarious again, as if through attrition — concerns how seriously the seven world leaders take the process of drafting a joint statement full of platitudes, corporate-speak, psychobabble and song lyrics as they sit in a little woodland gazebo. So absorbed are they in their work, broken up into subgroups like high-schoolers assigned a class project, that they don’t even notice that their aides and servers have all mysteriously disappeared, leaving them alone in the woods.

In other ways, the leaders resemble middle-managers enjoying their annual conference with its catering, photo opportunities and time off from troublesome spouses — a particular concern for Canada’s prime minister Maxime Laplace (The Forbidden Room’s Roy Dupuis, rocking a man bun with an undercut like an aging pop star). Broad hints are dropped that Maxime had a fling with the United Kingdom’s otherwise goal-directed prime minister Cardosa Dewindt (Nikki Amuka-Bird). This year he’s caught the thirsty eye of host-country Germany’s elegant Chancellor Hilda Ortmann (Blanchett, showing off strong comedy chops, even in the way she Germanicizes her vowel sounds).

The United States’ President Edison Wolcott (Charles Dance, slyly self-parodying) is more interested in getting some sleep and keeps nodding off, a gag that may be sheer coincidence but weirdly parallels what’s going on at the minute with Donald Trump at his criminal hush money trial. Another cute gag has the film never explaining why the American president has such a plummy British accent, and the one time he’s about to share why gets interrupted.

Rounding out the democratic world powers, Ménochet’s French President Sylvain Broulez is a grandiloquent blowhard who probably talks more than Japan’s reticent Tatsuro Iwasaki (Takehiro Hira) and Italy’s bumbling beta-male Antonio Lamorte (Rolando Ravello) combined. Both of the latter two, however, are aces as slow burns and understated reaction shots, especially Ravello.

Alicia Vikander, speaking only in her native Swedish for a change, shows up halfway through the film as the president of the European Commission, Celestine Sproul, when Maxime stumbles across her in the woods with the aforementioned giant brain, which you’ll have to watch the film to understand.

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Not that understanding is really the point here. Rumours operates on a surrealist plane of its own, making up the rules of its universe as it goes along. Shall we have millennia-old boneless bog people who come to life and menace the guests, it asks itself, and the answer is yes, why not? What if the non-source music swells and bursts like the melodramatic score of a soap opera at times? Sure!

The whole thing sometimes feels like a skit show that just barely holds together until the filmmakers and cast bring it all home for a terrific climactic closure, in which all the buzzwords and banalities get to be rolled up into one triumphant speech shouted into the void as world burns. Like the best comic fantasies, Rumours has more than a grain of tragic truth to it.

Full credits

Cast: Cate Blanchett, Roy Dupuis, Denis Monochet, Charles Dance, Nikki Amuka-Bird, Rolando Ravello, Takehiro Hira, Alicia Vikander, Zlatko Buric, Tomi Kosynus, Ralph Berkin, Alexa Kennedy
Production companies: Buffalo Gal Pictures, Maze Pictures, Square Peg, Thin Stuff Productions, Walking Down Broadway
Directors: Guy Maddin, Evan Johnson, Galen Johnson
Screenwriter: Evan Johnson, based on a story by Guy Maddin, Evan Johnson and Galen Johnson
Producers: Liz Jarvis, Philipp Kreuzer, Lars Knudsen, Guy Maddin, Evan Johnson, Galen Johnson
Executive producers: Ari Aster, Cate Blanchett, Phyllis Laing, Jorg Schulze, Joe Neurauter, Devan Towers, Tyler Campellone, Lina Flint, Mary Aloe, Gillian Hormel, Andrew Karpen, Kent Sanderson, Adrian Love, Michael O’Leary, Stefan Kapelari, Moritz Peters, Blair Ward, Anders Erden, Lauren Case, Eric Harbert, Michael Werry, George Heuser, Jacob Phillips, Stephen Griffiths, Christopher Payne, Dave Bishop, George Hamilton, James Pugh, Janina Vilsmaier, Fred Benenson, Morwin Schmookler, George Rush
Co-producers: Judit Stalter, Simon Ofenloch
Directors of photography: Stefan Ciupek
Production designer: Zosia Mackenzie
Costume designer: Bina Daigeler
Editor: John Gurdebeke, Evan Johnson, Galen Johnson
Music: Kristian Eidnes Andersen
Music supervisor: Jillian Ennis
Casting: Avy Kaufman
Sales: Protagonist Pictures

1 hours 58 minutes

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