Prior to filming "X", Goth had already co-written the script with West for a potential prequel set 61 years before the events of "X", using the same New Zealand locations. Released in September and shot during the COVID-19 pandemic last spring, "Pearl" is the picture that cements Guth's place as one of the top talents of her generation. The extent to which Guth makes her character's plight as a quarantined caregiver only makes her actions all the more disturbing.
Pearl's deep regret and awareness of her own demons struggling to hide rise to the surface in an unusual climactic monologue she delivers to her absent husband, Howard, in the presence of her bewildered sister-in-law, Mitsy. Her view of life as "harsh, bleak and stressful" is shaped by one person living rigorously in service to another, while her oppressive upbringing is strikingly similar to that experienced by her evangelical father, Maxine, on TV's "X". It all leads to a memorable final shot of Pearl, in which her face is seen up close, as she welcomes her husband back from the war, hoping he won't mind the bodies being propped up in the dining room. Pearl's oddly strained grin was only meant to be glimpsed in a frozen frame over the end credits, yet West and Goth decided spontaneously on the day of filming to Pearl this pose for as long as possible. In this moment, she navigates the personal hell every woman has experienced when forced to put on a happy face. (Matt Fagerholm)
Butter Austin Such as Elvis Presley in a "Elvis"
The weird thing about Austin Butler as Elvis in Baz Luhrmann's "Elvis" is that he doesn't look like Elvis at all. Luhrmann's casting as Teller brought about a lot of inevitable gossip. Butler's body type, his bone structure - it wasn't immediately clear what Luhrmann might have seen in him. But Luhrmann was up to something a little different from your standard "And Then This Happened" bio. There is some use of prosthetics in the later sequences when Elvis is older and more chiseled, but overall, it's up to Butler Suggest Elvis - not so much what he looks like, but what he brings to the table as a performer. And what he brought to the table was strange and outlandish in 1954: pink suits, eye make-up, dyed hair, a body vibrating, and the primal rapport he immediately established with his audience. This sort of thing is taken for granted, not just with Elvis, but other huge, star-like characters of the past, and it really shouldn't be. Luhrmann was interested in the larger context, how Elvis was different from the superstars around him, and how he blew up the world around him.
Butler said that when he began the process of "becoming" Elvis, he initially felt like a little kid and trying on his father's suit. The suit was so big, he had to work to fill the suit. The character is so imitated, the posthumous fame so bizarre and disconnected from reality... Butler's job was to somehow bring her down to earth, keep us emotionally connected, yet still manage to fill out those shimmery, shimmery white suits. Try to move like Elvis in a suit shaped like Arthur's castle. Report how silly you feel doing it. But in Butler, it doesn't look ridiculous.
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