“Promising Young Woman” Blu-Ray Screen Captures


Written by Elise on January 18 2021

Originally scheduled for a theatrical release back in April 2020, Focus Feature has released “Promising Young Woman” on VOD on Friday, January 15 (in US theatres, December 25). This means I have been able to update our gallery with over 2,276 high-quality screen captures of Carey portraying Cassandra “Cassie” Thomas in Emerald Fennell’s 2020 film. Be sure to check out the movie on either Amazon or Apple TV (more ways to watch).

Promising Young Woman” is so good, it almost makes us forget the amazing in-person promotion tour Covid-19 has denied us. Certified FRESH on Rotten Tomatoes at 91%, it tells the story of a young woman, traumatized by a tragic event in her past, who seeks out vengeance against those who crossed her path.

A boldly provocative, timely thriller, Promising Young Woman is an auspicious feature debut for writer-director Emerald Fennell — and a career highlight for Carey Mulligan. – Critics Consensus @ Rotten Tomatoes

Feature Films > Promising Young Woman (2020) > Blu-Ray Screen Captures [+2,276]

Carey Mulligan and Emerald Fennell for Deadline


Written by Elise on January 16 2021

Deadline – Emerald Fennell’s directorial debut Promising Young Woman could have easily been your classic revenge fantasy thriller, with its tale of Cassie, a grief-stricken, silently enraged woman on a mission to expose every last sexual predator in town. Only it’s so much more. Styled like an entrancing ’90s romcom, it wrongfoots the viewer at every turn with its fluffy-sweatered, heart-printed world, punctuated by cupcakes and pop songs. With Carey Mulligan’s blood-curdlingly underplayed performance as Cassie, Fennell leads us down a deceptively pretty garden path to the real truth about sexual assault and society’s turning of the other cheek, in a journey so twisty we never see its end coming. Antonia Blyth meets Fennell and Mulligan to find out how they disguised a truly thought-provoking shocker as a pretty pink love story.

[…] As soon as she’d read the script, Mulligan was on board. “For ages before this film came along, people were like, ‘What part do you want? What have you not done that you want to do? What’s your dream part?’” Mulligan says. “And I couldn’t describe what it was. I would just say, ‘Well, I just know it’s not that, and I know it’s not that. I know it’s not the wife to that great man or the girlfriend who’s a ‘troubled individual’. I knew what it wasn’t. And when this came along I was like, ‘Oh, it’s that. That’s what I want to do.’

Photoshoots & Portraits > 2021 > Session 01 [+04]

[…] Fennell and Mulligan built Cassie through an ongoing conversation. And the result was a character who mostly appears impassive on the surface, like a kind of angel of justice. This was something that required so much internal emotion with so little surface tension. But, says Fennell, Mulligan was thoroughly cut out for the job. “You see what’s happening with so little. She’s got that thing that’s so rare to find, where she does almost nothing, and it’s almost everything.

[…] “It’s so easy to cry on camera and that’s the territory I feel comfortable in,” she says. “But laughing and being free and happy, without ego and self-awareness, I think is much harder. That’s why I have such an immense respect for comedians.

She definitely did not want to dance, and tried the tactic of telling Fennell she didn’t imagine Cassie would do that.

She confesses, “It was definitely me hiding behind my character saying, ‘Oh, Cassie doesn’t want to do it,’ but I think it was Carey not wanting to do it. A great note from Emerald was, ‘Of course you feel that way, but when you’re in love you look like an idiot from the outside. Everyone thinks you’ve lost your mind. You’re so annoying.’ And Bo, from the beginning, God bless him, was just totally comfortable doing it. He says he wasn’t, but he was immediately picking up the [can of] spam. So much of the levity, and so much of Cassie’s lightness and vulnerability, was just because Bo was so hilarious and charming in that role. I can’t imagine a different actor doing it.

But there was also the problem of singing along to Paris Hilton.

The lyrics are quite complicated to learn,” Mulligan says, with absolute seriousness. “There are bits of it that don’t really make sense. It’s like learning a Radiohead song. It’s not a narrative. They are strange bits in it that are… I mean, it’s a brilliant song, don’t get me wrong, I loved it. But it’s not straightforward to learn, so we did have to print the lyrics out and practice them.

Fennell and Mulligan always excitedly planned to invite Hilton to the premiere, and then the pandemic got in the way. “My biggest disappointment of 2020 was not getting to meet Paris Hilton,” Mulligan says. “I hope she likes it.

(read the full article at the source)

Carey and Emerald for The Los Angeles Times


Written by Elise on January 07 2021

LA Times – There’s a bouncy, open quality about their conversation on a late November morning, something that Mulligan says began with their first meeting. At the time, Mulligan had an impressive résumé in film, TV and theater and a 2009 lead actress Oscar nomination for “An Education,”  whereas Fennell was the showrunner on Season 2 of “Killing Eve” and occasional actress (currently giving serrated edge to Camilla Parker Bowles on the latest season of “The Crown”).

Photoshoots & Portraits > 2021 > Session 01 [+01]

Fennell’s only directing credit at that point was on a 13-minute short called “Careful How You Go.” She appealed to Mulligan with a digital mood board, a bubbly female-only pop song playlist and a script that was sometimes funny, often unsettling and 100% tricky to pull off. 

[…] It’s one of those “she can do anything” performances, especially because Mulligan has a natural modesty about her — in real life, she sends notes before photo shoots requesting that she not be asked to wear anything too skimpy or tight-fitting — and that she’s best known for breathing life into fragile women of prior eras.

Ten minutes in, I knew I just trusted her,” says Mulligan. “Emerald is so intelligent and has such a specific, brilliant sense of humor and also is completely in command of things in a way that’s really appealing to an actor. I knew she could pull it off. It felt like a tightrope walk. But it felt like no risk at all. It was more like, ‘This is going to be awesome.’

[…] “There’s a practical component to making your first film, which is that you’re not going to have a lot of money or time,” says Fennell, who shot the movie in Los Angeles in 23 days. She did everything she could to carve out entire days in the schedule for scenes where Cassie drops her falling-down-drunk act, sits up and sharply confronts the men attempting to assault her, guys who actually consider themselves honorable. […] “I wanted [Mulligan and the actors] to be able to face off with each other,” says Fennell, who encouraged her cast of bar habitués — Adam Brody, Christopher Mintz-Plasse and Sam Richardson — to improvise within the scene but only after offering a key piece of direction: “I want you to imagine yourself as the hero in a romantic comedy.

(read the full article at the source)

Carey Mulligan for The New York Times


Written by Elise on December 24 2020

The NY Times – […] “I know that for a cinema audience, I’m just constantly in period costume,” Mulligan said recently, shrugging her shoulders in an oversized red sweater. She was video-chatting with me from her British country house in Devon, where she had sequestered herself in a darkened music room typically used by her husband, Marcus Mumford, from the band Mumford & Sons. A single, solitary lamp illuminated her, as single, solitary lamps often do with Mulligan.

[…] The film [i.e. Promising Young Woman] is a tonal tightrope walk, and Mulligan is astonishing in it. There is so much about Cassie that an actress might be tempted to overplay — her biting sense of humor, her well-defended soulsickness, the startling lengths to which she’ll go in her mission — but Mulligan makes the character feel achingly real. And sometimes, as if it were as easy as breathing, she can convey all of those warring traits in the space of a single line.

She is so unfailingly truthful and about as grounded as an actress gets,” said Emerald Fennell, the writer-director of “Promising Young Woman.” By casting Mulligan, Fennell sought to steer clear of a more stereotypical presentation of female revenge, which would portray Cassie as “a woman walking down the street in slow-mo with a fire burning behind her,” as Fennell put it.

[…] Does she feel she’s been typecast as a period actress? Mulligan is quick to point out that she’s played at least two contemporary roles onstage over the last several years, in “Girls & Boys” and “Skylight.” But really, she said, it’s just rare for a contemporary movie to come along with an antiheroine as complicated as Cassie, whose mission is righteous even when her methods may be mad.

I never feel like I need to agree with everything that a character does for me to be along with the ride, and we never do with men,” Mulligan said. “Cassie has every right to be as closed down, as abrasive, as unpleasant, as vindictive as she likes, because she’s been through hell. But that doesn’t mean that we shouldn’t care about her.

Photoshoots & Portraits > 2020 > Session 16 [+03]

[…] “I read the Variety review, because I’m a weak person,” Mulligan said. “And I took issue with it.” She paused, debating whether she really wanted to go there. “It felt like it was basically saying that I wasn’t hot enough to pull off this kind of ruse,” she said, finally.

[…] Mulligan can still recite some of the lines from that review. But she said, “It wasn’t some sort of ego-wounding thing — like, I fully can see that Margot Robbie is a goddess.” What bothered Mulligan most was that people might read a high-profile critique of any actress’s physical appearance and blithely accept it: “It drove me so crazy. I was like, ‘Really? For this film, you’re going to write something that is so transparent? Now? In 2020?’ I just couldn’t believe it.

[…] “We don’t allow women to look normal anymore, or like a real person,” Mulligan said. “Why does every woman who’s ever onscreen have to look like a supermodel? That has shifted into something where the expectation of beauty and perfection onscreen has gotten completely out of control.

“I just don’t think that’s really what storytelling or acting needs to be about,” she said. “Things can be beautiful without being perfect.”

Page 1 of 41 2 3 4
014.jpg
015.jpg
012.jpg
013.jpg
010.jpg
011.jpg
009.jpg
008.jpg
006.jpg
007.jpg
02274.jpg