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> Maleficent 2, Walt Disney Pictures
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messaggio 20/10/2019, 21:54
Messaggio #313


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Alessio, noi abbiamo amato alla follia il primo Maleficent, quindi non vediamo l'ora di vedere il sequel. Se già ci dici così, non tarderemo molto a vederlo... non siamo ancora andati perchè di solito alle prime visioni c'è sempre troppa gente e uno il film non se lo gusta appieno (crediamo che in tutta la nostra vita non abbiamo mai visto un film al week end di esordio).
Non vediamo l'ora di vederlo!


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messaggio 20/10/2019, 21:55
Messaggio #314


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Qui un po' sui costumi del film:

Dal sito The Walt Disney Company:

Costumes are a Force of Nature in ‘Maleficent: Mistress of Evil’

For Disney’s Maleficent: Mistress of Evil, costume designer Ellen Mirojnick (The Greatest Showman, Behind the Candelabra) created stunning, unique looks for the three strong, vastly different women at the film’s center: Aurora (Elle Fanning), Queen of the Moors; Queen Ingrith (Michelle Pfeiffer), leader of the more cosmopolitan kingdom of Ulstead; and, of course, Maleficent, one of the most iconic Disney villains of all time, played in the new live-action film by Angelina Jolie. In addition to designing a dazzling array of dresses for these independent women—and overseeing the costuming of nearly 600 extras—Mirojnick collaborated with multiple teams to determine a look for the dark fey, winged creatures with horns like Maleficent. She excitedly took on the challenge of designing for these eco-warriors, and refrained from incorporating any man-made materials into their costumes.

“Everything is made of the earth or woven from things that can be grown and colored from natural dyes,” Mirojnick explains. “It is all of the earth in a very natural way.”

Working closely with the production and set design, hair and makeup, and visual effects teams, Mirojnick’s research focused on a diverse range of civilizations and tribes across the globe that have still not been integrated into a modern society. The filmmakers envisioned that the dark fey, living in exile and at war with the human race, originally hailed from a variety of biomes, including desert, tundra, jungle and forest—distinct environments that would inspire Mirojnick’s designs.

“Seeing what those environments and what those lands would produce was the language that we used to move forward in trying to create the look of each biome and civilization,” she explains. “The palette for the jungle fey is comprised of lots of color. The desert fey look dry and crackly, and their wings are of a very dry‐colored nature, as is their skin. The tundra are white, arctic‐like and feathery with some pale blue and pale gray colors, and the forest fey are green and brown with very organic, treelike qualities.” The costumes came together through what Mirojnick describes as an “abstract process” that merged research, sketches, fabrications and molds—often in a nonlinear way.

“Everything was done by hand—nothing was really machine made,” Mirojnick shares. It was really done in the most organic, earth-like way.” Costumes from the dark fey were made from natural fabrics such as wool or silks “in the rawest stage,” with textures and colors added later to “gray goods,” as unfinished fabrics are also known. Though Mirojnick’s team worked with familiar materials, those elements are intended to be unrecognizable on screen. She notes, “We tried not to make it look like something that you could identify. You don’t recognize what exactly it is, how it’s made or what it is made from.”

As committed as Mirojnick and the filmmakers were to these natural materials and processes, innovative digital technology was required to truly fulfill her vision for these fantastical creatures. The iconic horns could be achieved through the use of prosthetic makeup, but elements such as the leather-like wings of the dark fey had to be finished after production was completed, through visual effects. “You hand it over to visual effects and you trust that they understand and they do their work with you,” Mirojnick says. “It was great trust that we all were working as one to create this.”

It wasn’t until viewing the finished film that Mirojnick saw how her hand-sewn creations and the visual effects elements were truly woven together. “And I was blown away,” she said. “I watched it and thought, oh my gosh, as if I were an audience member who didn’t know anything [about the designs].”

The dark fey and the Mistress of Evil herself take flight today. The thrilling adventure Maleficent: Mistress of Evil is directed by Joachim Rønning from a story by Linda Woolverton and a screenplay by Linda Woolverton and Noah Harpster & Micah Fitzerman-Blue. The film is produced by Joe Roth, Angelina Jolie and Duncan Henderson with Matt Smith, Jeff Kirschenbaum, Michael Vieira and Linda Woolverton serving as executive producers.


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messaggio 20/10/2019, 22:00
Messaggio #315


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Discussioni sui costumi con alcune immagini di ricerca per i costumi di Ingrith e Aurora:

Dal sito ET Online:

'Maleficent: Mistress of Evil' Costume Designer Reveals Secrets Behind the Movie's Most Iconic Looks

Every time Michelle Pfeiffer's Queen Ingrith appears onscreen in Maleficent: Mistress of Evil, she is somehow wearing more luxurious fur capes, dripping in even more pearls, ornamented with even sparklier jewels. Sitting in the theater, I found myself gasping at the sight of her, taken aback at the glamour of it all each time she entered a scene.

"But did you like the movie?" costume designer Ellen Mirojnick laughs when I've finished raving about her work. I tell her I did. Mistress of Evil, Disney's sequel to 2014's Maleficent, picks up five years after that once-upon-a-time, as the formerly sleeping beauty, Aurora (Elle Fanning), is engaged to Prince Phillip (Harris Dickinson). Their nuptials promise to unite their two kingdom, if only their soon-to-be-in-laws -- chiefly, Aurora's godmother, Maleficent, the misunderstood sorceress played by Angelina Jolie, and Phillip's mother, Ingrith -- could get along. Alas, war is waged, both in manners (watching Jolie and Pfeiffer swap increasingly barbed digs during a dinner party is worth the price of admission alone) and eventually actual warfare of the medieval knights and CGI faeries variety.

Director Joachim Rønning (Pirates of the Caribbean: Dead Men Tell No Tales) assumes the reigns for the sequel, while Mirojnick takes over for Anna B. Sheppard, who earned an Oscar nomination for her work on the first film. That Mistress of Evil picks back up so many years after that first happily-ever-after gave Mirojnick the creative freedom to put her own stamp on the fairy tale.

"The thing that enticed me was that it had not been made, like, the next year. So Aurora had grown up and Maleficent now has wings," she explained. "And then there was a new group that Maleficent finds, the Fey, and there was this introduction to a queen who has built a kingdom as big as Versailles. There are many different levels of telling yet another chapter in this story while trying to maintain the brand at the same time. It was a great challenge on all fronts."


Ahead of Maleficent: Mistress of Evil's release, Mirojnick provided ET with an exclusive look at her design sketches (below) and discussed the process of outfitting her leading ladies and the details hidden in their costumes.

Ahead of Maleficent: Mistress of Evil's release, Mirojnick provided ET with an exclusive look at her design sketches (below) and discussed the process of outfitting her leading ladies and the details hidden in their costumes.

Angelina Jolie as Maleficent

ET: There are all these new components, but in terms of designing for Maleficent, having had that design language established in the first movie, how do you come in and make it your own?

First and foremost, she has evolved, because she has wings. In the first one, she didn't have wings -- her wings, as we learned, were cut off when she was young -- so that was the first thing that has to be taken into consideration. We had to shift the silhouette because the fabrications that needed be used to allow Maleficent to fly really beautifully and gracefully were way different from the first film, where they were heavier fabrics, lush fabrics that were far more beautifully integrated into the land. She was a character that stood on her feet. Now, she was able to fly, and so we introduced silks and chiffons and Georgettes in all different layers to give her a fluidity in flight, to have it almost be like a ballet, and still maintain the language of Maleficent and how she has been established in real time and as a result of the animation prior.

Angelina really owns this character. And you've worked with her before, both as an actor and a director. Does she come in with ideas of where she wanted Maleficent's costumes to go in this film?

Oh, absolutely! Angie is such an amazing actor, producer, director to work with, because she is totally focused on the totality of the film, number one, and then, of course, her character and how it fits within the story as the story unfolds and where her story arc will go. In the very beginning, we covered many, many, many, many different arenas -- because of the amount of different types of situations that not only Maleficent would find herself in, but the rest of the film reveals -- and yes, she does come in with very, very strong ideas. With that, it's our job to translate it into a language, to begin with, and then collaborate further and further and further on.

Her most striking ensemble, for me, is what she wears to the engagement dinner, with the gold-dipped crow skulls as her collar and the skull-accented headdress. What was the genesis of that costume?

It was for an engagement dinner and she is the queen. And she, under no circumstances, was going to be intimidated. This is her formal, queen robes and it is just the heightened version of who Maleficent is, make no bones about it -- that's not intended to be a pun! [Laughs] She is there to represent her kingdom, her family and she needed to hold a very strong stance. She comes to the royal dinner as the queen, and this is who she is, this is the strength of who she is, and she's going queen-to-queen. She is the queen of the land, make no mistake about it.

There's not much, if any, purple used in Maleficent's costumes in either film -- which is, of course, her signature color in Sleeping Beauty. Did you ever try your hand at introducing more purple into her look?

It actually is used, but you would never actually see it for the exactness of that color! In her costume, particularly the black of that costume, there are about three or four layers of fabric to make up that costume from inside out. There are different tones of black that are used to create that blackness and one of them is a blackish-purple, but that was our biggest attempt to use purple, to be honest. But we did try! [Laughs] We did try to use it. Angie's very, very, very big note at the beginning of the process was that she felt that Maleficent was very black and white, very graphic, as if she were a screen star from the black-and-white films of yesteryear. It was a very strong black-and-white image. Just as they did in films prior, there's many colors that you do use to create a black-and-white feel, so that was our way into using a tone of purple in the black.

Michelle Pfeiffer as Queen Ingrith



Queen Michelle is finally playing a queen. And, my god, the outfits you have her in are dripping with pearls and diamonds. She is not the type of gal that looks in the mirror and takes one accessory off.

No, Coco would maybe have a palpitation in seeing that, right? [Laughs]

It's all very intricate. Would you say Michelle's were the more involved costumes of the bunch? Or that took the most time to create?

I'm glad that it looks that way but it didn't necessarily take twice as long to create. The vision for Queen Ingrith was very clear from the very beginning. Michelle had not been cast at that time, but the idea of who Queen Ingrith was and what she appeared like -- in this very, very luxurious way, having very, very luxurious pieces in her wardrobe -- it was not to tell you that she was evil from the get-go. It was really to give you a sense of, This is a woman who gets what she wants and has great purpose and will stop at nothing to get what she wants. You're not quite certain if it's for evil intentions or not evil intentions, but that was the overall theme. And then when they cast Michelle, everything was adapted for her and because her coloring was so sensational, the pearls and the diamonds were the perfect color accents to making a platinum queen absolutely gorgeous.



I never thought the designs read as evil. More so, I thought they looked like armor. Like a helmet and breastplate made of jewels. And they look heavy! How heavy are those pieces?

They're not! But if you look at any armor, armor looks heavy as well. So they look heavy. They look like they are armor. The fabric itself, it's Italian and it was chosen because it looked like it could have metal in it, but it doesn't. The pieces themselves were created on a base that was so flexible -- I can't tell you exactly what it was because it is a fabrication that is just used to create bases of things to hold other things on -- but it wasn't heavy and we worked it out very, very carefully so that Michelle could move in it. The point that was more difficult to figure out was how were the shoulder pieces going to work with the breast piece? And how was she going to maintain flexibility and do whatever she needed to do? But it wasn't heavy at all.

I loved that with her final look (above), I just thought, "Of course, this woman would wear white on her future daughter-in-law's wedding day."

[Laughs] Of course. Of course! What else would it be? I think that Michelle does an evil look better than I've seen in a long time. She is par excellence as Queen Ingrith and having her evil ways, but she wears it better than anybody I have ever seen wear it.

Elle Fanning as Aurora



As you mentioned, five years have passed and Aurora's style has certainly evolved. Her costumes feel more mature, while also being more lacey and whimsical.

When she's introduced, she's now queen of the Moors -- Maleficent appointed her Queen of the Moors -- and she lives in this land with all the different fairies that she cares for and watches over. The dress was made to feel as if it was made by the fairies. It was not a structured, court-like dress. It was a very whimsical, fairy-tale dress that only the fairies could create. That was the reason she was introduced in the blue. It is a totally silk-embroidered, organic design. It is all handmade. It has no machine-making in it at all.

The character has those iconic dresses in Sleeping Beauty -- the blue and pink gowns -- and it feels like you're paying homage to those here, both in that first dress (above) and the pink, floral one she wears for the royal dinner (below).

Yes, they were definitely homages to the animation and homages to Sleeping Beauty. The dress that she wears to the engagement dinner has the same feel -- with embroidered flowers over net -- [but] it's the 60th commemorative year of Sleeping Beauty, so what we did is -- although it wasn't really good to do a dress at that time that was a version of the Sleeping Beauty dress -- we adapted just the collar for that ensemble. Later on in the film, at the very, very, very end, I did a new version of the Sleeping Beauty dress for her, after she marries the prince when they're at the castle waving bye-bye to Maleficent. So using that Sleeping Beauty scene and Aurora, Queen of the Moors, we kind of blended it all to become a fairy tale and that she's a fairy-tale princess/queen.



When you look at all the costumes you designed, is there a hidden detail that you really appreciate? Or a nod to the animation that you've put in that you're particularly proud of?

I think it's adapting the Sleeping Beauty collar and the Sleeping Beauty feel for Aurora. It might not be obvious when she walks into dinner -- and then the dress goes through an evolution -- but to view Sleeping Beauty as the next evolution of Aurora was-- I hope it worked and I hope it didn't look goofy and I hope that it actually was part of her story that could then go on. It's not hidden. It's right there out in plain sight, but I'm very happy that we were able to pay homage to that.



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messaggio 20/10/2019, 22:01
Messaggio #316


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Da: Lavinio Lido di Enea (RM)




Ho visto ieri il film e devo dire che sono molto soddisfatto. Mi è piaciuto davvero tanto e l'ho trovato pieno di spunti interessanti: ho letto molte critiche nei confronti della Fanning, ma io l'ho trovata di un'intensità straziante durante una determinata scena.
Promosso, per me.


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Daydreamer
messaggio 20/10/2019, 22:17
Messaggio #317


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Hai ragione Benny, non credevo di emozionarmi così, mi son venute le lacrime agli occhi <3.


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messaggio 20/10/2019, 22:50
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Nuovi poster:

Art by Mike Mahle




Art by Chelsea Lowe Illustration



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messaggio 21/10/2019, 12:30
Messaggio #319


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Dal sito Memeburn:

‘Maleficent: Mistress of Evil’ is Disney’s take on the ‘Red Wedding’

After seeing the trailers and watching a few interviews I wasn’t sure what to expect going into Maleficent: Mistress of Evil. But then again, who really has faith in sequels?

SPOILER WARNING: This article contains the plot details of Malificent: Mistress of Evil.

I remember enjoying the first movie, Disney’s live-action retelling of Sleeping Beauty, and thinking that it was a sweet story about redemption and love. Disney, however, had to undo Maleficent’s redemption arc in order to pull off a second movie about the infamous villain, but I found the “rumour has it” technique it used to do this rather lacking.

In Maleficent: Mistress of Evil, the titular character has retreated to the mountains while Aurora (aka Sleeping Beauty) rules the moors as Queen because humans have spread the wrong version of Sleeping Beauty’s story: the version where Maleficent is pure evil.

This grinds the plot into motion as Aurora seeks approval from Maleficent after accepting Prince Philip’s proposal. Beyond uniting the lovebirds, the union will bring the magical and human worlds together where a Shakespearean-like feud still lingers.

In an odd cross between a cringey romantic novel, traditional Disney and Game of Thrones (yes, I said it) Maleficent: Mistress of Evil takes audiences on a journey of love, fairytales and way more death than I was prepared for.

After all, I wasn’t expecting Disney to murder characters left, right and centre. But, what do I know?

Before the movie gets to the action-packed, political and diabolical plot points though, there are a few awkward moments to sit through. The romance between Philip and Aurora, for one, is masked in cheesy dialogue for most of the movie’s beginning and end.

The heart of Mistress of Evil, however, is much more exciting.

After Aurora’s future mother-in-law, Queen Ingrith, has successful framed and wounded Maleficent, she plans a wedding for her son with the sole purpose of inviting the moor-folk to their doom.

A wedding that’s also a murderous trap sounds familiar, doesn’t it?

When I say Disney took a leaf out of the “Red Wedding” scene from Game of Thrones, I do not say it lightly. In fact, the fairies are murdered with literal red dust designed to kill them, and it rains down upon them with no mercy.

The battle scene is long and vigorous, keeping you on edge throughout. I was honestly taken aback by its intensity as several storylines unfolded.

Eventually, I found myself holding on to the simple fact that this was Disney, that there had to be a happy ending. Right?

I was rudely awakened by an emotionally-charged scene that left the Mistress of Evil dead in a pile of ash. Yes, Disney killed off the main character and left me stunned for several minutes.

Once those minutes passed, however, Maleficent is reborn from her ashes because she’s the last fairy with phoenix blood — a new piece of information that the movie uses to explain why the fairy is so powerful.

Despite the death and destruction, Maleficent saves the day with a sacrifice and is reborn with newfound love in her heart.

Disney certainly had me there for a moment, but in the end, Maleficent: Mistress of Evil tells a many-layered love story using themes of politics and loss.

And, with a true wedding at the end of the movie, Disney still delivered on the happy ending.


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messaggio 21/10/2019, 12:33
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Dal sito Glamour:

Maleficent: Mistress of Evil Updates the Disney Princess in Subtle, Powerful Ways

It's an exciting, modern fairy-tale romp that features, and this cannot be overstated, some of the prettiest dresses you've ever seen.

Maleficent: Mistress of Evil, Disney’s sequel to the 2014 retelling of Sleeping Beauty with Angelina Jolie that’s in theaters now, is sort of strange and dark for a fairy tale. That’s what makes it so great. The movie covers a lot of things—motherhood, the loss of innocence, love, hate, immigration, power, magic—without losing focus. The costumes are, and I cannot stress this enough, excellent. And best of all, it honors the most enduring tropes of Disney fairy tales (Spoiler: good triumphs over evil) while updating the princess narrative in subtle and powerful ways.

Just look at Aurora’s (Elle Fanning’s) story. She’s now 21 years old and engaged to Prince Philip. It’s hardly surprising or revolutionary that she’s marrying her first boyfriend, but we then learn they’ve been dating for five years. Five years! Compare that with the “love at first sight, married the next day” plot of, well, just pick a movie. Aurora is no sleepy princess, either. She’s the strong-willed barefoot queen of the Moors, the forest wonderland where magical creatures live, having given her previous castle to “the people.” We stan an egalitarian monarch.

Of course, this will come as no surprise to those who saw the first film, a decidedly feminist reboot of Sleeping Beauty. But Linda Woolverton—the screenwriter behind both Maleficent films and basically your entire childhood (Beauty and the Beast and The Lion King, hello!)—tells me that turning a tale of problematic true love on its head was a challenge at first. While writing the first film, she struggled with making the Disney villain sympathetic. “What on Earth happened to this woman that she was that pissed off?” she asked herself. “I had to give her a real reason.”

The answer: Woolverton wrote a scene in which Maleficent is drugged by a paramour and wakes to find he’s cut off her wings. “It was…nothing we ever said out loud, but it feels like a date rape,” she tells me. “It’s funny, I worked really closely with Angelina Jolie on the whole script—she was fantastic—and we never actually said ‘date rape.’ It wasn’t until after that it was like, ‘Oh, huh, that’s what that is.’”

That powerful metaphor in Maleficent’s backstory wasn’t the only twist in the first film, though. You may recall that it’s actually Maleficent herself who breaks the sleeping curse by kissing Aurora on the forehead. (Turns out the unconditional true love of a mother is greater than that of a random paramour’s.) That moment was yet another instance of Woolverton’s realizing, after the fact, what she had written. “For the first Maleficent, I was talking [in an interview] about the moment when Maleficent wakes Aurora up and gives this speech, and I broke down,” she says. “It was so terrible. I realized that the whole movie was an apology to my daughter for getting a divorce.” She adds, “I didn’t even realize it until that moment that the whole movie was about that.”

Mother-daughter tension is at the center again in Maleficent: Mistress of Evil. “It’s about watching a mother and daughter as they go to the next level of their relationship,” Woolverton explains. ”The daughter leaves home. There are other challenges to their love. The prince and the young man’s parents create this feeling of being threatened. I wanted the audience to worry about their relationship. Their love is really what earns their way back together.”

Faced with the possibility of losing her beloved Aurora to humans (gross) who live in a castle (yuck) on the other side of the river (ick), Maleficent throws a small tantrum at a dinner party hosted by Queen Ingrith of Alstead (Michelle Pfeiffer). The gathering was billed as a celebration of Aurora and Philip’s engagement—but we later learn the queen was using it as cover to curse her husband, the king, with the point of the spinning needle from the first movie. She then blames it on Maleficent’s tantrum so she has grounds to start a humans-versus-fairies war and colonize the Moors once and for all.

I’ll give you a second to read that again. The plot’s not overly convoluted, exactly, but it’s certainly more complicated than “boy fights dragon, boy kisses girl.” And it’s not a light and breezy adventure, either. Like the 1959 animated feature, this movie might scare some kids. A lot of it takes place at night. Some of it takes place in a graveyard. Maleficent journeys to a faraway realm where she meets others of her kind and discovers they’re the last of a dying breed, forced to live in exile by humans. They’re refugees going extinct, in other words. And they have a righteous hatred borne of oppression. Queen Ingrith has a bigoted hatred borne of, she says, inequality and a scarcity mentality, but she’s been known to spread fake news before. If that all sounds, uh, timely to current political events, Woolverton doesn’t deny it. “You don’t want to make the screaming parallel to what’s contemporary, because that’s what keeps your movie from being a classic,” she says. “But some things are obvious.”

Maleficent: Mistress of Evil is an exciting and modern fairy-tale romp that features, and this cannot be overstated, some of the prettiest dresses you ever did see. It’s a feminist epic for our times, and that’s worth the price of admission.


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messaggio 21/10/2019, 12:36
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Dal sito Variety:

Box Office: ‘Maleficent: Mistress of Evil’ Dominates With Soft $36 Million

Five years after Angelina Jolie’s “Maleficent” cast a spell over the box office, the villainous enchantress has returned to the top of domestic charts. Disney’s “Maleficent: Mistress of Evil,” a sequel to 2014’s fantasy adventure based on the “Sleeping Beauty” sorceress, flew lower than the original and debuted to a disappointing $36 million from 2,790 North American theaters, nearly half of what the first movie made in its inaugural outing ($69 million).

Despite opening below projections heading into the weekend, “Maleficent: Mistress of Evil” easily towered over competition including holdover from Warner Bros.’ “Joker” and newcomer Sony’s “Zombieland: Double Tap.” The “Maleficent” follow-up did benefit as one of the few offerings catering to younger female moviegoers in a marketplace that’s been largely dominated by male-skewed titles like “Joker” and Paramount’s “Gemini Man.” Women represented 56% of ticket buyers, about 50% of which were under the age of 25.

“Maleficent: Mistress of Evil” now marks the lowest opening weekend of the year for Disney and will have to rely on the international box office to recoup its $185 million budget. The film had much more promising showing overseas, lifting off with $117 million for a global start of $153 million. The original pulled in a mighty $517 million from foreign territories and another $241 million from the domestic market.

Given its A CinemaScore and a 96% Rotten Tomatoes audience average, Disney’s president of global distribution Cathleen Taff says the studio remains optimistic that “Maleficent: Mistress of Evil” will have legs in coming weeks.

“While it’s a lower opening than we had expected, we do think we have a good start for October with a great window leading into Halloween,” Taff said. “With great word of mouth, audiences will gravitate to the film.”

Elle Fanning also returned for the sequel, joining newcomers to the series Michelle Pfeiffer, Ed Skrein and Chiwetel Ejiofor. “Maleficent: Mistress of Evil” was directed by Joachim Ronning (“Pirates of the Caribbean: Dead Man Tell No Tales”).

Fellow new release “Zombieland: Double Tap” launched at No. 3 with a better-than-expected $26.7 million and should continue to build momentum throughout October as Halloween nears. The original “Zombieland” premiered to $24 million in 2009 and ended its box office run with a solid $102 million globally. Directed by Ruben Fleischer, the zombie comedy reunites stars Woody Harrelson, Jesse Eisenberg, Emma Stone and Abigail Breslin. Rosario Dawson, Zoey Deutch, Luke Wilson and Thomas Middleditch joined the cast. “Zombieland 2” cost $42 million to make, roughly double what the studio spent on the original ($23 million).

After its two-week reign atop domestic box office charts, “Joker” slid to second place and added $29 million in its third weekend of release. That puts the dark supervillain origin story — starring Joaquin Phoenix and directed by Todd Phillips — close to the $250 million mark in North America with box office receipts currently at $247 million. Overseas, “Joker” has scared up a mighty $490 million for a worldwide bounty of $737.5 million.

MGM and United Artists Releasing’s “The Addams Family” finished the weekend in fourth place, dipping 47% to $16 million in its second outing, which puts North American ticket sales at $56.8 million. Rounding out the top five is “Gemini Man,” which declined 58% from its inaugural weekend to $8.5 million. Ang Lee’s sci-fi epic, starring Will Smith, continues to suffer with its domestic tally hovering at $36.5 million.

In box office milestones, STX and Lorene Scafaria’s “Hustlers” crossed the coveted $100 million benchmark at the domestic market. After six weeks in theaters, “Hustlers” pulled in another $2 million, boosting its haul to $101.8 million in North America and $128.8 million globally.

Meanwhile, Focus Features’ “Downton Abbey” has surpassed $88 million in the States and now stands as the studio’s highest-grossing movie ever at the domestic box office, a record previously held by “Brokeback Mountain” with $83 million.

Among awards season hopefuls, Fox Searchlight’s “Jojo Rabbit” bowed with a strong $350,000 from five theaters in New York and Los Angeles, averaging $70,000 from each location. Written and directed by Taika Waititi (who also stars in the film as an absurdist imaginary Adolf Hitler), “Jojo Rabbit” is set during World War II and follows a young boy eager to join the Hitler Youth, who discovers his mother is hiding a Jewish girl in their attic. Critics have been mostly impressed with “Jojo Rabbit” (it holds a 77% on Rotten Tomatoes), while audiences have awarded it with an A CinemaScore.

“There are many reasons to be very optimistic about the future of ‘Jojo Rabbit,'” said Frank Rodriguez, Fox Searchlight’s president of domestic distribution. “Notably, the very good performance at the box office this weekend, the excellent CinemaScore of A, and the interest that we see from exhibitors and moviegoers who are eager to play and see the film in the coming weeks.”

“Jojo Rabbit,” based on the novel “Caging Skies,” will continue its paced rollout next weekend in eight new markets, including Denver, Austin, Phoenix, Washington DC, Boston, Chicago, San Francisco and Toronto. The studio is aiming for a nationwide release by Nov. 8. The cast includes Roman Griffin Davis, Thomasin McKenzie, Scarlett Johansson, Rebel Wilson and Sam Rockwell.

Elsewhere, Robert Eggers’ “The Lighthouse” took in $419,764 from eight venues. A24 and New Regency’s darkly comedic drama, led by Robert Pattinson and Willem Dafoe, will continue to expand nationwide next weekend, where it will play on 500 screens.

Also at the specialty box office, Neon’s “Parasite” landed at No. 11 on domestic charts and generated an impressive $1.2 million from just 33 theaters in its sophomore frame. From director Bong Joon ho, the acclaimed social satire has made $1.8 million to date.

Overall, the domestic box office remains down 5% from last year, according to Comscore.


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messaggio 21/10/2019, 12:37
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Dal sito Ansa:

Incassi Usa, subito al top Maleficent 2

Batte Joker che sfiora però i 740 milioni globali

(ANSA) - ROMA, 20 OTT - La 'signora del male' strega il box office americano: il sequel di Maleficent, remake-spin off del classico Disney La bella addormentata nel bosco, con Angelina Jolie e Michelle Pfeiffer, debutta in vetta alla classifica del week end con 36 milioni di dollari, battendo 'Joker', il film di Todd Phillips con Joaquin Phoenix clown cattivo, che incassa 29,2 milioni di dollari nel week end, ma sfiora i 250 milioni sul mercato nord americano e ben 740 milioni di dollari a livello mondiale.
Terza piazza per un altro sequel, 'Zombieland: Doppio colpo', con Emma Stone, Woody Harrelson e Jesse Einsenberg, che esordisce con 26,7 milioni di dollari. Seguono 'La famiglia Addams' in versione animata (16 milioni di dollari nel week end, 56,8 milioni in totale) e 'Gemini Man' di Ang Lee con Will Smith (8,5 milioni nel fine settimana, per un incasso complessivo di 36,5 milioni).


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messaggio 21/10/2019, 12:49
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Sugli incassi... l'abbiamo sempre detto che fissare un film a ottobre era una mossa suicida per la Disney. Ottobre (così come maggio) sono quelle date in cui la gente raramente va al cinema.
Aggiungiamoci che Maleficent - Signora del Male non ha avuto alcun tipo di merchandising (libri in Italia manco per idea, in USA sì, nel resto del mondo no, bambole/giocattoli in edizione limitata per la JAKKS Paficic e nemmeno un'uscita per Disney Store)... un cambiamento di data improvvisa con un anticipo di quasi un anno (e certa gente nemmeno sapeva del cambio di data), senza contare che il film nei cinema SUBITO DOPO Il Re Leone viene sempre demonizzato (vedesi Pocahontas che nonostante sia il film più alto a livello di incassi della seconda metà degli anni 90 è snobbato e volutamente demonizzato SOLO perchè è venuto immediatamente dopo Il Re Leone)... allora PERCHE' fare questa uscita nei cinema a ottobre? avevano paura che Frozen 2 nell'era post Re Leone potesse essere azzoppato e allora azzoppano Malefica 2?
Certe decisioni ci sconvolgono proprio.

Che poi Il Re Leone sarà un successone a livello di pubblico ma contiamo che è stato anche molto pompato dalla Disney...


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Daydreamer
messaggio 21/10/2019, 13:23
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Tuttavia nel mercato internazionale sta andando fortissimo e sicuramente il passaparola lo aiuterà!!


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messaggio 21/10/2019, 16:20
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Il risultato al botteghino nordamericano è davvero deludente; sembrerebbe destinato a terminare con un incasso minore di quello accumulato da Dumbo.
Buono invece il risultato internazionale, dove lo star power di Jolie e Pfeiffer ha sicuramente fatto la differenza. Prevedibile un risultato complessivo appena sotto ai 500 milioni di dollari WW, un discreto successo.
In Italia ottimo esordio, noi ci stiamo dimostrando il mercato europeo più amante del Fantasy e delle fiabe.
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messaggio 21/10/2019, 21:23
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Dai comunque non è un disastro, sta facendo un incasso buono. Sicuramente se fosse stato più isolato da il re Leone o Frozen 2 avrebbe fatto più successo al box office. Io, devo essere sincera, ho apprezzato che abbiano fatto uscire il film per Halloween (praticamente), le mie cugine ad esempio ci sono andate perché sembrava dalle tinte più dark, proprio perché siamo vicini alla suddetta festa.

Messaggio modificato da Hiroe il 21/10/2019, 21:23


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messaggio 21/10/2019, 22:52
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Hiroe, ma alla fine a te e alle tue cugine il film è piaciuto?

Theprinceisonfire, l'Italia è uno dei paesi che apprezza di più fiabe e favole. Peccato che qui da noi non ne realizzino mai


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messaggio 21/10/2019, 22:55
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Mettiamo qui un altro articolo dedicato ai costumi del film... la Jolie ha visto Malefica come un'eroina dei film noir. Bello questo approccio della Diva.

Dal sito Vanity Fair:

Maleficent 2: Angelina Jolie Wanted to Look Like a “Film Noir Goddess”

Costume designer Ellen Mirojnick reveals behind-the-scenes secrets of the film’s lavish costumes, including how Jolie’s kids felt about their mother’s goth aesthetic.

In Maleficent: Mistress of Evil, Angelina Jolie received costume notes from a very exacting bunch: her six children.

“Her kids were great,” says costume designer Ellen Mirojnick with a laugh, “because her kids would look at [potential costumes] and go, ‘Eh, Mom, I don’t think so.’”

In the sequel to the blockbuster Disney movie, inspired by Sleeping Beauty, Jolie plays the titular Maleficent, the dark fairy who curses Princess Aurora (Elle Fanning), only to realize that she feels rather maternal over the young royal. In the sequel, Maleficent and Aurora are like mother and daughter, but are torn apart when Queen Ingrith (Michelle Pfeiffer), the mother of Aurora’s betrothed, Prince Philip (Harris Dickinson), drives a wicked wedge between them.

While making the first Maleficent in 2013, Jolie told the press that her costume, in all its goth, horned glory, originally terrified some of the child extras on set, including her own son, Pax, who is now 15. But now that they’re all grown up, Mirojnick said, they brushed past fear and went straight into offering sartorial advice on the costumes, which were often sleek black or dark brown gowns with imposing capes and piercing shoulders, occasionally embellished with sharply cut bones (for the jutting black-and-white bodysuit she wears in the big battle scene, Mirojnick outsourced to designers Ralph & Russo, one of Jolie’s favorites). Going into this sequel, one of Jolie’s earliest notes was that she felt Maleficent “now was very black and white,” the costume designer said.

“I mean black and white in a graphic image...as if [Maleficent] was a film noir goddess,” Mirojnick said.

The Emmy-winning costume designer has worked with Jolie several times, including on her directorial features By the Sea, which she starred in alongside ex-husband Brad Pitt, and First They Killed My Father.

“She’s a very, very, very, hugely creative person, and she is very focused,” Mirojnick said of the Oscar-winning star. “She knows what she wants.”

Mirojnick is equally complimentary toward Maleficent costar Pfeiffer. (She literally let out a dreamy sigh while recalling what it was like working with the cast’s biggest newcomer.)

“She was so easy and professional,” Mirojnick said of Pfeiffer. “I’m not kidding. Easy, professional, and gorgeous. We were just in heaven.”

Queen Ingrith’s aesthetic was decided on before Pfeiffer was cast, with Mirojnick and director Joachim Rønning, as well as producers like Jolie, determining that she would be a “platinum queen,” often swathed in diamonds and pearls. (The gems were all supplied by Swarovski.) “[Pearls] have a particular essence that is both opaline and also otherworldly, in a way,” Mirojnick said.


“She was never to appear to be evil when we first meet her,” she continued of the duplicitous Ingrith. Instead, the queen is presented in opalescent glory when she first meets Maleficent and Aurora, wearing several strands of pearls around her neck, a silver gown and crown, and an intimidating chest piece encrusted with diamonds and rubies. All told, the ensemble looks like it must have weighed several pounds, but Mirojnick said it was quite the opposite.

“We constructed it in a way that there would not be any pressure on her body,” she said. “That’s how genius my team was. The construction was simply exquisite.”

Covert construction was also key for Fanning’s wardrobe. Her character became queen of the Moors, aka the land where all the fairies live, at the end of the first film. She often floats around in minimal, ethereal pink dresses (a signature color for the princess) that had a loose fit.

“It was very important for me to be able to create something that would appear to be like the fairies made it...like it was made by tiny little fingers,” Mirojnick said.

At one point in the film, Aurora wears a gown with a slew of flowers on them. You’d never guess by looking at them, but the flowers were actually all made of feathers, made by feather couturier Solveig Ferlet. “She uses feathers like other people use thread,” Mirojnick praised. “They looked so special.”


As Halloween approaches, Mirojnick is eager to see if fans and cosplayers gravitate toward replicating the newer Maleficent looks offered in the sequel.

“You have horns; you have wings this time. We changed the silhouette of her gowns,” Mirojnick noted of Maleficent’s gowns.

She has faith it will be worth scoping out: “They will take it to the next level.”



L'abito di Aurora, tempestato di rose e fiori, è spettacolare (!), uno dei più belli che si siano visti ad Hollywood e lo strascico è sorprendente.



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messaggio 21/10/2019, 23:10
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Sempre sui costumi (Elle Fanning ha chiesto di avere il costume del Classico per Aurora e la costumista l'ha rielaborato):

Dal sito Fashionista:

THE 'MALEFICENT' SEQUEL'S BATTLE COSTUMES INCLUDE 'HUNDREDS OF THOUSANDS' OF SWAROVSKI GEMS

Plus, costume designer Ellen Mirojnick shares how she brought Elle Fanning's updated Sleeping Beauty dress to life.

Five years have passed — in real life and in the Moors — since we last saw sorceress fairy godmother Maleficent (Angelina Jolie) and her former curse target and now surrogate daughter Aurora (Elle Fanning) in the 2014 Disney hit "Maleficent."

So, understandably, the much-anticipated followup, "Maleficent: Mistress of Evil," brings a few big-time changes: Aurora's all grown up and double royalty as Queen of the Moors; Ulsted, the then-burgeoning hometown of boyfriend Prince Phillip, is now a territorially greedy kingdom overseen by his imposing — and impeccably-accessorized — mother Queen Ingrith (Michelle Pfeiffer) and the titular star sports her majestic wings for the entirety of the movie, which posed an extra challenge for costume designer Ellen Mirojnick. ("Maleficent" was designed by Anna B. Sheppard.)

Mirojnick, whom we last spoke with for the also magical "The Greatest Showman," jumped on the phone with Fashionista to discuss the story-telling costume updates and behind-the-scenes fun facts for the trio of powerful leading ladies in "Maleficent: Mistress of Evil."


MALEFICENT (ANGELINA JOLIE)

To reestablish Maleficent, Mirojnick introduces the spell-casting antihero in a reptilian collared (and horned) "bronze-y, ochre-y, taupe-y green" nature-referential ensemble, instead of aggressive black or red. "Because there isn't anything ominous that we wanted to telegraph," Mirojnick explains. "It was a friendly reminder: 'Remember Maleficent? Here she is again and everyone has grown.'" See, Mal is just misunderstood.

Also, Maleficent has been reunited with her wings, which are CGI, but still involved prosthetic "nubs" and hidden harnesses for Mirojnick to design around starting from the inception. "'OK, I like this kind of dress, but now how do the wings fit?'" she explains. "And what do I have to remove or include? Or is it going to look silly if it looks like the dress is falling off?'"

Maleficent also spends a fair amount of time soaring through the skies. So for her gowns, Mirojnick selected soft, airy and fluid fabrications that could be layered for extra effect and dimension. "So they could flap, take flight and look really beautiful in the air. Don't forget: Leather doesn't fly," she adds. Even though most of Maleficent's ensembles may look opaque black, the gowns and capes are made from a spectrum of varying shades on top of each other. "Layers of silk, layers of chiffon, layers of different types of habotai or georgette.

The action and drama kicks off when Maleficent accompanies Aurora to meet the future in-laws — and she power dresses for the part. "It was queen meeting queen," explains Mirojnick, about the striking (if not threatening) all-black cape and gown with bird skulls lining the collar, the front of the dress and one lone embellishment on her horn-cap.

"All of the accoutrements are a Maleficent language of accessories," the costume designer explains. Since she's deathly allergic to iron, all of Maleficent's accents are organic and made of natural gemstones.

As expected, dinner involves a bit of tension. Maleficent, after an unintended dip in the rushing waters, ends up in the secret lair of her fellow Dark Fey, winged refugees from various communities within the fairy tale universe. Her dinner gown also goes through the ringer, emerging as a simulated bandage bodice and strategically tattered floor-dusting black skirt, which reveals Angie's right and left legs — setting off a costume evolution that wouldn't be out of place on an Angelina Jolie red carpet tour.

"It felt organic to what would have happened because we did many practices with it," explains Mirojnick.

The bandage dress evolves into Maleficent's "battle costume" (above) with a body makeup-reminiscent design. Mirojnick studied paintings of African tribes and their face and body painting rituals before going into combat for the crow-like, Rorschach-y pattern. "We asked the extraordinarily talented team at Ralph & Russo to develop a painting technique that could be applied onto a nude mesh," she explains. "The brush strokes that appear to feather on the costume was refined over a short amount of time. The floating skirt element of the costume is the final result of layers stripped away from the original dinner dress."


AURORA (ELLE FANNING)

While her sometimes dark fairy godmother was reintroduced as a reminder of matriarchal love via costume, the now grown Aurora debuts as Queen of the Moors dressed for the role.

"The dress was inspired by nature, her environment and by what the fairies would make for her," explains Mirojnick, about the nature elements adorning the ethereal, soft blue and gossamery-y leaf-embroidered gown that honestly fits into next season's bridal gown trends — which also is pretty spot-on considering the plot. But most importantly: "It really had to be a fairy tale dress."

So Mirojnick enlisted embroiderer Cathryn Avison from the get-go — first jointly looking through samples of her work and then illustrating Aurora's dream royal dress. Avison then took over to hand-embroider two versions of the blue gown, which was also an endeavor. She wasn't working off a bolt of original patterned fabric, like, for example, Hopper's obsessed-over original Hawaiian shirt in "Stranger Things 3," which was also a huge challenge. Therefore, replicating the exact positions of countless hand-embroidered finespun leaves proved quite a feat. "She is a master," says Mirojnick.

The newly engaged Aurora makes her grand entrance into Ulsted castle wearing a pink collared and empire waist gown, which also brings Fanning's whimsical-cool Rodarte red carpet moments to mind. But the inspiration is even more straightforward.

"[Fanning] said — I'll never forget this — 'Can I have the Sleeping Beauty dress?'" Mirojnick recalls, about the first fitting and character brainstorm with the young star.

However, the animated iconic off-the-shoulder white collared and pink tonal ballgown felt too "courtly" for that point in the movie — when free-spirited Moors-dwelling Aurora hadn't yet entered regimented and rarified Ulsted royal life just yet. So Mirojnick translated the white starched collar from the cartoons into a more "innocent" boatneck silhouette on soft rose pink and once again enlisted Avison's handiwork for delicately cut flowers sprinkled on the bodice and covering a spectacular cathedral train that needed way more screen time.

"If you looked at it, you would say, 'Oh those were laser-cut fabric,'" says Mirojnick. "Well, no it wasn't. It was hand-cut fabric. All flowered and so on and it trailed down the back and the overlay on net was all hand-embroidered flowers." (Psst: The live action update of the iconic Sleeping Beauty dress — or the top of it anyway — has a moment at the conclusion of the movie, so keep an eye out.)


QUEEN INGRITH (MICHELLE PFEIFFER)

"Queen Ingrith has come in and she wants it all," says Mirojnick, about the power hungry royal, who's really in charge over in Ulsted. Ingrith's killer walk-in closet and its contents reflecting the kingdom's colonization of neighboring villages — and the spoils. "She's a character about money, power and greed, so it was best represented through stuff." In other words, Ingrith wears her power and excess.

For the polite dinner party-turned-matriarchal face-off, Queen Ingrith is "decked out from head-to-toe" — from the bodice down the entire interior of the skirt — in near-blinding Swarovski gemstones. The concept of the bejeweled 17th century-inspired gown began before Pfeiffer was perfectly cast to play Ingrith. Mirojnick recalled a painting she saw in the past, which was maybe Dutch Baroque. "It had a bejeweled stomacher and [the image] stayed with me," she says. (Fashion history lesson from "The Favourite:" The stomacher is the decorated triangle piece on the bodice of a dress dating back to the 16th century.)

With the hand-done artistry of a professional costume jeweler on the team, the dress began as a gold pattern encrusted with colorful crystals inspired by the painting. "But it didn't work," Mirojnick explains. "So we took that apart and made it all crystal and platinum. We made the pattern very, very geometric and very precise. Because that's what she is: very precise."

So is Ingrith's battle gown, which, unlike Aurora's Rodarte-esque dress, does feature some contemporary style inspiration. Mirojnick, who's constantly soaking up costume references, remembered a recent fashion book in her collection. "I just went: pearls, pearls, pearls,'" the costume designer says. "She wears pearls in the beginning [of the movie]. I love pearls for her." The confirmation of Pfeiffer in the role finalized the decision. Plus, the "softness" gems balance out the "edge to diamonds," making an interesting alternative to traditional armor, which the extravagant Ingrith would never wear.

To create the opulent military armor effect, the also-Swarovski pearls are actually various tones of white and gray. Mirojnick also ingeniously designed the gem-encrusted protective gear as functional separates to wear over the custom-designed silver gown made in Italian fabric and also lined with delicate pearls. "She has gauntlets, her collar piece and her shoulder pieces, all of which are removable," explains the costume designer.

Understandably, all of Ingrith's original couture-level gowns and accessories required a stunning amount of crystals and pearls. Mirojnick actually lost count, which is pretty apropos for Ingrith's character, too.

"We kept on ordering them week after week after week after week," she says. "Hundreds of thousands of pieces. Hundreds of thousands. I would love to know how much we ordered. There was excess."


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messaggio 21/10/2019, 23:13
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Dal sito Yahoo:

'Maleficent: Mistress of Evil' costume designer shares the secrets behind the film's fairy-tale fashions (exclusive)

Five years ago, Maleficent offered audiences an alternate version of the traditional Sleeping Beauty narrative — one told from the point of view of the fairy tale’s supposed villain, played by Angelina Jolie. The Oscar-winning actress is back in Maleficent: Mistress of Evil, but the sequel — due in theaters on Friday — isn’t a one-woman show. Instead, the movie divides its time between three very different women caught in an emotional tug of war with dangerous ramifications. Holding one end of the rope is Jolie’s Maleficent, a Dark Fae who regards the outside world with suspicion and vice versa. On the other is Queen Ingrith (Michelle Pfeiffer), the cunning power behind the Kingdom of Ulstead’s throne. And caught in between them is Princess Aurora (Elle Fanning), who is poised to unite the human and fairy world via her marriage to Ingrith’s son, Prince Phillip (Harris Dickinson).

That central conflict, rooted in themes of maternity and personal independence, plays out both in trio’s interactions and also via their regal attire, designed by Emmy-winning costume designer Ellen Mirojnick. “The triangle between two mothers and a daughter is a great theme throughout fairy tales,” she tells Yahoo Entertainment. “And it’s a particularly strong theme in our story as well. It’s about fighting for a child’s love and a mother’s love at the same time. One very important thing about creating the designs is that these are three queens, and we had to decide how [their costumes] represented them individually and played opposite each other.” Here’s how Mirojnick cracked each character’s look for Mistress of Evil, with some exclusive sketches as illustration.

Maleficent

“This is Maleficent 2.0,” Mirojnick says of the style evolution that Jolie’s alter ego has undergone between 2014 and 2019. “There’s far less cover-up that’s involved in her costumes, which exhibits her vulnerability and openness to what she’s about to learn.” Mistress of Evil marks Mirojnick’s third collaboration with Jolie after By the Sea and First They Killed My Father — both of which the actress also directed — and she credits her with recognizing how important costuming is to creating a fully rounded performance. “Angelina thinks of the totality of the film, and one of the things she felt is that Maleficent’s costumes should be very black and white, like a 1930s or 1940s movie star. That creates a very strong cinematic image, and also acts as a driving force throughout the course of her story.”

In keeping with Maleficent’s own aversion to iron, Jolie’s costumes are free of any and all metals. “Her accessories are all sculpted bone, and everything is made from organic material, sculpted in a way that represents her silhouette. We had these fabrics that were exceptionally fluid, and used different layers to create different tonalities.” The one thing that Mirojnick didn’t build were Maleficent’s wings, which exist only on a computer. “They’re fabulous wings, but they are digital. We always had markers to design around where the wings would go. They’re strong, they’re fierce and they’re gorgeous.”

Queen Ingrith

While Princess Aurora’s engagement results in Ingrith and Maleficent’s firsts skirmish, their larger battle involves the future of their respective kingdoms. During the course of the movie, the solitary Dark Fae discovers she’s not as alone as she thought, but has no refuge to offer her winged comrades. And Ingrith isn’t about to let any non-humans through Ulstead’s gates. “She has a new plan for her kingdom,” Mirojnick says. “She’s very modern and independent in her approach to things in that she takes no prisons — she has an idea she wants to execute and she doesn’t want anybody in her way.”

Pfeiffer hadn’t been cast when Mirojnick first started designing Ingrith’s regal wardrobe, and once she joined the film, it required a significant change in direction. “Before Michelle, all of Ingrith’s ensembles had hat-like headdresses, which were not uncommon for this period. They were very elaborate as well: they travelled all the way up. But once Michelle was cast, it was clear that we shouldn’t do that. Instead, we worked with her hair designer and created [headdresses and crowns] that were very jeweled and accessorized. It was all in relation to Michelle’s proportion and what she was able to wear.”

Princess Aurora

With Aurora’s own coming of age a key part of the film’s narrative, Mirojnick designed Fanning’s clothes to “grow up” alongside her character. “Her first costume is very fairy-tale, and feels like it was made by fairies. It’s not a dress-dress made by someone in a castle; it’s a dress from nature, and has a leaf pattern in a very special blue yarn created by a great embroiderer named Cathryn Avison. It was the best way to introduce her.”

According to the designer, Fanning herself personally requested a “Sleeping Beauty dress” for the ill-fated first dinner between Maleficent and Ingrith. “That dress also has hand-embroidery that were cut-out flowers, which were applied to the dress. It needed to feel as if all the little flowers were made by the fairies. It was her dressiest ensemble, since she was going to be having dinner at the castle and meeting Phillip’s parents.”

That dinner inevitably ends badly, forcing Maleficent to flee after sustaining two wounds: one physical in the form of a metal projectile that pierces her wings, and the other emotional after watching Aurora side with Ingrith rather than her. Aware that she’s the favored mother figure, at least for now, the Queen moves quickly to make over her would-be daughter in her own image. The result is a more restrictive dress than the ones she wears in her forest dwelling. “It’s totally contrary to the other dresses, because it’s hand-loomed in the castle and very structured. She’s learning all about princess life in the castle, and what her duties will be. Aurora has to give up all of what and who she is to become this princess that Ingrith is trying to mold. You’ll see how unhappy she becomes.” And as Ingrith quickly comes to discover, you don’t make Aurora unhappy. You wouldn’t like her when she’s unhappy.


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Hiroe
messaggio 22/10/2019, 0:57
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CITAZIONE (veu @ 21/10/2019, 22:52) *
Hiroe, ma alla fine a te e alle tue cugine il film è piaciuto?

Theprinceisonfire, l'Italia è uno dei paesi che apprezza di più fiabe e favole. Peccato che qui da noi non ne realizzino mai

Alle mie cugine di 13 e 20 anni è piaciuto il film, io purtroppo ancora non l'ho visto. Come ho detto in un altro topic, sono neomamma di un bimbo di 4 mesi e non riesco ad andare al cinema per il momento. Sto vedendo i film in BD quando escono. Sono riuscita ad andare a vedere Aladdin gusto due sett prima di partorire XD.


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messaggio 22/10/2019, 9:07
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Ho visto esattamente quello che mi aspettavo di vedere.
A livello di trama, una storia semplice e con qualche buco di trama ma decisamente godibile, Malefica che non e' veramente cattiva era facilmente prevedibile dopo il pirmo film.
Le 3 donne del film sono perfette nei loro ruoli.
Scenografie e specialmente costumi MERAVIGLIOSI. Ogni personaggio ha un look ben definito e perfettamente in linea col proprio carattere.

Mi chiedo perche' il padre di FIlippo non si chiami Uberto....


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kekkomon
messaggio 22/10/2019, 9:32
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CITAZIONE (Fulvio84 @ 22/10/2019, 9:07) *
Mi chiedo perche' il padre di FIlippo non si chiami Uberto....

Essendo che alla fine è stato tutto stravolto, meglio cosi...


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Hiroe
messaggio 22/10/2019, 13:10
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Si meglio stravolgere ulteriormente


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The Little Merma...
messaggio 22/10/2019, 14:41
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CITAZIONE (veu @ 18/10/2019, 18:57) *
Potresti dirci con più precisione cosa intendi con scenette comiche squallidissime e di quella finale che avresti evitato del tutto? Scrivicelo sotto spoiler, che siamo troppo curiosi
L'elemento finale è quello in cui Malefica diventa una Fenice?

ma tra l'altro viene detto il vero nome di Malefica? è Magnifica come dicevano tempo fa?


la maggior parte de dialoghi tra Malefica e Fosco (che vorrebbero essere divertenti secondo gli autori) io li ho trovati banali e imbarazzanti, specie l'ultimo in cui si commuovono. Tra l'altro il personaggio di Fosco era molto più interessante nel primo film, qui l'ho trovato un po' macchietta.
La scena finale che avrei evitato è quella di Ingrith che viene trascinata fuori dal castello dimenandosi tra le radici e borbottando (tipico finale da film per bambinetti), per non parlare della trasformazione in capra con battute annesse. Sarebbe stato molto più d'impatto se avessero lasciato come sua scena finale quella in cui entra nella stanza del castello e si trova accerchiata dai simili di Malefica, lasciando il tutto alla libera interpretazione dello spettatore e rendendolo meno ridicolo.
L'elemento che secondo me ha messo in discussione parte della trama del primo film è il fatto che il fuso fosse ancora incantato e una volta che Malefica l'ha distrutto, l'incantesimo si è spezzato e il re si è risvegliato. Viene subito da pensare che allora anche la prima volta sarebbe bastato distruggere il fuso per risvegliare Aurora. Secondo me hanno fatto un gran casino. Io sono stato perplesso durante tutto il film, ho apprezzato solo la scena della fenice.
Il titolo del film comunque è del tutto fuorviante, avrebbe avuto più senso "signora delle tenebre" vista la sua origine.
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Daydreamer
messaggio 22/10/2019, 19:50
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Il titolo ha un senso per me, perché durante il film "qualcuno" mette in giro delle false notizie su di lei, dipingendola come tale. Per Merman: secondo me l'incantesimo di Aurora è diverso, lei è stata maledetta da Malefica, il fuso è stato solo uno strumento. Nessuno ha maledetto Re Giovanni, semplicemente è stato ferito e punto, ne ha subito gli effetti ma non è stato colpito da alcun sortilegio, per cui l'effetto è, come dire, moderato, infatti è stata sufficiente la sua distruzione per farlo risvegliare.

Messaggio modificato da Daydreamer il 22/10/2019, 20:01


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