Successful writer Veronica finds herself thrust into a terrifying reality and must uncover a mind-bending mystery before it’s too late.
Credits: TheMovieDb.
Film actors:
- Veronica/Eden: Janelle Monáe
- Him/Senator Denton: Eric Lange
- Elizabeth: Jena Malone
- Captain Jasper: Jack Huston
- Julia: Koresi Clemons
- These: Gabourey Sidibe
- Nick: Mark Richardson
- Daniel: Robert Aramayo
- Sarah: Lily Cowles
- Eli / Tarasai Professor: Tongayi Chirisa
- Camille: Grace Juneau
- Purcell: TC Mathern
- Melanie: Devin A. Taylor
- Hotel Concierge: Caroline Cole
- Sam: Choppy Gilot
- Laura: Betsy Borrego
- Yoga teacher: Dayna Schaaf
- Restaurant Sponsor: Christine V. Hernandez
- Enslaved Men: Kimani Bradley
- Talking Head: Bernard Hawke
- Flower Freak: Todd Waltz
- Rebecca: Victoria Braid
- The Tall Man: Lyle Brocato
- Gus: Eric Stratmire
- Supervisor #1: Bill Martin Williams
- Joy: Trula M. Marcus
- Little Blonde Girl: Arabella Landrum
- Restaurateur: Christine VonRobarie
- Reporter: Gregory Hobson
- FBI Agent: Chad Governale
- Confederate Soldier: Michael Domini
- League of Legends: Shik Cherami
- FBI Agent: William Buster Benefield
- Amara (Queen Ganya): Achok Majak
Photography team:
- Music Director: Christopher T. Mollere
- Art Director: Jeremy Woodward
- Executive Producer: Edward H. Hamm, Jr.
- Stunt Coordinator: Jason Rodriguez
- Stunt Coordinator: Tracy Keehn-Dashnaw
- Stunt double: Cheryl W. Brown
- Stunt double: Tim Bell
- Stunt double: Floyd Anthony Johns Jr.
- Stunt double: Jonin Williams
- Stunt double: Whitney Coleman
- Stunt double: Jolene Joyner
- Stunts: Aaron Matthews
- Stunts: Danny Cosmo
- Stunts: Datney Bryant
- Stunts: Jeff Brockton
- Stunts: Kevin Reed
- “A” Photographer: Remi Tournois
- Still Photographer: Matt Kennedy
- Post-production supervisor: Jan Kikumoto
- First Assistant Editor: Jared Simon
- Music Editor: Anele Onyekwere
- Script Supervisor: Carmen Soriano
- Production mixer: Pud Cusack
- Boom Operator: Brad Lokey
- Lighting Engineer: Chip Carey
- Art Department Coordinator: Susan Smits
- Graphic Designer: Roger Johnson
- Leader: Marcus Whitman
- Armorer: Virle S. Reid
- Special Effects Supervisor: Guy Clayton
- Special Effects Coordinator: Edward Joubert
- Costume Director: Yana Syrkin
- Costume Director: Donna O’Neill
- Tailor: Patty Spinale
- Agger/Dell: Julie Ebell
- Makeup Department Manager: Remi Savva
- Head of Hair Department: Yolanda Mercadel
- Main hairstylist: Lawrnell Bell-Rattler
- Hairstylist: Carl G. Variste
- Casting Assistant: Francesca Aiaza
- Casting Assistant: Teresa Hernandez
- Extra: Brent Caballero
- Extras Casting Coordinator: Rikki Hegwood
- Venue Manager: Wise Wolfe
- Production Coordinator: Patrick McBride
- Transportation Coordinator: Randy Kinyon
- Unit PR: Cid Swank
- Sound re-recording mixer: David Esparza
- ADR Supervisor: Robert Chen
- Sound Editor: Erin Roberts
- Foley Editor: Brendan Hill
- Assistant Sound Editor: Tim Tuchrello
- Vocal re-recording mixer: Joel Dougherty
- Foley Director: Paul Pirola
- Foley mixer: Brendan Croxon
- Foley Artist: Adrian Medhurst
- Foley Recording Engineer: Ryan Squires
- ADR Voice: Ashley Lambert
- ADR Voiced by: Ranjani Brow
- Visual effects producer: Raoul Bolognini
- Assistant Location Manager: Tyler Hohmann
- Producer: Gerald Busch
- Producer: Christopher Lenz
- Producer: Zev Foreman
- Producer: Raymond Mansfield
- Producer: Sean McKittrick
- Unit Production Manager: Alex G. Scott
- Producer: Lezlie Wells
- Editor: John Axelrad
- Casting Director: Larry Mayfield
- Art Director: Michelle C. Harmon
- Set Decoration: Chere Theriot
- Costume Designer: Marie Zofres
- Director of Photography: Pedro Luque
- Production Executive: Chelsea News
- Second Assistant Director: Chelsea Donison
- Second Assistant Director: Zach Earl Edwards
- Graphic Designer: Michelle Bellfield
- Music: Roman Jean Arthur Owen
- Music: Nate “Rocket” Miracle
- Conductor: Vincent Opido
Movie review:
- Wiccaburr: _The past never dies. It’s not even over yet.
- The film does a great job with its twists and reveals.
- That said, the movie could have been better overall.
The tone of race and discrimination is handled well.
The story may play out in a supernatural way.
Although I don’t hate the psychological thriller route they took. - The film received mixed reactions and reviews.
The most important thing is to see this movie in person.
Personally, I enjoyed it, but not enough to overlook the shortcomings of the film.
This movie takes something and tries to make it work.
It’s not great, but it’s not bad either. - SWITCH.: As someone who has been enjoying the renewed focus on noir horror and the rise of storytelling from a unique perspective sparked by Get Out, seeing a film like Antebellum enter theaters is a thrill to me. My heart sank. My fear is that if enough negativity is said about the genre and the discussion narrows, the film industry will simply stop making socially conscious horror movies. The biggest sin “Antebellum” commits is that the filmmakers inadvertently turned one of the most horrific periods in American history into a joke through extremely clumsy execution.
——Jack Watt - Read Jack’s full article…
https://www.maketheswitch.com.au/article/review-antebellum-socially-sensitive-horror-without-any-finesse-or-cleverness - Manuel São Bento: If you like reading my spoiler-free reviews, follow my blog @
https://www.msbreviews.com - Some outlets have provided a spoiler synopsis that I think the film should have omitted from its entire marketing campaign, including its own trailer. There’s a central mystery that starts almost halfway through the runtime, and continues until the beginning of the third act, so my advice: Stay away from the trailers and don’t read too much into the synopsis. Since I knew nothing about it, I watched “Before the War” with modest expectations and, most importantly, no preconceived ideas or theories about its narrative structure.
- However, I couldn’t help but watch this movie later than most, and I have to admit: I’m a little surprised that so many people hate this movie so deeply… It does have some problems, and I’ll address them , but overall, I think the extreme white-on-black violence is the main reason why so many viewers turned away from this movie. Let me start with this topic. There is no doubt that Gerald Busch and Christopher Lenz (making their directorial debut) have made a rather shocking film that depicts racism and slavery in an unpleasant but realistic way. That last part is exactly that seamless balance that every movie needs when dealing with these themes, and in my opinion, Busch and Lenz don’t really achieve that.
- The brutal torture and death scenes of black people in the film are shown without restraint. From the copious amounts of blood to the obvious blows, this is a film filled with realism that leaves you feeling uncomfortable. These scenes might be difficult to watch if they end up delivering a meaningful message or engaging arc, but ultimately feel necessary and emotionally impactful. If they don’t, then it just looks like violence for entertainment’s sake, which always bothers many viewers depending on the type of violence being shown. Busch and Lenz take risks that make the film work, and overall, while they’re far from perfect balance, their work is not bad at all.
- In fact, for a directorial debut, “Before the War” is technically very good. It begins with a long, unedited opening shot that shows the entire plantation, past the recent arrival of Janelle Monáe’s character, and ends with a terrifying slow-motion take on a desperate slave trying to escape. Those six to eight minutes function like a disclaimer to the audience. If people are too disturbed by what they have just witnessed, then it is best to put this aside and forget about it.
- Pedro Luque’s cinematography feels absolutely unique, and it never shies away from showing what’s going on, no matter how gruesome and gruesome. The string-heavy score by Nate Wonder and Roman Gianarthur enhances many of the suspenseful moments. Sounds pretty addictive, to be honest. Great production values, as expected, costumes and set design are great…visually, I have nothing to complain about. Even judging by the brutality itself, if its purpose was to show the suffering of the slaves at the time, it is as faithful as can be.
- From a story perspective, Busch and Lentz need to improve their writing skills. Their premise is very convincing, the non-linear narrative structure adds a touch of mystery, and the story itself is very interesting. However, instead of living up to its undeniable potential and delivering a great, deep, well-developed script, Antebellum ends in a predictable fashion, leaving plenty of interesting storylines to explore. Even the climactic, action-packed final minutes are impressive and every problem is solved too easily. It even gives the viewer the right to question why and how everything that happens in the movie actually happened for so long.
- However, it was far from a disaster, quite the opposite. I stayed invested until the very end, and almost every scene was so mesmerizing that I remained completely still, without taking my eyes off the screen. I didn’t feel too uncomfortable with displays of violence, so I guess my experience was smoother than most. Janelle Monáe’s character’s unique lifestyle on the plantation and in the city is brilliantly represented and is the best aspect of the entire film, clearly establishing a different palette and tone. Monáe delivers a powerful performance as the sole protagonist of an extremely heavy story, carrying the entire film on his shoulders.
- All in all, Antebellum will divide audiences for its disturbing yet realistic extreme violence. Gerald Busch and Christopher Lenz deliver an undeniably shocking film that involves difficult-to-watch depictions of torture, slavery, and racism. Technically, the camerawork gives the entire film its unique style, as does the score, costumes, and set design. Janelle Monáe shows off her acting chops as the title character, delivering a mesmerizing emotional performance. A non-linear narrative structure elevates the central mystery, but the story doesn’t get the extensive treatment its premise deserves. Huge potential is squandered in pointless, gruesome deaths, as is a disappointing third-act action sequence. While white-on-black violence is justified within the context of the film, its excessive, unbridled presentation, with no compelling message or arc surrounding it, is definitely a negative aspect that some people won’t be able to accept. I wasn’t bothered by that level, and I still believe the intentions were benign, so I recommend this directorial debut from Busch and Lentz, but to viewers who struggle with sensitive subject matter and/or those who struggle with depictions of intense violence There is a disclaimer.
- Rating: B
- Repo Jack: Antebellum is a difficult film to watch and review. Its depiction of slavery is brutal, but the twist that takes it into genre territory is ill-timed and ultimately disappointing.
- Repo Jack: Antebellum is a difficult film to watch and review. Its depiction of slavery is brutal, but the twist that takes it into genre territory is ill-timed and ultimately disappointing.
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