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To Leslie 2022 Film Review, Trailer, Cast, and Watch: SXSW 2022 | Entertainment

To Leslie 2022 Film Review, Trailer, Cast, and Watch: SXSW 2022 | Entertainment
To Leslie 2022 Film Review, Trailer, Cast, and Watch: SXSW 2022 | Entertainment

SXSW 2022: To Leslie Film Review, Trailer, Cast, and Watch Now

In Michael Morris' debut, Andrea Riseborough plays a woman who is forced to return to her hometown in west Texas when she goes downstairs.

The protagonist's jubilation is understandable in Leslie's short but touching opening words. She won $190,000 in the lottery — enough to make a difference for a working-class single mother in a small town in West Texas. However, her excitement in front of the television camera made her nervous and frustrated, suggesting she had no plans to take herself and her teenage son to Easy Street. Here's the thing: Six years later, Leslie collapsed when major work on this well-known play began. Almost separated from the drunk and his son, he was taken out of the motel he was staying at. He won't be silent.

Perfectly portrayed by Andrea Riseboro, Leslie in almost every scene, in desperation, disguise and self-deception, with a glimmer of hope and optimism in every moment and a slowly dawning self-confidence, her acting is remarkable for Leslie, it's an above the ground film, but it's also a story full of elegance - even less important, a true-to-life aesthetic, with touches of fairy tale, Prince Charming in a small format. , Macron influenced Malone.

  • Where: SXSW Film Festival (Narrative Focus)
  • Cast: Andrea Riesborough, Alison Jenny, Mark Malone, Andre Rayo, Wayne Tigg, Stephen Root
  • Directed By: Michael Morris
  • Screenwriter: Ryan Binako
  • Duration 1 hour 59 minutes

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Ryan Binako (3022) is an adaptation of a screenplay in homage to his mother, Homer Michael Morris, which brought much direction and episodic production to his television feature debut (his credits include Better Calling Saul, Billionaire, Shameless, Homeless Card . , and Bloodline ) does not attract false attention. Set in an uncertain pre-digital age, this observational drama is enlivened by powerful performances and the skillful design work of Emma Rose Mid and CEO of Nanser. A sensational character study from DP Larkin Sieppel's intimate 35mm footage and meticulously edited by Chris McClabe, To Leslie evokes the indomitable bravery of 1970s American indie cinema.

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The stills and stills achievements capture the essence of Leslie's life - the noise of high school, the young mother, the abusive relationship. Now the pink suitcase containing all her worldly possessions symbolizes her loneliness but serves as an amulet to connect to her past, albeit unconsciously.

Inside is a torn piece of paper with contact details written by James (Irving Tig), whose 19-year-old son works in construction in an unknown city. He met her there at the end of the bus ride and almost curled up in the shade before approaching her. Every look at Tigg expresses his character's fear and love with hurt caution. James worries for his mother and for himself because he suffered from the effects of Leslie's selfish desires and alcoholism at a young age.

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James writes down some ground rules — no alcohol at the core — which Leslie quickly breaks down with money from her roommate Darren's dresser (Catfish Gene, gives a short but memorable twist). Despite our contemporary perception of addiction as a disease, To Leslie does not underestimate the destructive and destructive nature of addicts and the opportunities around them. Inspired by Darren and supported by the police, James brought his mother back to his hometown of Texas. This is what he fears most in the world; Within his narrow confines, it will be difficult to break free from his past activities and their impact and he is at a stage where he cannot be compromised if he has a list of priorities. Responsibility for action will not be included.

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At home he was followed, followed. Her unfortunate blood ties to former close friends Holland (Stephen Root) and Nancy (the violent Alison Jenny) are the only ones she accepted at James' request. Without getting bogged down in backstory overload, the film slowly and effectively unveils the reasons for the couple's relationship and the depth of their relationship. The Dutchman was a fool, but as soon as Leslie arrived, he made it clear to everyone he called, "Nobody's gonna take your shit a second time." The more adamant Nancy Leslie criticized Benefit, as did her friend Peter (James, Laundry Hebert, 1883). Nancy gritted her teeth and described Leslie as "hard and wet." Jenny's stunning performance captures the fullness of the vengeful fury - and ultimately the punch behind it.

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One of the film's most terrifying scenes is the setting of several fare dodgers at a local watering hole, where Leslie is tempted to quench her thirst and escape the judgment of her reluctant host. Binako, Morris and Riseborough see the pub as a place of comfort and performance, a dark cocoon against unspeakable pain. Stimulated by alcohol, he believes his seductive charm is still there, and Leslie works hard while Riseborough is fearless in the uncomfortable frustration that arises. Leslie's attempts to seduce a very suave cowboy (Scott Subino) don't go well, but late in the film he meets a young stud (Matt Lori). When you came he stopped playing games; He was the one who could see through others.

Thanks to Sweeney (Malone), she realizes this stranger is entering her life, not in a once-defensive darkness, but in the clear morning light on the outskirts of town. The motel is on the ground floor, near the railroad. Despite the brutal evidence, Leslie somehow hoped the universe would meet her. Call it the invention of storytelling, recklessness, blind luck, or unspeakable generosity, but for Sweeney it's more than that.

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When they first met, she saw Leslie and her pink suitcase at the motel and she gave chase. When he confronted her the second time, he emotionally offered her a place to work and stay. Perhaps motel owner Royal (a terrifying Andre Rayo from the Empire, a small town like Leslie) had mentioned his "true tragedy," little did he know how far-flung strangers saw things differently. Whatever the reason, it's clear that reaching Leslie fills Sweeney's days with a long-lost purpose. Something insightful, clear and genuine about him.

As the two actors gradually build a deeper connection between their characters, the script provides backstory for Sweeney and Leslie, but it's more of a shadow than a narrative crutch. Unlike her often satirical on-screen character, Malone is a muddy and wise guardian angel whose rhythm moves to a southern tune, watching Leslie fly, lie, and fight, and he becomes intimate with her when she's working on avoiding cold Turkey suffers. The dinner scene they see side by side on their TV table ends with a burst of wondrous and descriptive music in their calm emotion, delighting and astounding both the character and the audience.

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In another example of background music, Willie Nelson's "Are You Sure" is played at the bar during the last call, and Leslie's confusion makes him laugh - but let's see what's in the Morris and Riseboro song as the spread messages of loneliness. The soundtrack appropriately uses tracks by George Jones and Whalen Jennings, and Linda Perry contributes a new tune sung to Patty Griffin's closing credits that encapsulates Leslie's unusual brand of experience.

The Dolly Parton track at the beginning of the film hints at some themes for this year's SXSW; Descriptive Feature Contest Entry Seriously focuses on the spirit and aesthetic of the Red Part, a documentary spotlight title that still has 9-5 key people working on it. The theme could be a celebration of women's initiative, resilience and humor - the title's qualities, to Leslie, of defying adversity and meeting expectations. Riseborough digs deep, takes no shortcuts, and follows a hard-won path to letting go, allowing Leslie's recurring anger to transform into his survival.

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Royal, a bizarre and revealing acidosis, once scolded Leslie, "Some people don't see good things on their plates." Morris' game begins at one end, moving away from the darker part of the emotional spectrum and moving in a lighter direction. A person learns to observe as Risboro's portrait flickers with a person's exposed vivid rough edge.

Source: Sheri Linden, The Hollywood Reporter, Direct News 99