The world of Thunder Force, out this week on Netflix, is one that is already filled with super-powered bad guys the police force is unqualified to fight. That’s why Emily Stanton (Octavia Spencer) uses the resources of the biotech company she owns to develop a serum that gives people powers to take on the villains. When her estranged best friend Lydia (Melissa McCarthy) accidentally takes that serum, the pair decide to team up to fight crime, becoming Thunder Force.
Netflix has been selling the movie in exactly the way you’d expect, highlighting the comedic pairing of Spencer and McCarthy and the outrageous super-powered situations they find themselves in.
Lydia and Emily strike heroic poses on the poster (by marketing agency The Refinery), which came out in early March. But the two are seen to have slightly different attitudes, exemplified by how Lydia’s wearing a few sponsor buttons on her uniform. The “New super. Nearly heroes.” copy makes it clear that while they might have powers they still have some work to do on using them.
Lydia and Emily are, we see in the first trailer (2.6 million views on YouTube) from early March, friends that have drifted apart, with Emily becoming super-successful and Lydia less so. When Lydia takes the super power-granting formula Emily’s been working on she gets powers, only to find Emily has already done so. The two decide to go become a pair of crime fighters, but the bad guys up their game as well, with hilarity ensuing.
Online and Social
No website and only a little bit of support, it seems, from Netflix on its brand social media channels.
Advertising and Promotions
The first footage came in January, part of Netflix’s announcement of its ambitious 2021 feature film slate. A pair of first look stills came out in early March, just ahead of the first trailer.
Two clips came out late last month, one showing Lydia foiling a robbery and the other showing her throwing a bus, both extended looks at scenes glimpsed in the trailer.
Media and Press
Most of the press included interviews with both Spencer and McCarthy together, including an appearance on “Kimmel” where they talked about being super heroes and how the genesis of the movie is wanting to mess with costar Jason Bateman.
This is the same campaign that’s been run for a number of McCarthy’s other movies, but that’s alright since it seems to work just about every time. That is to say, each works on an equal level and makes roughly the same pitch to the audience and has about the same result. McCarthy is a known quantity and this campaign, like those before it, reinforces that message.
The major difference here is the addition of Spencer, who’s a great partner for the comedy. Whether or not all of that makes this a funny sendup of the ubiquitous super hero movie remains to be seen, but if you enjoy McCarthy and her frequent collaborations with husband Falcone, this should be in your interest area.
Based on the novel “Ghetto Cowboy,” the new movie Concrete Cowboy stars Idris Elba as Harp, one of a number of individuals in Philadelphia who patrol the streets of the neighborhood on horseback. They do so in an attempt to maintain a connection to a simpler time and culture, knowing full well they are out of step with other parts of society. Harp’s estranged teenage son Cole (Caleb McLaughlin) comes to live with him, opening up tensions both old and new as the father tries to teach his son a few things while the son holds on to old problems and baggage.
Directed by Ricky Staub, the movie arrives on Netflix this week after a small-scale campaign from the streamer. It currently has a decent 78% Fresh on Rotten Tomatoes, so let’s see how it’s been sold to the public.
Just one poster, released in early March, but it’s a pretty good one. Harp looms in the background of the collage-esque design, with other elements conveying Cole’s role in the story as well as the urban setting and more. It’s not the flashiest design, but it communicates a solid sense of what audiences can expect.
The first trailer (638k views on YouTube) finally came out in mid-March, opening with Cole clearly not on the same page as Harp. We see Cole exposed to the world Harp lives in and the rules and legends that go with it, a process that isn’t always easy or comfortable. The two eventually come to an understanding, but only just as the way of life Harp and others have long embraced becomes threatened with extinction.
Online and Social
Nothing here, but the movie did get some support from Netflix on its brand social channels.
Advertising and Promotions
A short clip was released around the time the movie was debuting at the Toronto International Film Festival. It was also slated for screening at the Telluride Film Festival. Netflix acquired the film in October.
In early March Netflix finally gave it an April release date.
Media and Press
Staub and Elba were both interviewed during TIFF about the road the project has taken to date and what they hope for in the future. Another conversation with the cast and crew included comments on the story, working together and more.
The movie came out of Toronto early last year with some very strong word of mouth, especially for Elba’s performance. But that was a year ago, and a lot has happened since then.
So it’s a little surprising to see that while the trailer and poster are both pretty strong, they add up to the majority of the film’s campaign. Very little seems to have been done to build on that festival buzz, and Elba’s press activity has been minimal. It would have been nice to see some more promo spots or other elements that allow Elba to be his charming self as well as allow McLaughlin to come to the spotlight.
How Warner Bros. has sold a showdown that has nothing to do with justice dawning.
Hollywood is, if nothing else, certainly an interesting place. Take, for example, this week’s Godzilla vs. Kong, which has a couple things going on.
First, this is the fourth and latest film in Warner Bros.’ MonsterVerse franchise, which started in 2014 with Godzilla, continued in 2017 with Kong: Skull Island and most recently was seen in 2019’s Godzilla: King of the Monsters. It’s notable, though, that GvK was greenlit all the way back in 2015 and moved into production, before Skull Island was released, with the assumption the series would be enormously successful and each installment highly anticipated.
In reality each installment has experienced diminishing returns from the one prior, at least domestically in the U.S. Godzilla’s $200.7m box office has fallen to a mere $110.5 for King of the Monsters. But a ship of this size isn’t easy to stop (though it might get stuck), so we’re just going to keep going because the international box office is still fairly strong.
Second, the movie is being viewed as the latest test of whether the U.S. audience is ready to return to theaters. Originally scheduled for November 2020, it comes this week to both HBO Max and over 90% of U.S. screens, the highest number available since many closed a year ago. While estimates for opening weekend are relatively paltry at less than $30 million, that would still be the most of any film since the Covid-19 pandemic shut most everything down.
So we find ourselves with the two monsters – known in-universe as “Titans” – finally coming face to face. The reasons why aren’t necessarily important, as the title does double duty as a synopsis of the story, such as it is. Kyle Chandler and Millie Bobby Brown return from King of the Monsters, joined this time by Alexander Skarsgård, Rebecca Hall, Kaylee Hottle, Bryan Tyree Henry and others, who will be offering exposition and acting as scale references so we know just how massive the two Titans are.
Warner Bros.’ campaign for the movie, helmed by mumblehorror director and noted fetish porn blogger Adam Wingard, is…well…it’s exactly what you might assume it is given the premise.
The first poster (by marketing agency BOND), came out in January, immediately establishing the campaign’s red and blue color palette while showing Kong standing among the skyscrapers while Kong’s dorsal plates can be seen poking above the ocean surface as he advances toward that same skyline.
Godzilla has made landfall on the second poster (by marketing agency Concept Arts), released toward the end of February, as we see him walking through the city toward Kong.
Another poster from early March has the two Titans facing off like boxers, with a design seemingly inspired by Vegas promotional art, their faces close together and seen within the transparent letters of “Vs.”
We get different perspectives on two posters (by agency Little Giant Studios) that came out just a short while later. One shows Kong from Godzilla’s point of view and the other shows Godzilla from Kong’s, each one again emphasizing their massive size as compared to the buildings they’re walking between and through.
One more theatrical poster hit the red/blue Kong/Godzilla clash one more time, with the two shown to be so tall their heads poke above the clouds.
Exhibitor-specific artwork included one-sheets for IMAX, which has the two monsters falling into one another like this is a 90’s erotic thriller from Paul Verhoven, RealD 3D, which offers a variation on the previous imagery of the Titans lunging at each other, and Dolby, which is a bit more original in showing Kong climbing a skyscraper above the cartoonishly round world below.
A series of teasers were released on social media in advance of the first trailer, which was finally released at the end of January. As it begins, someone is talking about how much humanity needs Kong, who is being transported across the ocean. The threat, it turns out, is Godzilla, but no one knows why he’s attacking. Amid all the subsequent fighting it’s revealed this may not be the first time the two – and others like them – have faced off.
A second, shorter trailer came out in mid-February. Whatever story there was in the first spot, it’s excised in this one as it cuts straight to the action as Kong and Godzilla punch each other and rampage through cities, destroying countless buildings as they do so.
Online and Social
There’s not much on the movie’s official website, but you will find a few trailers as well as details on how to watch the film in the way of your choosing, assuming you either subscribe to HBO Max or live near one of the theaters it’s playing at.
AR lenses for Snapchat, Instagram and Facebook allowed people to put themselves in the middle of the showdown between the two titans.
I have to hand it to the WB team on Twitter, which seemingly had the latitude to share fan memes and other fun content via the official account. That’s made scrolling through the account’s updates a lot more interesting as it is less about amplifying only adoration and praise and more about reflecting how the internet really reacts to things. A similar attitude can be found the movie’s official Giphy channel, which has not only straight GIFs but also a bunch of goofier, meme versions.
They even shared an image from a *very* current meme and got onto the NFT bandwagon with exclusive artwork available there.
While the movie was initially scheduled to open in early 2020, less than a year after King of the Monsters, that title’s lackluster performance at the box office had Warner Bros. pushing this one back to later in the year to tighten things up and perhaps even do some more drastic reworking. Despite that delay, the movie was among those included in the studio’s CineEurope presentation to exhibitors in June of 2109. Another delay moved it from March to November 2020 before the Covid-19 pandemic pushed it even farther out to May, 2021.
Rumors last December that Legendary was shopping the film to Netflix or other streaming services came and went but were followed by WB’s official announcement that it like the rest of their 2021 slate would be released to both theaters and HBO Max. Legendary was none too thrilled, threatening some sort of action.
One of the first, albeit very brief, looks at the movie came via an HBO Max promo touting the same day theatrical/streaming availability of WB’s 2021 lineup.
The release date was later moved up to March, 2021.
Short promospots were released online in the build up to the movie’s debut.
Warner Bros. signed a deal with exhibition company CineWorld that would make this movie the first to play in CineWorld’s reopening Regal Cinemas.
Featurettes released in the lead-up to release included one that had the cast and crew introducing the idea of #TeamKong vs. #TeamGodzilla and talking about the scale of the action. That match-up was extended to social media, where people were asked to choose sides. Later on a map of the U.S. was shared showing how the majority of people in each state had voted.
More TV spots started coming out just in the last couple weeks and, like this one, largely played like cut-down versions of the trailers, working to set up the conflict. Longer spots went a bit more in-depth, but still focused on the big action of the story.
An IMAX-specific spot was pretty short but got the point across that people should see this huge movie on a huge screen. RealD 3D got a similar promo. For its part, Dolby shared a handful of interviews with the cast talking about the story and their characters.
Promotional partners for the movie included:
Snickers, which released a spot tying into the Kong vs. Godzilla fan voting.
Roblox, which hosted a movie-themed event in the popular virtual world where players could unlock exclusive rewards.
Legendary also announced a handful of publishing tie-ins just a bit before the movie came out.
Warner Bros. sponsored a TikTok challenge that involved a number of influencers on that platform.
A handful of longer featurettes, originally released on home video editions of the previous movies, were published by WB to YouTube over the last several weeks as a way of making sure the audience was familiar with what had come before. Those included:
Landscape artwork acted as both online ads and likely were used for outdoor ads also.
Media and Publicity
Bichir was interviewed about the movie, saying he enjoys the freedom to take different kinds of parts in movies of various sizes.
An interview with Wingard had the director talking about creating the massive monster battles and more of the action that everyone hopes fans are looking for. Another had him sharing the kinds of showdowns he envisioned and how he wanted to pattern the action after some of his favorite ‘80s action movies.
There’s a great deal that’s very good about the campaign, even when you overlook how it’s supporting a movie that, based on the shrinking box-office returns for the previous films, may not have a huge audience pool to pull from. It has a very nice visual brand that’s consistent from start to finish and it sells a simple message over and over again, counting on repetition being key to both engagement and interest.
When it comes down to it, that simple message is best summed up in a single GIF that, despite the lack of hyperbole or any other pitch, shows exactly what Warner Bros. hopes the audience will either come out to theaters for or use their parents’ HBO Max login to watch.
How Sony Pictures Classics has sold a movie about falling from the 1 percent.
“Schitt’s Creek” became a TV sensation for a number of reasons, including its heartwarming story of a family that finds itself suddenly losing its fortune and having to do without in new surroundings. French Exit, now out nationwide after a limited release in mid-February, covers similar ground but in a slightly different setting.
Michelle Pfieffer stars as Frances Price, a Manhattan socialite who has led a comfortable lifestyle thanks to the sizable inheritance from her late husband Franklin (Tracy Letts). When she finds that the money she’s counted on has been almost completely exhausted, she decides to move from New York to Paris with her son Malcolm (Lucas Hedges). The two try to make a new life there in an apartment borrowed from a friend, with new acquaintances, experiences and more coming along the way.
The studio’s campaign has focused on Pfeiffer (never a bad idea) and sold a family drama about finding a new way after what’s familiar disappears.
Frances and Malcolm – as well as their cat that may or may not be the reincarnation of the late Franklin – are shown on the one and only poster, released in December. The two/three are sitting in the back of a town car, but what they’re doing there is unclear as there’s no other context given, including a lack of copy or tagline. Instead most of the poster’s real estate is devoted to pull quotes from positive reviews, largely coming out of festivals and other screenings, to help make the case to the audience.
Frances is being informed, as the first trailer (861k views on YouTube) from early December opens, that the money she inherited and has been living on has run out. When a friend offers her an empty apartment in Paris she takes her grown adult son with her and moves across the ocean. That offers Frances plenty of new opportunities to create uncomfortable situations, be rude (either intentionally or unintentionally) to new acquaintances and otherwise continue on with her odd and unusual life.
Online and Social
The movie’s official website has the basic marketing materials, including trailers and a synopsis, but it’s mostly about selling tickets. Sony Classics’ page for the film has that as well as a gallery of stills.
Advertising and Promotions
Sony Pictures Classics acquired the film in September of 2019. About a year later, in August 2020, it was announced the movie would close the New York Film Festival, which was going to be structured differently because of the Covid-19 pandemic. That NYFF screening was followed by a number of positive reviews, especially for Pfeiffer’s performance.
The first official clip, released in early February, shows the moment Frances finds out she’s broke.
Commercials like this were used online as well as presumably as TV spots.
An interview with Pfieffer and Hess had them talking about getting involved with the film, how they worked with Jacobs and more during NYFF. Pfieffer again talked about being given the opportunity to get weird in her performance.
A later interview with Pfieffer had her talking about how she approached playing her character and working with Hedges. Similar ground was covered in another conversation that also reflected on her place among Hollywood royalty.
Pfieffer talked about shooting the film in France when she appeared on “Kimmel” in January and about her trepidation in taking on the role when she appeared on “Late Night.” Hedges later appeared on “Kimmel” as well.
She and Hedges were interviewed jointly about working together and shooting in Paris and Pfieffer spoke about her career in general and how this film fits into that here.
Two important points come to me when reviewing the campaign from top to bottom.
First, It’s surprising in some regards that the marketing effectively ended (save for a few additional social media updates from SPC) in mid-February, when the movie’s limited release began. That leaves a long time for people to think about other movies, but given how the press has been dominated by bigger releases, the studio may have been banking on all the oxygen in the room being taken up. And it doesn’t seem it’s making a big awards push, or there would have been more.
Second, this feels like another step in the revitalization of Pfeiffer, a process that began a few years ago with mother!. And I for one am here for it.
When Justice League arrived in 2017, the term “troubled production” was frequently used to describe it. The critical drubbing received by the preceding Batman v Superman: Dawn of Justice created tension between Warner Bros. and director Zack Snyder, including rewrites by then DC Entertainment Chief Creative Officer Geoff Johns to the script from David Goyer and Chris Terrio. Confusion was created when different interviews with Snyder, Johns and others seemed to alternate between there being one two-hour movie, two two-hour movies, one four-hour movie in two parts and so on.
Then, as the movie moved into post-production, Snyder stepped away, reportedly to deal with the recent death of his daughter. The narrative at the time was that writer/director Joss Whedon was being brought in to handle a small number of reshoots and other pickups because he had already done even more work on the script.
And then of course there’s the issue of Henry Cavill’s mustache.
Kicking off at San Diego Comic-Con 2016, the marketing campaign for Justice League was more or less what audiences expected given both BvS and Snyder’s earlier Man of Steel. It was dark and moody, but after Whedon took over there seemed to be a bit more humor. Throughout, though, you couldn’t help but notice the distinct lack of Superman, an omission informed largely by the movie’s story – he dies at the end of BvS – and not wanting to spoil his return here.
When the finished product finally hit theaters the reaction was “mixed,” to say the least. Critics called it a mess and the $229 million it grossed domestically was a disappointment compared both to Wonder Woman earlier that year and the Marvel Cinematic Universe, which at that point was nearing its eventual conclusion.
No…There Is Another…
Almost immediately, the most fervent adherents to Snyder’s nihilistic artistic view began to believe they’d been duped. Demands to #ReleaseTheSnyderCut were soon at full volume online, with those signing petitions and saying “Actually I have more of a comment than a question” at panels believing Warner Bros. had someone in its archives a version of the film free of Whedon’s influence. That version would more fully represent the intent of Snyder, who for years has been referred to in the marketing of his films as a “visionary director.”
WB continually denied such a version existed, pointing out that Snyder left an incomplete movie to Whedon’s stewardship. Snyder himself said much the same thing, that there was only a work print with unfinished effects and some scenes completely missing. There was no Snyder Cut.
That didn’t mean much to those whose very personal brands seemed to depend on the opposite being true. Over the course of the next three years the DCEU was hit or miss, with the same group of toxic fans howling in delight whenever something that wasn’t The Snyder Cut failed to live up to expectations. Not only that, but similar groups made concerted efforts to strangle movies like Captain Marvel and Star Wars: The Last Jedi in their cribs on the grounds that girls are icky and anything that doesn’t cater to the lowest common denominator of male mob mentality shouldn’t be allowed.
Denials from Warner Bros. were said to be the first and last word on the matter, right up until they weren’t.
Snyder’s tune began changing in early 2019 when he started posting pictures that seemed to confirm his cut of the film did exist in some manner. Members of the cast and others involved in the production made similar comments, with people like Gal Gadot and Ben Affleck, who play Wonder Woman and Batman respectively, getting in on the hashtagaction.
Finally, in late 2020, as part of WarnerMedia’s hype cycle for the then pending launch of HBO Max, it became official that the streaming service would be the release platform for the reworked movie.
Just as there was confusion in 2017 as to whether there would be one or two movies and how long they would be, reports have differed over the last several months as to what form this one would take. At one point it was said to be four one-hour installments. At another it was back to being two two-hour movies.
Despite Snyder’s rejection of any mention of “toxic fandom”, the director himself credits fans using every channel at their disposal, including sliding into the replies of Sesame Street’s Twitter account, with turning dreams into reality by consistently pressuring the studio into action.
It’s almost like a demagogic political figure saying he doesn’t want his supporters to be violent but then buying them all airline tickets to attend an event specifically intended to foment insurrection. And then at the end he tells them they’re very special and he loves them, but only after people have died and others have had their life put in danger.
But what do we expect from Hollywood’s leading objectivist? So many of the stories he’s been part of telling focus on heroes or other characters that can’t find anything in life worth living for until they act on the power they have. Possession of that power in and of itself gives them the right to use it in the manner of their choosing. So it’s no wonder Snyder would be on board with a group of individuals claiming whatever power they could in order to achieve whatever goals they wanted, especially if those goals happen to overlap with his own.
Let me pause here and make a few clarifications.
First, I’m painting with an overly broad brush here. Not all #ReleaseTheSnyderCut adherents are examples of the worst of toxic male fandom. There are some genuine movie fans who feel Snyder is a great filmmaker, so good for them. Like any other art form, people are allowed to like what they like. People might judge me based on my love of Rush or Kenny Rogers, but all art works differently for different people. That being said, this particular group in my experience over-indexes in terms of members likely to verbally assault a woman cosplaying as Power Girl at Comic-Con, labeling her a “fake fangirl” if she doesn’t know who pencilled a random 80’s comic issue she appears in.
Second, Snyder has harnessed this and adjacent groups for good, working with the American Foundation for Suicide Prevention to raise hundreds of thousands of dollars. That effort, clearly borne of the tragedy that befell his family years ago, is a good one, selling t-shirts and other swag to help worthy cause.
Crisis On Infinite Snyderverses
In the months leading up to and following WarnerMedia’s announcement that the movie would finally see the cold, desaturated light of day, the landscape has changed significantly, as has the narrative that framed the release of the theatrical cut of Justice League over three years ago.
Beginning in mid-2020, costar Ray Fisher, who plays Cyborg in the film, began making a series of accusations against Whedon and by extension Johns and others at Warner Bros., saying the pinch-director created a hostile work environment for him and others after Whedon took over on set. Fisher’s claims were enough for Warner Bros. to open an investigation, though then it turned into dueling statements over whether Fisher had or hadn’t cooperated with that investigation. Representatives for Whedon and Johns denied those accusations, but Fisher remained adamant and public. Ultimately Warner Bros.’ investigation recommended moderate remediative actions but was light on public details.
As time went on, Fisher received public displays of support from Momoa and other members of the cast and he discussed the talking points WB had given him and the rest regarding Whedon’s involvement, most of which matched up with how things were framed in 2017. All of that acted as prelude to actress Charisma Carpenter, who had worked with Whedon on “Buffy, The Vampire Slayer” and “Angel,” making similar comments, saying he had become hostile and offensive toward her and others. Those accusations, combined with Fisher’s made WB’s lack of overt action odd, especially since Whedon had over the last couple years, been removed from other Warner projects including a planned Batgirl movie and the HBO original series “The Nevers.” Someone, it seemed, knew something.
While Whedon’s reputation was being dismantled, Snyder’s was being enhanced/rehabilitated.
A major feature appeared in Vanity Fair that offered an official version of the events of the last few years. Quoted in the story are Snyder, his wife and producing partner Deborah and a handful of past and present Warner Bros. executives. According to them, the situation around Snyder’s exiting of the original film was much more complicated, including not only the death of his daughter but a new lack of support from studio heads in the wake of Batman v Superman’s critical drubbing. Whedon’s involvement then grew from script doctor to eventually reshooting as much as three-quarters of the film. Similar points were made in a later interview with Snyder.
With that polishing of Snyder’s image, he’s been positioned by himself and the studio at the forefront of the marketing campaign for this new version of the movie, now officially titled Zack Snyder’s Justice League to emphasize his importance.
The Marketing of Zack Snyder’s Justice League
All of that now brings us to the release of Zack Snyder’s Justice League on HBO Max and the marketing of the movie, which Snyder has been at the bleeding edge of.
Darkseid and DC Fandome
That began in May of last year, when Snyder strongly hinted the movie was in the works during a Vero-hosted “watch party” for 2013’s Man of Steel, hints that were quickly confirmed when HBO Max released the first official announcement later that same month, leaving the official release date as a vague “2021” at the time.
That continued in June, when promotions for the virtual DC Fandome event began. With Snyder and many of the cast scheduled to appear there to answer fan questions and show off more of the upcoming movie, teasers began coming out. In one, Wonder Woman navigates a cave where she discovers ancient wall paintings showing Darkseid.
Cavill spoke briefly about the project in June, saying he was anxious to see the finished product but offering few details.
As a way to prime the pump for the new movie, HBO Max debuted Batman v Superman – Ultimate Edition in July, with this new version containing about a half hour of additional material.
In an interview in July, Snyder hinted that the reworked movie wouldn’t fit in nicely with how the DCEU has evolved – meaning he would not be obligated to acknowledge Shazam or Birds of Prey (both of which have higher Rotten Tomatoes scores than either of Snyder’s previous entries) but work instead as the culmination of the trilogy he began in Man of Steel and continued in Dawn of Justice.
Snyder appeared virtually during a fan convention, discussing his upcoming remade version and making it clear not a single frame of what Whedon had shot would be included. That interview also marked the first shot in the official change in the messaging around the theatrical version’s release, exposing some of the conflicts that emerged between Snyder and the studio and other details.
The full trailer, preceded by a short teaser, then debuted during Fandome in August. How well it and to what extent it delivered on expectations depends greatly on your feelings about the original, Snyder himself and other factors. Set to Leonard Cohen’s “Hallelujah” and sporting a Super 16 aspect ratio, the trailer features a mix of old and new footage. Added are more scenes featuring Barry Allen, including one where he saves Iris West, and Cyborg. The latter in particular is notable as this indicates more of his backstory would be fleshed out, something that’s been anticipated for a while. The scenes carried over from the theatrical edition feature revised color palettes, adhering closer to what was seen in the original trailers back in 2016. Most importantly, this gives fans their first look at Darkseid, who will be the main villain of the story instead of his henchman Steppenwolf.
Video from the DC Fandome panel was also released to the public.
Reshoots, Trailer Confusion and HBO Max’s Evolution
Much like there were different stories about what the theatrical cut would look like – two movies, one super-long movie etc – there was at this point the beginnings of some confusion about what the new version would be packaged as and what it would include. While Snyder said he wouldn’t use a single frame of Whedon’s footage it was unclear whether he was being permitted to shoot anything new himself. Budget estimates have ranged from $20 million – which would seem to just allow for post-production work on existing footage – to $70 million.
Finally, news came out WB had scheduled a short period of reshoots, though who was or wasn’t involved remained unclear. In October news broke that Leto would be reprising his Suicide Squad role of Joker in the film, something that would require new footage being shot.
In a very odd turn of events, that trailer had to be pulled from YouTube in early November, reportedly because Warner Bros. failed to clear the rights to “Hallelujah,” which is something you wouldn’t expect from a major motion picture studio. The trailer was re-released later that month but was once again pulled for unstated reasons, meaning that beat was almost completely lost from the campaign.
This is unquestionably a weird stage of the campaign, one with so many false starts, walkbacks and other problems you kind of can’t believe a major studio is involved. But this may be the result of allowing one person to lead the campaign, with the studio itself being a fast-follower more than a driving force.
It’s also a period where HBO Max started to carve out its own identity. Instead of being “the place where The Snyder Cut would eventually be available,” it gained some momentum thanks to series such as “Lovecraft Country,” “The Undoing,” “The Flight Attendant,” and other buzzed-about hits.
Not only that, but it was in mid-November that Warner Bros. announced Wonder Woman 1984 would debut on HBO Max on Christmas Day, the same day it was released to limited theaters due to the ongoing Covid-19 pandemic. That was just the first step, though, with WB revealing a month later it would do the same for its entire 2021 movie slate.
All of a sudden it’s a very different ballgame. ZSJL now wouldn’t just be competing against catalog titles, a few exclusive series and a handful of original features but with titles like Godzilla Vs. Kong and other big-budget movies.
Finally, a Campaign
After so many twists and turns through the end of 2020, the campaign itself finally kicked into a higher, more substantive gear in January.
Snyder released a series of posters at the end of the month that finally announced the movie’s premiere date on HBO Max. Two of the three just showed the “JL” symbol in some form of disrepair due to battle damage, but one showed a film canister laying on the ground, as if this had finally been unearthed for the public to see.
Additional shared by Snyder on Twitter at the end of January hinted at the appearance of Martian Manhunter and Joker from Suicide Squad. A more complete look at Joker came out shortly after that.
Another trailer (21.5m views on YouTube), teased by Snyder ahead of its release, came out on Valentine’s Day. Though it largely contains footage we’ve seen before, it does have a few notable elements, including:
Actual footage of Joker, providing a live-action version of the “we live in a society” meme
Reinforcement that the movie will be shown in a 4:3 aspect ratio.
Unlike earlier trailers, this one still seems to be available online.
An interview with Lennix had him talking about finally taking on the role of Martian Manhunter, something that drastically changes how his character is seen in the previous movies and a development that’s completely unearned by those appearances.
Clips from the movie’s soundtrack were released by Water Tower Records shortly after that.
DC then announced a series of movie-themed variant covers for Justice League #59, scheduled to hit store shelves the day before the movie became available.
At the end of February IGN debuted a video showing the members of the Justice League as different sides to a Mother Box, with each character and his or her powers and attributes represented as a relief on the cube.
In a later interview Snyder called out Fisher’s Cyborg as the centerpiece of his version of the story, something that runs in marked contrast to the theatrical cut. He also teased what he had in mind for a potential sequel, though he’s also said on multiple occasions this movie ends his involvement with the DCEU.
The theatrical poster showing a black and white photo of the assembled heroes advancing toward the camera came out at the beginning of March.
One final trailer (6.7m views on YouTube) came out earlier this week. While it features a lot of footage seen in previous clips or trailers, there’s a lot more of Darkseid, showing how dangerous he is, or at least claims to be, and how the heroes are holding out hope their combined strength is enough to take him on.
A virtual watch party was scheduled for 3/18, with the movie’s red carpet premiere planned for 3/17. But before that, earlier this week, a screening that was planned that wound up erroring out for everyone involved, leaving them unable to watch the movie and feeling pretty sore about it. That came after a glitch that had this movie playing when HBO Max subscribers pulled up Tom & Jerry, something that caused no small amount of laughter and confusion.
Overall: For the Fans, Not The Literally Anyone Else
Well, let’s see what we have here.
Reviews of the revamp have been generally positive but mixed, citing improvements in some areas while problems either persist or have newly cropped up in others. Almost universally, it’s said to be much more Snyder-esque, right down to the Randian worldview and carry all the positives and negatives that implies.
The same can be said about the marketing itself. As stated earlier, Snyder is frequently referred to as “visionary” in the campaigns for his films, but that only really resonates in the small percentage of the audience that has fully bought into that vision. For the rest, it almost acts as a sort of warning that the film in question contains more nihilism is recommended over the course of an entire year.
What’s on display here is just that.
The theatrical cut of Justice League is an unquestionable mess, the cinematic equivalent of putting peas in your guacamole recipe. But there’s nothing in Snyder’s previous DCEU movies that would have indicated his original cut would have been any more coherent and there’s nothing in this campaign indicating this version will be so either.
Those feelings are compounded by the multiple instances over the course of the marketing where trailers disappeared for one reason or another and confusion reigned as to what the movie would ultimately look like and what it would include.
Also raising eyebrows is how power dynamics within Hollywood are on display here.
While Snyder has been brought back into the light with multiple profiles and interviews that have allowed him to tell his side and come out as the aggrieved party, Fisher in particular still seems to be sidelined. His complaints about how he was treated by Whedon, though vindicated in the court of public opinion, were still largely dismissed and denied by the studio and his involvement in future projects hasn’t been improved. Why might that be?
For the last three years, fans of the director have been clamoring for this movie, believing it to be the ultimate lost classic, pure bath salts in cinematic form. All art is compromise, though, and the idea that any version would ever be delivered free of influence from outside parties is naivete, and it’s likely the reaction to this when it’s finally available will represent that. If it’s not everything they’ve been dreaming of and speculating about, things will go poorly. More theories will emerge that this *still* isn’t the movie Snyder could have or wanted to make, and those grievances will be taken out the next time a studio casts a woman or person of color in the lead role of a franchise property.
This campaign, though, is meant solely for that group. There’s little to nothing here that might attract someone who isn’t already a charter member of the #ReleaseTheSnyderCut movement. Even someone who was simply disappointed by the theatrical version and wants to see if this might be an improvement will find no appeal to them has been made.
At least this time we don’t have to sit through the studio pretending like Superman isn’t in the movie.
How Apple is selling a story of trauma, addiction and how they intersect.
No matter what else you might say about Joe and Anthony Russo, they certainly seem to inspire loyalty among the actors the directing brothers work with. Nearly every post-Avengers project they’ve been involved with has included at least one of the actors from the MCU, and this week’s Cherry is no exception.
Based on the novel by Nico Walker, Tom Holland stars in the film as the title character, a young man who’s a romantic at heart in the early 2000s. He meets and immediately falls in love with Emily (Ciara Bravo), but when complications in the romance emerge he enlists in the military and is shipped to Afghanistan. When Cherry returns, the relationship with Emily restarts, but his trauma from his time overseas leads them both into dangerous drug addiction, which is financed by Cherry beginning to rob banks both for the money and the rush.
Early reviews were largely positive, praising Holland’s mature and charismatic performance, but the movie sports a less enthusiastic 43% Fresh on Rotten Tomatoes. The movie received a limited theatrical release a few weeks ago but hits Apple TV+ this Friday.
In December a teaser poster showing Cherry staring straight ahead at the camera, his haircut and look conveying a sense of someone who’s seen some stuff and has little left to lose was released. That poster was notably misprinted online when it debuted on Variety, with the title messed up to the extent lots of people had a laugh at its expense. It was republished quickly.
Variety apologizes for our mistake in the digital misprint of the ad for the film “Cherry.” This is not up to our standards. Here is the corrected version of the ad pic.twitter.com/yRr1uEfMNo
The theatrical poster from January has the same aesthetic but while Cherry is the only one really seen, arms presumably belonging to Emily are shown reaching from off-camera to hold his face in her hands.
Cherry is robbing a bank as the first trailer (4m views on YouTube(, released in mid-January, starts. Via voiceover he’s wondering what the point of life is before we flashback to his earlier life, including meeting Emily and then, much to her dismay, joining the Army. When he returns he’s suffering from PTSD Emily can’t help with, so he turns to robbing banks to try and silence the voices in his head or at least do something that feels like anything. It’s a powerful trailer, made more so by the glimpses we get of Cherry narrating his actions and life to the camera.
Online and Social
Nothing special on the web page for the movie from Apple TV+, which didn’t set up individual social pages but did support the film on its brand profiles.
Advertising and Publicity
The Russos brought the still-in-production movie to Cannes 2019, hoping to lure buyers with the promise of the project’s potential. They discussed it further, including that Holland was starring in the film, during their panel at San Diego Comic-Con in July of that year.
With Covid-19 shutting down most all theaters for an indeterminate period of time in early 2020, the Russos admitted they weren’t sure what the distribution future for the film was going to be. That changed in September when Apple acquired the movie following a brief period of speculation Netflix might pick it up.
In early January the Russos offered the first real look at the movie via a clip showing Cherry enlisting in the military.
A featurette came out at the beginning of March that had Holland and Bravo talking about the story and their characters.
Shorter promos like this were shared online and may have been used as ads or commercials.
An interview with the Russos offered more details about the story and more as well as showing off some of the first official stills from the film. Another later interview with the brothers had them talking about Holland’s performance, the origins of the story and more.
Shortly before the movie came out there was a feature profile of not only Joe and Anthony Russo but also their sister Angela, who wrote the film.
An interview with Holland had the actor talking about taking on such a risky – both emotionally and physically – role. He later appeared on “The Tonight Show” to talk about the film.
Henry Jackman was interviewed about creating the film’s score. The movie’s cinematographer talked about how the story is divided into a handful of distinct chapters.
An appearance by Holland on “The Tonight Show,” as many of his interviews did, talked briefly about this movie but also went heavily into talking about Spider-Man.
Having seen the movie (thanks to a Hollywood Reporter-hosted virtual screening) I can safely report the campaign as outlined above matches the finished product pretty well. There are a few story elements, especially the extent and cause of Cherry and Emily’s descent into addiction that aren’t fully communicated here, but the marketing’s focus on Holland’s performance is justified.
Having said that, it’s Bravo’s performance that really centers the story and shines through. So much of that performance involves her speaking directly to the camera, a surrogate for Holland’s Cherry, and her calm but emotional demeanor comes through strongly. It’s a shame she wasn’t more fully involved in the publicity and press components of the marketing.
How Amazon is selling a much-anticipated and long-gestating comedy sequel.
To say there’s a fair amount of pent-up demand for Coming 2 America, the sequel to the 1988 original, a bonafide comedy classic, would be a significant understatement. 30+ years later, Eddie Murphy and Arsenio Hall return as Akeem and his friend and confidant Semmi, respectively. Akeem, having raised a family over the years, has now ascended to the throne of Zamunda but learned from his dying father (James Earl Jones) that he has a son he never knew back in America. So he and Semmi make their way back to Queens to connect with Lavelle (Jermaine Fowler) and, of course, engage in other hijinks.
Craig Brewer takes over directorial duties from John Landis, and the movie also stars Leslie Jones, Tracy Morgan, Kiki Layne, Wesley Snipes and a host of others both new and returning. With a disappointing 52% Fresh on Rotten Tomatoes, Amazon Studios’ campaign has sought to sell it as both familiar and new.
The first teaser poster (by marketing agency BLT Communications) came out in mid-December, simply showing Akeem looking joyfully out the window of his royal limousine with a highway sign pointing to New York seen in the reflection of the window.
In early February the theatrical poster came out, evoking the design of the original but with a lot more characters spread around the layout. In fact it looks more like the poster for an MCU or other super hero movie than a mid-level comedy. Whatever the case, it works by presenting a big-name cast, all apparently having a great time.
A first batch of character posters focusing on Akeem, Semmi, Lisa and King Jaffe.
The first trailer (14.7m views on YouTube) came out in late December and immediately establishes where we’re at in terms of Akeem’s story. His dying father has informed him he has a son in America and so, despite Semmi’s reluctance, the two are once again headed back to Queens to find the now-adult boy. There are lots of new characters briefly introduced, but the centerpiece, of course, is the return of the barbershop crew as well as others played by Murphy and Hall in various amounts of makeup. It’s glorious.
The second trailer (20.6m views on YouTube), released in early February, goes a little deeper into the story but hits many of the same beats. We see a bit more of how General Izzi wants to take over Zamumda and some of the hijinks that happen once they get Akeem’s son back to the country. It’s the same basic message, just fleshed out a bit.
Online and Social
No stand-alone informational website I could find, but Amazon did create social profiles like this Twitter page for the movie to share promos and other updates.
Advertising and Publicity
The movie going into production was officially announced in early January, with Murphy returning and director Craig Brewer behind the camera, the latter of which got people’s attention in a big way. Casting news – including new and returning actors – were the focus for a while after that.
In October news came that wasn’t wholly surprising given the pandemic situation. Specifically, it was reported Paramount was finalizing a deal to sell the movie to Amazon since a theatrical release date was uncertain at best. That deal was officially sealed in November, with Amazon giving it a spring release date.
It was revealed just a couple weeks ago that Amazon planned to advertise the film during the upcoming Super Bowl. That spot is essentially a cut down version of the second trailer, pulling out some of the bigger jokes and plot points.
The soundtrack, with a new song from Bobby Sessions and Megan Thee Stallion, came out earlier this month.
Morgan, Jones and others from the cast showed up in a reworked version of the Soul Glo commercial from the original.
Amazon Studios scheduled a watch party, sponsored by Pepsi, for Friday 3/5 and encouraged the audience to get in on the action by dressing up and sharing their party lewks and plans online.
Crown Royal, which offered a new movie-branded package designed by costume designer Ruth E. Carter.
Media and Press
Murphy continued talking about the movie while promoting Dolemite Is My Name through the end of 2019. And Layne commentedbriefly on it while promoting The Old Guard in mid-2020. Similarly, Jones mentioned it during an interview about other projects in October.
A handful of stills were finally released in late December, just before the trailer came out.
An interview with Fowler was part of EW’s 2021 Movie Preview, with the actor talking about how excited he was to be part of the sequel.
Ruth E. Carter was interviewed about crafting the look of the characters at about the same time she became the first Black costume designer to receive a star on the Hollywood Walk of Fame.
How and why the two stars came back for a sequel, something they had previously pledged not to do, became a central focus when Hall appeared on “The Late Show,” Murphy appeared on “The Tonight Show” and both of them on “Kimmel.” Fowler also talked about the movie on “The Tonight Show”
Murphy and his daughter were interviewed about the legacy of the original film and what it was like to bring the sequel to completion all these years later.
I’ll be honest when I first heard the movie was happening i was all
But then as the trailer and other assets were released I started to be all
How Disney is selling its latest animated feature with an all-star cast.
Raya and the Last Dragon is, like many of Disney’s animated films, about a character defying the odds to embrace and fulfill her destiny. In this case, the people of Kumandra have long ago splintered into various tribes and lost most of what they once shared. When an ancient threat emerges, it’s up to Raya (Kelly Marie Tran), a skilled warrior, to seek out the dragons that helped defend them centuries ago. When she finds the only remaining dragon Sisu (Awkwafina), she has to bring the young dragon back, facing different threats along the way.
Originally scheduled for release last November, this week the movie hits both theaters and Disney+ under the same “Premier Access” tier Disney previously used for Mulan. It arrives with an impressive 96% Fresh rating on Rotten Tomatoes and has received a campaign that’s emphasized the action and adventure in the story.
Disney used the social media app Weibo to release a special poster designed in the style of Chinese tapestries to celebrate Lunar New Year in 2020.
The first real poster for the film (by marketing agency Legion Creative Group) came out in October of last year and shows Raya, her face partially obscured by her hat but holding a substantial sword. A motion version of that poster came out a short while later.
Raya is seen more fully on the second poster, also from October. The camera here pulls back to show her standing defiantly in a tropic setting, the cloudy outline of a dragon visible in the background.
The next poster (by marketing agency Ten30 Studios) came out in December. Here Raya and Sisu are seen running side by side, seemingly into battle or toward some other form of danger or adventure. Both have a fun, excited look on their face that communicates their lack of fear toward whatever they’re facing.
In February what seems to be the theatrical poster came out, showing Raya at the center of all the action, with the supporting characters and some of the story’s locations placed around her. The design is wonderful, using elements that seem to be pulled from traditional Asian artwork to display everything the audience may need to know about the movie.
Additional posters continued to come out after that, including one that simplifies the design to show Raya, Sisu and others ready for a fight, one that shows them enjoying a feast together and one that shows the kind of food the characters enjoy, part of a late-campaign push focusing on food and snacks.
The first trailer (14.1m views on YoutTube) was finally released in mid-October. In an extended sequence we see how Raya is a sort of spy/defender, sworn to defend an important artifact. The splintering of the tribes of the world has thrown the world into chaos, prompting her to embark on a mission that could once again unite them and restore peace. The story here seems secondary, though, to simply showing how powerful Raya is.
In late January the next trailer (12m views on YouTube) came out, starting out with Raya meeting – and ultimately recruiting – a “con baby.” After that she’s on a quest to find the last dragon in order to restore peace among her home’s divided people. She’s successful in the first part but has to then contend with others who are on the same mission for their own purposes, encountering danger and adventure along the way. It presents a much more comprehensive overview of the story along with all the action and humor the movie has to offer.
Online and Social
Visitors to the movie’s official website will find the basic marketing information like trailers and a synopsis along with a downloadable movie-themed activity packet as well as links to buy tickets or find out more about Disney+ Premier Access. There were also stand-alone social media profiles for the film.
Advertising and Promotions
The movie was announced by Disney at the 2019 D23 Fan Expo, when the cast was brought out to share the story and show off the first early footage as a way to get fans excited.
A first look still from the film was released in August 2020 at the same time as the news Tran was joining the cast.
Check out the first look of Raya, voiced by Kelly Marie Tran, in Raya and the Last Dragon, from directors Don Hall & Carlos López Estrada, writers Qui Nguyen & Adele Lim, producers Osnat Shurer and Peter Del Vecho, and co-directors Paul Briggs & John Ripa. In Theaters 3/12/21. pic.twitter.com/G2ZvW6TcWZ
In December Disney announced the movie would not go to theaters but would instead debut on Disney+ with the same Premier Access paid tier previously used for Mulan.
After the second trailer came out Disney released a video showing Tran and Awkwafina reacting to it.
A Super Bowl spot aired in early February that takes a slightly more serious take on the story than was seen in the recent full trailer, but still looks very entertaining, with plenty of humor and adventure for fans. Additionalspots came out later that took the same action/humor tone.
Disney Parks shared an exclusive clip of Raya and Sisu enlisting some help in their journey home.
In late February Disney released a featurette focused on the casting of the voice roles. There was also a lyric video for “Lead The Way” by Jhené Aiko.
A condensed version of Tran’s video diaries from the studio and other production locations was shared along with a brief tutorial on how to draw Tuk Tuk, one of Raya’s adorable sidekicks.
Promotional partners for the movie included:
Fitness company Obe, which offered movie-inspired workout classes as well as a discussion of some of the film’s more athletic action sequences.
Omson, which created special Southeast Asian sampler packages of prepared spices, offered in movie-branded packaging.
Raddish Kids, which created movie-inspired recipes for its meal delivery service.
Sanzo, which offered a 20% off coupon for those wanting to try its Asian-inspired flavored drinks.
McDonald’s, which put movie toys in its Happy Meal packages.
Kellogg’s, but details on their promotion were unavailable.
Media and Press
The filmmakers, including director Don Hall, revealed Tran’s casting in the lead role and discussed the importance of this being the first Disney animated film to be inspired by Southeast Asian legends and culture.
Tran appeared on “Good Morning, America” in October to debut the trailer and talk about the film.
Tran spoke during a group interview about the unjustified pressure she’s being made to feel about playing the first Southeast Asian Disney Princess.
Closer to release Tran appeared on “Kimmel” to talk about being a crazy Disney fan and now being in a (non-Star Wars) Disney movie. Awkwafina then appeared on “The Tonight Show.”
There were a few more interviews like this with Tran where she shared her excitement at being part of such a monumental production. She also got a cover story in THR about how this film marks a big moment for her, coming after the toxic backlash she received as a result of her Star Wars role.
Producer Osnat Shurer and others were quoted in a story about how the filmmakers found inspiration in the art and culture of Southeast Asia and how that’s represented in the movie.
In addition to the campaign’s commitment to communicating the Southeast Asian influence felt by the filmmakers, which is admirable, the main thing that comes through here is the redemption of Tran. Her treatment in the wake of The Last Jedi in particular was horrendous, and she’s made no bones about how difficult that period was for her to live through. So to see her standing tall here and taking part in a project that allowed her to pull from her own heritage and background is admirable and inspiring in and of itself.
Aside from that, Disney is making a concerted effort here to sell the movie as a funny, adventure-filled good time for audiences. There’s nothing too dark here, as even the threats faced by the protagonists don’t seem overwhelming or scary, a likely attempt to position the movie as a safe choice for younger viewers at home.
What will be interesting to see is how the movie fares as part of the Disney+ Premier Access experiment. Mulan was more or less a known quantity given it was a remake of a previously popular film. But this is an original property, so how willing people are to shell out the additional fee to watch it remains to be seen.
How Netflix has sold a story of multi-generational efforts to upend the patriarchy.
For her second feature directing gig, Amy Poehler this week brings us Moxie. Not only does she helm the film but stars as Lisa Carter, mother to Vivian (Hadley Robinson). Vivian is tired of the overtly sexist attitude among many of the boys in her high school and frustrated with the girls who go along with it. Determined to make her mark and change the status quo, Vivian is inspired by her mother’s past activism and creates a print zine calling out the school’s toxicity. Her crusade makes her new friends, a few enemies and some unexpected notoriety.
Netflix’s campaign hasn’t been huge, but that doesn’t mean it hasn’t been interesting. Let’s take a look.
“Find your voice” the poster, released in February, tells the audience. The title treatment is plastered over a black and white photo of Vivian and her friends, all shouting at the camera. If the goal was to recreate the look and feel of a late-90s alt-rock record cover, they succeeded, but it’s too bad there isn’t more information about the movie’s story and cast.
As the trailer (840k views on YouTube), released in early February, begins, Vivian is asking for guidance, through which we get a hint of her mom’s former activist self. Then we see what might be fueling Vivian’s search for some sort of mission, the fact that the girls in her high school are ranked by the boys based on attributes having nothing to do with academics or intellect. When she starts a zine that questions the status quo it starts an uproar in the school that leads to lots of changes, both in the school and among the students.
Online and Social
Some support on Netflix’s brand social channels, but that’s about it. Nothing unique to the movie itself.
Advertising and Promotions
The main characters got a yearbook-esque promo clip a little while ago that doesn’t name them but does offer overall personality type.
When Poehler and her BFF/frequent collaborator Tina Fey cohosted the Golden Globes last weekend they not only gave the movie a shout-out but also had stars and hearts on their hands, a plot detail seen in the trailer.
For anyone wondering why Amy Poehler & Tina Fey had hearts & stars drawn on their hands tonight, the answer is: Moxie!
In Poehler’s new movie, the design is a battle cry — worn by anyone who is sick of the status quo and willing to stand up and fight for what they believe in. pic.twitter.com/eBWbBYzdKx
I just wish there were more here and I have to wonder what prompted Netflix to treat this as a lower-tier release instead of something that should be given a greater level of support. Sure, it’s not The Irishman, but I’d argue that this is the kind of movie that will have a longer shelf-life on the service than a prestige title.
At the very least I would have expected press interviews and stories about any of the following topics:
Poehler’s second time behind the camera for a feature film
The role of everyday students (and others) in changing the toxic environments they find themselves in
How the younger members of the cast connected with the riot grrl movement of the 90s and what kind of music from that era Poehler played to get them in the mood
Why print is superior to online media for this kind of movement
How Bleecker Street is selling a 19th century love story.
Based on the book of the same name by Jim Shepard, The World To Come stars Katherine Waterston as Abigail, who’s married to Dyer (Casey Affleck), the two of them carving out a hard living on a 19th century east coast farm. They are not exactly happily married, but the distance between them grows greater with the arrival of Finney (Christopher Abbott) and his wife Tallie (Vanessa Kirby). Specifically, the supportive friendship between Abigail and Tallie soon turns passionately romantic as they seek solace from their respective loveless marriages.
Directed by Mona Fastvold from a screenplay by Ron Hansen, Jim Shepard, the movie has a decent 72% Fresh on Rotten Tomatoes and has gotten a campaign emphasizing the hopeful but doomed romance between the two women.
Released in mid-January, the one poster (by marketing agency The Refinery) takes a common design – three vertical strips with a single photo in each one – and actually uses it to good effect. Dyer and Finney are at the top and bottom while Tallie and Abigail are placed in the middle, literally pushing their husbands away from them. The fire engulfing a house behind the two women hints at a tragic outcome to the story while the dark colors convey the relentless dreariness that makes up the lives of the characters.
Bleecker Street released the first trailer (1m views on YouTube) in mid-January. It starts out with a lot of sheep on Abigail and Dyer’s bleak farm. Abigail’s life is improved by the arrival of their new neighbor Tallie and her husband Finney, with the two women growing closer and closer over time, a romance born of the hardships each endures in their respective marriages. That change does not go unnoticed, and problems soon follow as the women seek to be happy with each other instead of miserable elsewhere.
Online and Social
The full-screen video on the movie’s official website uses bits from the trailer, but the content on the site is minimal. There are links to where the film will be available to download and rent along with the trailer, a synopsis and not much else.
Advertising and Promotions
The movie debuted at the 2020 Venice Film Festival, where it accumulated a number of positive reviews and good word of mouth. Bleecker Street acquired the film shortly after that premiere.
The movie was among those scheduled to screen at the 2021 Sundance Film Festival.
A clip came out during Sundance showing the moment when Abigail and Tallie first meet. Another shows a climactic moment between the two women as they discuss their relationship.
Media and Press
A profile of Kirby from early September included this as one of a couple highly-anticipated projects she was involved in. A few months later Waterston talked about crafting and filming an LGBTQ love story.
Affleck appeared on “Late Night” to talk about filming the movie in Romania. There was also a joint video interview by GLAAD of both Waterston and Kirby.
Additionalinterviews with Waterston had her talking about working with Kirby and telling a story set so long ago and trying to make it relevant to the present.
The performances by Waterston and Kirby are the standout elements of the campaign here, with the chemistry between the two driving the drama that’s on display. It’s good that they provide such heat, too, because the rest of the marketing is very grey and cold, which could turn off some of the audience who might feel it’s a bit too drab for their liking.
Between this and the recent Ammonite, though, we have a small trend building of forbidden lesbian romance period pieces. I’m not sure what that means, especially if there’s something about setting the story a century or more in the past that makes the story more dramatic. Whatever the case, Bleecker Street’s campaign highlights the positive reviews the movie has received so far while selling a story filled with tension and romance.