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Quote of the Week
"What if I’m not a superhero? What if I’m the bad guy?"

Edward Cullen, Twilight
Μια Βόλτα Στον Παράδεισο


Στην προσπάθειά της να ορθοποδήσει και να ξεπεράσει το φιάσκο του γάμου της, απογοητευμένη η Ζωή καταφεύγει στη Σαντορίνη. Εκεί γνωρίζει την Άννα, ιδιοκτήτρια πανσιόν, που της προσφέρει δουλειά, και τη Μαργαρίτα, ξαδέλφη της Άννας. Στο νησί την ακολουθούν και οι δύο αγαπημένες της φίλες, η Δανάη και η Βίκυ.

Η μοίρα όμως έχει ένα παράξενο σχέδιο.

Στο μαγευτικό σκηνικό της Σαντορίνης οι πέντε κοπέλες θα μπλέξουν τις ζωές τους, θα βρεθούν αντιμέτωπες με μυστικά και ψέματα, με μίση και πάθη που θα έρθουν στην επιφάνεια και θα γνωρίσουν τον έρωτα εκεί που δεν το περιμένουν. Θα κλάψουν, θα πονέσουν, θα γελάσουν, θα θυμηθούν και, προπάντων, θα αναζητήσουν η καθεμιά το δικό της προσωπικό παράδεισο.



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 Camp X-Ray (2014)

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Μετάβαση στη σελίδα : 1, 2  Επόμενο
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ΔημοσίευσηΘέμα: Camp X-Ray (2014)   Τρι 16 Ιουλ 2013 - 20:31

Υπόθεση: Μία νεαρή στρατιώτης που έχει καταταγεί στο στρατό για να ξεφύγει απ' την ασφυκτικά μικρή πόλη της, διαπιστώνει ότι δεν θα υπηρετήσει στο Ιράκ, όπως ήλπιζε. Αντί γι' αυτόν την στέλνουν στο Γκουαντάναμο, όπου βλέπει το μίσος & την κακοποίηση απ' τους Μουσουλμάνους άνδρες που της αναθέτουν. Παράλληλα, σφυρηλατεί μία περίεργη φιλία μ' έναν άνδρα που βρίσκεται φυλακισμένος για 8 χρόνια στο Γκίτμο.

Σκηνοθέτης - Σεναριογράφος: Peter Sattler

Ηθοποιοί: Kristen Stewart, Tara Holt, Lane Garrison, Joseph Julian Soria, Peyman Moaadi

Τα γυρίσματα της ταινίας ξεκινούν αύριο, 17 Ιουλίου, στο Los Angeles & η Kristen θα παίξει την Cole, την νεαρή στρατιώτη.

Και η πρώτη φωτογραφία της Kristen με 2 συμπρωταγωνιστές της, προφανώς απ' το στάδιο του pre production



Η σελίδα της ταινίας στην imdb http://www.imdb.com/title/tt2994190/?ref_=sr_1
& του fansite http://campxraymovie.blogspot.gr/
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ΔημοσίευσηΘέμα: Απ: Camp X-Ray (2014)   Τρι 16 Ιουλ 2013 - 20:50

ενδιαφερον φαινεται.

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ΔημοσίευσηΘέμα: Απ: Camp X-Ray (2014)   Τετ 17 Ιουλ 2013 - 22:14

ΠΡΩΤΕΣ ΦΩΤΟΓΡΑΦΙΕΣ + VIDEO ΑΠ' ΤΑ ΓΥΡΙΣΜΑΤΑ



















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ΔημοσίευσηΘέμα: Απ: Camp X-Ray (2014)   Πεμ 18 Ιουλ 2013 - 22:16

Πηγαίνοντας χθές στα γυρίσματα

http://www.imagebam.com/gallery/v8p0pfzj9wm34yeih5k9obiowqiomirh
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ΔημοσίευσηΘέμα: Απ: Camp X-Ray (2014)   Δευ 22 Ιουλ 2013 - 14:27

Γυρίσματα χθές 21 Ιουλίου







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Περισσότερες φωτογραφίες εδώ http://www.robstendreams.com/2013/07/new-pictures-of-kristen-on-set-of-camp_22.html
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ΔημοσίευσηΘέμα: Απ: Camp X-Ray (2014)   Παρ 26 Ιουλ 2013 - 21:35

Γυρίσματα χθές 25 Ιουλίου

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Περισσότερες εδώ http://www.imagebam.com/gallery/l60az7y01dthae8p3tt7h9zk8ey0uf8g

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ΔημοσίευσηΘέμα: Απ: Camp X-Ray (2014)   Σαβ 27 Ιουλ 2013 - 18:47

μονο εγω ειμαι η κακια και μου φαινεται γελοια με τα στρατιωτικα;;σαν παιδακι που φοραει τα ρουχα της μαμας του!

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ΔημοσίευσηΘέμα: Απ: Camp X-Ray (2014)   Κυρ 28 Ιουλ 2013 - 20:12

Γυρίσματα 27 Ιουλίου



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Περισσότερες εδώ http://www.imagebam.com/gallery/6tmuam7p9w1jgn9zxk62hd7jfheqbmmi


Να σου πώ Ελίνα, όταν βλέπουμε κάτι καινούριο στην αρχή μας φαίνεται περίεργο. Μετά το συνηθίζει το μάτι & δεν μας ξενίζει. Νομίζω έτσι θα γίνει & τώρα.
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ΔημοσίευσηΘέμα: Απ: Camp X-Ray (2014)   Σαβ 10 Αυγ 2013 - 14:26

Fan pics από τα γυρίσματα χθές 9/8









"Rob was not there. This is after she finished filming on set.
I don't want to post the location of the set because they're still filming & we don't want millions of paparazzi showing up."

http://www.robstendreams.com/2013/08/new-fan-picture-of-kristen.html#more
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ΔημοσίευσηΘέμα: Απ: Camp X-Ray (2014)   Παρ 11 Οκτ 2013 - 21:34

Παλιότερες Fanpics απ' τα γυρίσματα



http://instagram.com/p/fVfE2crM0k/#
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ΔημοσίευσηΘέμα: Απ: Camp X-Ray (2014)   Τετ 4 Δεκ 2013 - 21:42

Πρώτη still απ' την ταινία, η οποία θα κάνει πρεμιέρα το Γενάρη στο φεστιβαλ του Sundance



It’s official! The line-up for Sundance has been announced. Camp X-Ray will premiere at Sundance Film Festival (Jan 16-26, 2014).

   Camp X-Ray / U.S.A. (Director and screenwriter: Peter Sattler) — A young woman is stationed as a guard in Guantanamo Bay, where she forms an unlikely friendship with one of the detainees. Cast: Kristen Stewart, Payman Maadi, Lane Garrison, J.J. Soria, John Carroll Lynch.

(via http://robstendaily.org/ http://www.strictlyrobsten.com)
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ΔημοσίευσηΘέμα: Απ: Camp X-Ray (2014)   Πεμ 5 Δεκ 2013 - 6:20

Mου αρεσει

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ΔημοσίευσηΘέμα: Απ: Camp X-Ray (2014)   Πεμ 5 Δεκ 2013 - 12:12

πιο αδιαφορω πεθαινεις!!

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ΔημοσίευσηΘέμα: Απ: Camp X-Ray (2014)   Παρ 6 Δεκ 2013 - 6:58

H Kristen με τη συμπρωταγωνίστριά της στην ταινία Tara Holt BTS



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ΔημοσίευσηΘέμα: Απ: Camp X-Ray (2014)   Πεμ 26 Δεκ 2013 - 20:03

O Lane Garrison μιλάει για την ταινία & την Kristen *Spoilers*



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ΔημοσίευσηΘέμα: Απ: Camp X-Ray (2014)   Δευ 6 Ιαν 2014 - 19:48

Sundance Preview: Kristen Stewart Plays a Gitmo Guard in Buzzy 'Camp X-Ray'


Writer/director Peter Sattler is ready to tell a different kind of Guantanamo Bay story in one of this year's major competition films.

The Sundance Film Festival is a mecca for independent cinema and a pool of fresh filmmaking talent. But with nearly 200 films selected for exhibition, it can be a dizzying game of catch-up. So this year, The Hollywood Reporter decided to do a bit of prep work for you: Here's the who/what/where/when/why on films worth putting on your radar.

Peter Sattler's Camp X-Ray will undoubtedly stir the pot when it premieres on Thurs., Jan. 17, the first full day of the 2014 Sundance Film Festival. First there are the political provocations: the film follows a young woman recently assigned to prison guard duty at Guantanamo Bay who finds herself befriending an inmate. Then there are both critics and fans of Kristen Stewart, anxious to see how the film subverts the actress' assumed evolution (and judging from the sold-out screenings, they latter will be coming out in throngs). Camp X-Ray marks Sattler's directorial debut, though it would be an ambitious project for even a seasoned filmmaker. Before it bows at Sundance '14, we talked to Sattler about his career, developing Camp X-Ray, and his hopes for this competition film:
Background: Sattler studied film at the North Carolina School of the Arts, where he befriended filmmakers like David Gordon Green (who executive produced Camp X-Ray), Jeff Nichols and Craig Zobel. There he took to experimental filmmaking, directing the Student Academy Award-nominated short Newton. When Green directed his second feature, All the Real Girls, he grabbed his college buddies, including Sattler, to work as below the line crew. “I worked in the art department and I told him, 'I don't know the first thing about the art department,'” recalls Sattler. “And he said, 'That's OK, we'll work it out.'

The Big Break: After years of working in art departments, Sattler turned a passion for screenwriting into a full-time job. With writing partner Geoff Davey, he tackled studio genre assignments and rewrite jobs, slowly putting his graphic design work behind him. In 2008, he set up an adaptation of the graphic novel Freaks of the Heartland at Overture with Green attached to direct. All the while, Sattler toiled away over Camp X-Ray, the result of a newfound obsession with character and classic storytelling.

Getting the Film Off the Ground: When Sattler's script for Camp X-Ray was production-ready, he handed it to Green, who had been anxious to help his former collaborator get a feature off the ground. Sattler explains Green's willingness to help him in simple terms: “David just wants to see movies made.” Together they attracted investors, along with a lead actress who gave Sattler's debut a star-power boost. “It was the script and David's involvement that got Kristen interested,” he says. “She took a huge risk, jumping on to this movie with a director who hadn't directed a feature, but I think she responded to the power of the script.”

When It All Seemed to Click: Knowing that many first-time directors stumble with style over substance, Sattler opted to shoot Camp X-Ray as “a very classic, very elegant film” that let the script and performances do the talking. So it wasn't until he met with Stewart and talked through the character of Amy that his vision began to coalesce. “The weird thing about Kristen is that there's Kristen Stewart the star and Kristen Stewart the actor,” he says of his lead. Together, they started asking questions that acted as foundation for the film's main action. Sattler rattles off examples: “Who is this girl? She didn't do that, she did this. OK, what did she do in high school? Was she involved in sports? Was she a virgin?” He says Stewart filled in many of the blanks and added dimension to the ideas he had put on the page.

For a low-budget drama, finding a Gitmo stand-in could prove difficult. But that's what the Internet is for. Sattler began researching and discovered that Guanatnamo Bay was designed by a U.S. contractor known for its maximum security prisons. Then he stumbled upon a juvenile prison in Whittier, California (just outside of L.A.), that just so happened to have a block of cells mimicking maximum security prisons. Stars aligned. Sattler believes the verisimilitude was essential to Camp X-Ray. “The movie basically has three characters, three primary elements: Kirsten, Paymer [Moaadi, of A Separation, as inmate Ali] and the character of this place.”

The Mission for Camp X-Ray: Sattler didn't want to make a movie about Guantanamo Bay that was politically charged and reflective of a big picture. He wanted to make a movie about Guantanamo Bay as a home to inmates and guards alike. “What if a movie could be about Guantanamo Bay without focusing on the 100 miles of fence line and, instead, focused on the smaller details. The microscopic view instead of a grand scale. Not Zero Dark Thirty but an intimate look at a world. These characters don't experience amazing helicopter shots over Guantanamo. They basically experience those four walls they see day in and day out,” Sattler says.

http://www.hollywoodreporter.com/news/sundance-preview-kristen-stewart-plays-668553
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ΔημοσίευσηΘέμα: Απ: Camp X-Ray (2014)   Πεμ 16 Ιαν 2014 - 0:11

Kristen Talks Indie Films With The Associated Press

Robert Redford’s two-week celebration of independent cinema kicks off its 30th year Thursday in Park City, Utah, with a lineup that includes 117 feature films. One of them is “Camp X-Ray,” in which Stewart plays against type as a Guantanamo Bay guard who befriends a prisoner.

Stewart, who was last at the festival in 2010 when she was promoting her role as Joan Jett in “The Runaways,” says “Camp X-Ray” was one of the rare scripts she’d read that made her want to work again after her two-year acting hiatus following the “Twilight” movies.

“At my age it’s difficult to find stuff that isn’t completely derivative,” said the 23-year-old in a recent interview. “Most parts are imitating something else that was popular.”

With “Snow White and the Huntsman 2″ coming in 2015, Stewart’s big-budget franchise days are far from over. “But it’s a little bit more difficult to create the environment that I thrive in on a bigger movie,” she explains. “I prefer doing smaller ones. They’re quicker. I like intensive things and then I like to walk away.”

http://news.yahoo.com/stewart-gordon-levitt-moss-sundance-bound-224842793.html?utm_source=twitterfeed&utm_medium=twitter

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ΔημοσίευσηΘέμα: Απ: Camp X-Ray (2014)   Σαβ 18 Ιαν 2014 - 0:05

Φεστιβαλ Sundance - 17 Ιανουαρίου



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ΔημοσίευσηΘέμα: Απ: Camp X-Ray (2014)   Σαβ 18 Ιαν 2014 - 12:50

Οι πρώτες κριτικές για την ταινία & την Kristen είναι αρκετά καλές  ***Περιέχουν spoilers***


Variety

Channeling Jodie Foster in “The Silence of the Lambs,” Kristen Stewart delivers a solid performance as a rookie Guantanamo Bay guard in “Camp X-Ray,” a competently directed, politically questionable film whose most appreciative viewers will leave feeling better about Gitmo. Personalizing the war on terror through its story of the tricky friendship that develops between Stewart’s tough-and-tender private and a Middle Eastern inmate (Payman Maadi) whom she’s instructed never to call a prisoner (those are protected by the Geneva Convention), first-time writer-director Peter Sattler’s pic means very well, but strains credibility and ethics alike. Commercial prospects appear limited.

Much of the dialogue-driven film has Maadi’s Ali, more cat than mouse, and Stewart’s Cole, frightened but drawn in, conversing through the tiny window in his cell, a conceit that puts the pic firmly in the company of “Lambs,” not least when the private refers to her charge as “Lecter.“

Like Clarice Starling, Pvt. Cole is a young woman from a small town who’s challenged to keep her cool as the incarcerated man taunts, intrigues and occasionally humiliates her — most violently here in a scene that informs the viewer of what U.S. military guards apparently call a fecal “cocktail.” (Stewart’s slight resemblance to Foster — first noticed by David Fincher, who cast the two as mother and daughter in “Panic Room” — only adds to the similarity between Starling and Cole.)

Set mostly in the late aughts, the movie begins in 2001 with TV news images of the Twin Towers spewing smoke, followed by the brisk apprehension of three Middle Eastern men, one of whom is Ali. The first reel of “Camp X-Ray” amounts to Sattler’s most gripping filmmaking by far, as it also includes the startling sight of Stewart looking stern and beaten down as Cole, who arrives to work on a Gitmo cell block eight years after 9/11. Alas, the early promise of an aptly intense look at U.S. detention center realities gradually gives way to something a good deal gentler — and a lot less plausible.

An avid reader of both the Quran and the Harry Potter books (all but the last one, anyway), Ali brilliantly manages to get Cole talking, taking her aback with his commentary on the library materials she distributes to inmates. That the Gitmo guards have withheld the final Potter volume from circulation gives Cole a rather predictable choice to make, while allowing Sattler to portray a rather more tolerable cruelty than any informed American citizen is likely to have heard about before.

“Camp X-Ray” is most commendable for believably depicting the U.S. military from a female officer’s point of view, particularly as Cole gets mistreated by a macho male corporal (Lane Garrison) and dares to fight the invisible war by filing a report with the commanding officer (John Carroll Lynch). So, too, the film treats its characters, guards and inmates alike, with clear compassion, although, as a terror-war movie, its preoccupation with the heartwarming exception to the rule too often turns bold American drama into standard operating procedure.

The two leads are excellent and play off each other deftly. Acting almost exclusively with his bearded face as seen through the cell window, Maadi (“A Separation”) calibrates precisely the character’s mix of humor, anger, despair and endurance. In a turn that will surprise and impress those who know her only from the “Twilight” films, Stewart is riveting, especially in the final scenes, where Sattler reverses the camera’s perspective so that Cole is the one viewed through the window, appearing as a sort of prisoner herself.

Editing of the nearly two-hour film could be much tighter, particularly in the midsection. James Laxton’s widescreen cinematography effectively communicates tension in both open and confined spaces. Other tech credits are sharp, with the exception of a bumpy sound mix.


The Daily Beast

Stewart’s latest role, and her first in the lead since those terribly popular vamp movies, is her most ambitious one yet. In Camp X-Ray, she plays Amy Cole, a newly enlisted guard at Guantanamo Bay detention center. She’s a bit of a mystery, this Amy. We don’t know where she hails from, and are only given brief biographical snapshots, from a Skype chat with her disturbingly upbeat mother, who mentions the man she’s left back home to go all America on everyone’s asses, to a brief sauced-up encounter with her immediate superior, Cpl. Randy (Lane Garrison), whose aggressive face-sucking causes her to storm out in a huff. Amy is, it seems, a lost young woman who’s been indoctrinated into this “patriotic” role (“I wanted to do something important,” she’ll later reveal). She meticulously de-glams, forcing her flowing brown hair into a tight bun. The uniform, and this newfangled authoritative role, gives her a sense of purpose.

The film opens with a shot lingering on the World Trade Center up in smoke. We’re in a nondescript Muslim country, and the 9/11 attacks are being broadcast on Arab television. A man is seen handling a bunch of cell phones on a table before going to a sun-lit room to pray. Suddenly, a hood is shoved over his head. Extraordinary rendition. He’s being shipped, in an orange jumpsuit with a black hood over his head and a headset muffing his ears, to Guantanamo Bay, Cuba. It’s a beautifully shot sequence, the harsh orange uniforms juxtaposed with the shimmering blue water. When the hood is removed, the man’s (Peyman Moaadi) face appears beaten to a pulp. He’s placed inside of tiny steel cage outdoors, along with several other shocked men.

Eight years later, Private Cole arrives at Gitmo.

“Make no mistake about it, this is a war zone,” says Randy, who further instructs his new batch of guards to only refer to the imprisoned as “detainees,” since they aren’t subject to the by-laws of the Geneva Convention.

On her first day, the go-getting Cole volunteers to join an IRF, or Internal Reaction Force—a group of four guards who don riot gear in order to discipline a combative detainee. Cole is initially put off by the brute display of force employed to restrain just one man, but during the fracas, the detainee elbows her in the face. She kicks him in the stomach in retaliation as he lies restrained on the ground. Later, we see the detainee strapped to a chair and locked in a room. His strident screams can be heard on the other side of the wall.

Cole is given day-duty, which consists of delivering books to the detainees through their cell doors. Many of the inmates, who are almost entirely Muslim, won’t look her in the eye.

“These guys just don’t like girls,” says the narrow-minded Randy. “It’s some Arab thing.”

One inmate that does is Ali Amir (Moaadi), otherwise referred to as “471.” He’s a self-described university graduate who reads Emily Dickinson. He tries to engage Cole in conversation, demanding the final book in the Harry Potter series.

“Imagine, two years I’m asking you to give me this book,” he says of The Deathly Hallows.

“Cut the Hannibal Lecter shit,” she replies, in an apparent tip of the cap to her Panic Room co-star. “Just keep it down.”

So, he responds by throwing a cup of shit at her. Cole is, once again, seeing red. As punishment, her superiors, led by Col. Drummond (excellent character actor John Carroll Lynch), order Ali to be placed on the “Frequent-Flyer Program,” whereby he’s shuttled from one cell to another every two hours as a form of sleep deprivation. It’s her first real taste of the inhumanity of this place. The detainees then stage a five-day hunger strike, demanding an elliptical machine for the prison yard (which is granted).

Later on, an understanding is struck between Cole and Ali—he calls her “Blondie,” and she calls him “Ali”—and the two discuss a number of issues through his cell door as he makes his daily rounds, ranging from literature to their respective backgrounds, and how they ended up at this godforsaken place. Randy catches wind of their “special relationship”—or conversing with the detainees and treating them like humans—and punishes Cole, whom he still has a vendetta against for turning down his advances, and Ali by having her monitor him while he showers.

“Are you a soldier, or a female soldier?” Randy asks her.

After the episode, Cole takes action against Randy, accusing him of an SOP (Standard Operating Procedure) violation. The higher-ups side with Randy, and Cole assumes the role of pariah among the guards. She’s given a taste of what the prisoners face daily—the sense of isolation—and it rattles her.

“It’s not as black and white as they said it was going to be,” she complains to a fellow guard.

Camp X-Ray suffers from bouts of clumsy, tone-deaf writing—in particular the scenes of Ali complaining about the facility having all but the final Potter book. It comes off as slightly comical, when it should be far, far from it. The same goes for the elliptical machine hunger strike, which also comes off as tonally deficient, to say the least. Perhaps Sattler was taken by the story that hit the news a few years ago about a 48-year-old terror suspect who collapsed and died at Gitmo after using an elliptical.

In addition to the hunger strike, many of the scenes are lazily conceived, including the one where the asshole corporal gets a little too rough with Cole in a bathroom (who didn’t see that coming?), or scenes where Cole interacts with her only “friend” at the base, a guard named Rico who emits an incessant string of vacuous statements (“These detainees are crazy!”).

But, by the end of Camp X-Ray, you’re won over by Stewart’s layered turn as Cole, and Moaadi’s as the defiant Ali. It’s a role perfectly suited to her strengths—vulnerability and hidden courage—and few young actresses, with the exception of Jennifer Lawrence, can hold a close-up like Stewart. If this is evidence of what’s in store for us from a post-Twilight Stewart, which will also include an upcoming project with acclaimed French filmmaker Olivier Assayas, then her future is looking pretty bright.


The Slanted

Going into Sundance, Kristen Stewart’s upcoming drama on Guantanamo Bay named ‘Camp X-Ray’ was a film on almost everyone’s list. The screening did incredibly well at Sundance, with many viewers offering up a standing ovation when the film came to an end.

This isn’t Stewart’s first time at Sundance, in 2010 she attended for the premiere of “The Runaways,” but her film “Camp X-Ray” is looking like it will be one of the star’s best ever performances. The screening was held earlier this afternoon (Friday) at the lovely Eccles Theater in Park City, Utah.

The film of course was shot nowhere near the actual location, but set design was astonishingly well done.

Stewart, in the past, has been criticized for her somewhat cold-approach to acting, but here its a perfect for this character. It adds another layer of bubbling inner-conflict to the soldier, who more often than not is more statuesque than a regular person would be. It’s refreshing to see Stewart in a role that fits her acting a little better, and she should be very exceed to see the film’s release.


THR

Writer-director Peter Sattler’s riveting first feature, Camp X-Ray, leaves aside the controversy surrounding Guantanamo Bay to focus instead on a personal drama of human connection and compassion, deftly drawn out of the mundane day-to-day of cellblock life. In essence a two-hander, it balances a powerfully internalized performance from Kristen Stewart, delivering perhaps her best screen work to date as an inexperienced military guard, against an equally compelling characterization from Payman Maadi as the long-term detainee who pierces her shell. Its psychological complexity and rich emotional rewards should ensure this expertly crafted if overlong film a significant audience.

Sattler signals his storytelling confidence from the outset with the taut pre-title sequence. An Arab-language television newscast shows the familiar image of smoke billowing from the Twin Towers, while a Middle-Eastern man prepares to leave his dingy apartment. As he pauses to pray, law enforcement agents burst into the room, slipping a sack over his head and removing him on a journey that – in quick cuts of starkly framed images – transports him and others by air, sea and road to a steel-fenced prison facility where they are placed in individual cages. When the sack is removed, we see the beaten, bloodied face of the man we will come to know as Ali (Maadi), or detainee 471.

Jumping ahead eight years, recent recruit Cole (Stewart) arrives, and with other new guards, is given the standard orientation drill. That includes 12-hour patrol rotation and suicide watch every three minutes through glass windows in each single-occupancy cell door. “They will test you, they will best you,” says Ransdell, the division’s cocky tough-guy corporal who will be Cole’s direct superior. He advises the newbies to share no names or information: “Don’t let them get inside your head.”

Anxious to prove her mettle in the mostly male company, Cole volunteers on day one to be part of a four-member Initial Reaction Force team called to subdue a violent jihadist detainee. Her “Welcome to Gitmo” involves being punched in the face and spat on. In these lean establishing scenes, Sattler and editor Geraud Brisson lay a foundation of atmospheric tension, aided by the measured movement and steady gaze of James Laxton’s digital camerawork and by Jess Stroup’s moody melodic score.

The tone begins to shift, however, during a terrific scene invigorated by unexpected humor, in which Cole wheels the book cart along the cellblock corridor and has her first interaction with Ali. Returning a fat volume of Emily Dickinson poems, he sniffs at the other reading material on offer before launching into a rant about the guards withholding the seventh Harry Potter book to drive him crazy. In this and subsequent exchanges he needles Cole – sometimes just toying with her, sometimes getting aggressive or downright nasty – while she endeavors to remain impassive.
Attempting to adapt to the military mindset, Cole participates in beer blasts and fishing trips. She tries to swallow her moral misgivings when she feels Ali is being inhumanly punished for a transgression in which she was affected. But when Ransdell hits on her and she has second thoughts about consenting, her acceptance in the company is threatened. Observing her talking with Ali in the exercise yard, the corporal uses his power to humiliate both guard and detainee.

Cole’s decision to report Ransdell for conduct violation backfires in another intensely played scene. She is interviewed by the commanding officer (John Carroll Lynch), who makes his feelings clear concerning his views on reporting against a fellow officer and also his own resentment at being assigned to Gitmo.

At a fraction under two hours, the film could benefit from minor tightening, particularly of some midsection slackening. But the continuing evolution of Cole’s cautious friendship with Ali is observed with emotional integrity and poignancy, depicting two intelligent people in contrasting states of confinement, each of them seeking contact. The dramatic stakes are elevated in a highly suspenseful climactic scene during which both Cole and Ali reveal more about themselves in a few minutes than they have throughout the entire movie.

“You and me are at war,” Ali says to her at one point. But while the detainee’s innocence as a terrorism suspect is clearly inferred, one of the strengths of Sattler’s screenplay is his refusal to make this a straightforward drama about enemies, injustice or dehumanizing persecution. He makes it about empathy, and in doing so broadens the intimate story to find thematic universality.

Sattler’s grasp of character is exceptional, as is his guidance of the actors, suggesting distinct personalities among Cole’s macho fellow guards generally with just a line or two. But the pulse of this enhanced chamber piece, much of which obviously takes place in claustrophobic interiors, is the unlikely bond of Cole and Ali.

Best known for his fine work as the embattled husband in Iranian foreign-language Oscar winner A Separation, Maadi makes Ali a proud, angry man, as dismissive of his fellow inmates’ hostility as he is of the U.S. military. His bitterness when he strips Cole of her delusions about herself and what she has learned is formidable. But so too is his shattering fragility when he ponders his future.

Ever since the Twilight backlash began, people have questioned whether Stewart is merely a sullen screen queen or a real actor. She puts that argument to rest here, playing a tough, taciturn character driven by an inarticulate urge “to do something important,” but steadily awakened by unpredictable reality. It’s a fiercely contained performance, conveying raw personal insights even when Cole outwardly remains clenched in discomfort. There’s not a moment Stewart’s onscreen here where she isn’t completely transfixing.


The Salt Lake Tribune

*** (three stars)
Once you get past the obvious physical miscasting of the petite Kristen Stewart as a Guantanamo Bay MP, writer-director Peter Sattler’s drama "Camp X-Ray" plays out as a thoughtful story of two people caught in a bad situation. Stewart plays Pfc. Amy Cole, assigned to Gitmo in 2009, and getting accustomed to the daily routine of tending to the detainees who have been locked up since 2001. Though she’s warned not to get conversational with the detainees, she becomes intrigued with one, Alim (Payman Maadi, from "A Separation"), whose long record of outbursts belies an erudite soul who does sudoku puzzles and reads the Harry Potter books. Sattler uses the byplay between Amy and Alim to illustrate the gulf between two cultures, and the strong performances by Stewart and Maadi highlight the difference between what we think we know about "the other" and how they really are.
-- Sean P. Means


HitFix

Kristen Stewart's involvement will no doubt bring a certain amount of attention to Peter Sattler's debut feature film, "Camp X-Ray," which is probably the best use she could make of the stardom she seemed so uncomfortable with in the wake of the massive success of the "Twilight" series.

That discomfort, evident in pretty much any interview or red carpet she's ever done, is one of the her assets as a performer, and in the right role, it can be a very compelling thing. She stars as Cole, a young soldier stationed as a guard at Guantanamo Bay eight years after the events of 9/11. The movie unfolds in a very deliberate, experiential way. It actually opens with the smoking World Trade Center on TV. We see that we're in a hotel room. There's a man with several cell phones praying to Mecca. In mid-prayer, he is grabbed, a bag pulled over his head, and then we see a series of images of various people being transferred to Guantanamo. Our last glimpse of him is huddled in a cage, face bloodied and bruised, with armed soldiers all around.

Eight years later, once Cole starts her tour at Gitmo, we catch up with Ali (Payman Maadi), who is still being detained. The film paints a portrait of the daily life of both the soldiers who are stationed there and the detainees (it is pointed out early on that they are never to be referred to as "prisoners" because of the Geneva Conventions), and perhaps the strongest thing Sattler does is try to maintain a neutral eye as he looks at the way this situation affects both sides.

When I wrote a review of "Lone Survivor" recently, I got some angry reactions from people upset that I didn't like the movie and that I questioned the value of the mission depicted in the film. One of the oddest cognitive disconnects possible is when someone tells you to shut up and keep your opinion to yourself because soldiers are fighting for your freedom. Never mind the fact that stifling an opinion you don't like runs entirely counter to the notion of freedom. What really seems strange to me about that reaction is the idea that someone genuinely believes that my personal freedom is impacted one way or another by what happened to a handful of SEALs on a mountain in Afghanistan, or the notion that same freedom depends on the actions of soldiers in a military prison in Cuba. Whether Sattler wants his film to be political or not, it is, simply by virtue of the ideas it addresses. While I understand the hole that our government dug for itself with the detainees, I don't understand the utter lack of forward motion regarding what we're supposed to do with these people. At what point do we admit that our security theater has been unsuccessful, and how do we even begin to address the mistakes we've made regarding some of these people?

Slowly, a rapport develops between Cole and Ali, and both Stewart and Maadi do excellent work in the film. Maadi captures the rage and the helplessness and the struggle to maintain some semblance of sanity when locked in an insane situation with no end in sight. Stewart manages to etch a very empathetic portrait of a young woman who isn't completely comfortable with what she's being asked to do, and the obvious ambivalence she has towards her hometown that she escaped and the life she's signed up for make her the perfect guide for us through what is a very complicated moral landscape. Sattler wisely never tries to portray Ali as a complete innocent. The opening scenes with him are just quick enough, full of small details that are hard to sort out, that it's hard not to think that he was involved in something. But what? And when there's no trial and no push to learn anything from the people being detained, what's the point? For a country that spends so much time talking about the importance of freedom, we seem perfectly content to deny that to people over vague possible wrongdoing, and happy to have those people out of sight where we don't have to think about it.

On the bus after the film, one guy was loudly complaining that the film only bothered to humanize one of the detainees, but I think that's actually sort of canny on Sattler's part. The more of the detainees he introduces and the more he tries to paint full pictures of each of them, the less time he has to do so. Instead, by focusing on Cole and Ali, he's doing his best to let them stand as representatives for both sides, and in their human interaction, we can see the entire dynamic of Guantanamo Bay writ large. There's a moment early on where Cole and Ali talk about the books on the small library cart that she's tasked with rolling around for the prisoners, and while it's both absurdly funny and completely mundane, it says a lot about both of them. Cole resists listening to anything Ali is saying beyond a surface level, because it is easier to treat him as a faceless number than it is to acknowledge that he is a human being locked in confinement for eight years without any sort of due process, and Ali is so focused on his own outrage that he doesn't see how dangerous it is for any guard to deal with him on a personal level.

Little by little, though, there are shifts in perception and moments of understanding and by the end of the film, there is something real that happens between them. There's no giant dramatic impossible conclusion built into the film by Sattler. He knows that this situation will keep rolling on for the foreseeable future, and that no one soldier and no one detainee will change that. But his film dares to suggest that the only true chance there is for any solution exists when we see each other as something more than labels and surfaces, an idea that evidently still terrifies many people on both sides of the equation.

Technical support is strong for Sattler on the film, and special note must be made of the work by Richard Wright, the film's production designer. He's done a great job of creating a Guantanamo Bay that feels real and functional instead of a movie set. The film is carefully shot, with a fine eye for detail, by James Laxton, and Jess Stroup's score offers fine emotional shading without hammering anything. The rest of the cast is also very good, with Lane Garrison in fine form as Corporal Ransdell, the Texas-bred roughneck who Cole answers to directly. I really like the way his character's written so he never tips into easy caricature, and John Carroll Lynch is equally good as Col. Drummond, the C.O. of the base. The film paints a frustrating picture of what it must be like to serve in the modern military in a bureaucratic position, but instead of casting the military as villains or heroes, it simply tries to capture the contradictions that drive most of their daily behaviors. There is a very deliberate pace to the film that may be intentional, but it still feels like it takes a while for the story to find its focus, which could be an issue for many viewers.

"Camp X-Ray" is going to be a hard commercial sell, but the film has a delicate human heart, and it is ultimately rewarding. I think it's a strong indication of what Stewart can do with the right material, and it makes a case for Maadi as one of the most interesting character actors working right now. Solid, small, and sincere, "Camp X-Ray" offers an important perspective to a difficult conversation.


Vanity Fair

You likely have strong opinion on Kristen Stewart's acting abilities. The Twilight movies turned you way on or way off. Well, throw that perception out the window. In her new movie Camp X-Ray, Stewart plays a Guantanamo Bay guard who befriends an inmate. You read that correctly. While the movie takes a deliberately apolitical stance and clinical approach to depicting the malaise of Gitmo life, Stewart's brand of introverted, lip-biting naturalism adds a necessary warmth to the movie. Like her character, who retreats from life in Florida to whatever the army may provide, Camp X-Ray is Stewart shedding a skin and allowing herself to be tapped for talent. Director Peter Sattler finds a real person in Stewart, enveloping her in a reality that's more nurturing to her personality than Snow White fantasy lands. She wears her camouflage with a stone cold intensity, slowly breaking down when she opens up to a detainee (played by A Separation's Peyman Moaadi). The movie doesn't dig too far under the surface, but Stewart is a watchable pawn in the prison's mechanics. If you've written her off, realize you've under-appreciated her all this time.


Buzzfeed

    To say Kristen Stewart is a reluctant celebrity would be a laughable understatement. Now shed of the Twilight movies and their accompanying publicity campaigns, she seems determined to become the actress she would have been if Bella hadn’t come into her life. And in Peter Sattler’s new film Camp X-Ray, which had its high-profile (thanks to its star) premiere at Sundance on Friday, Stewart plays, of all things, a guard at Guantanamo Bay. And she is very good in it.

   Stewart’s character, Cole, is a cypher at first: For most of the movie, we don’t know her first name, or anything about her. She comes to Guantanamo clearly determined to overcome any fear she has about being there, and to escape her life. She’s angry, stone-faced, energized by the prisoners’ agitations, and wanting to belong among her fellow military comrades. Lane Garrison, who is starting to make a career comeback after his imprisonment for vehicular homicide several years ago, plays Cole’s boss, a leeringly fratty corporal who hates the prisoners (or detainees, as they’re called to avoid abiding by the Geneva Conventions). There is one other female character in the movie, who’s more of a party girl, and we never hear her speak; the two women seem to think they have no reason to talk to each other.
   The story’s thrust comes from Cole’s back-and-forths with Detainee 471 — played by Payman Maadi, who is both sinister and beguiling — who tells her his name is Ali. He is handsome, smart, and a good conversationalist; but he also throws shit at Cole. I suspect you will be hearing about Maadi and this role. Let’s hope the film industry can make way for him, and that he doesn’t always have to play a terrorist.

   Or a possible terrorist. As we know from the real world, it’s unclear what the current incarcerations at Guantanamo have gotten us — and we also know that President Obama broke his promise to close the prison because no one can figure out what to do with the men inside. That thread of frustration and hopelessness runs through Camp X-Ray, which takes place nine years after the attacks of Sept. 11, 2001.

   There’s a Harry Potter metaphor that runs through the film — about Snape — that symbolizes the Sundance movie’s powerful emotional impact and its symmetrically constructed narrative. But it’s also indicative of Camp X-Ray’s tendency to overreach sometimes. Ali begins his interactions with Cole by demanding the seventh and last book in the Harry Potter series; he says he knows it exists, never gets to read it, and needs to know whether Snape is a good guy or a bad guy. It’s the kind of framing that’s designed to pay off in a play-like screenplay like Sattler’s. And it does.

   As Camp X-Ray’s story unfolds, and Cole begins to identify with and like Ali, the movie relies on what’s become Stewart’s signature awkwardness. And by the film’s end, Cole has transformed. If that’s Stewart’s goal as well, Camp X-Ray is an excellent start.

http://www.robstendreams.com/2014/01/camp-x-ray-reviews-compilation-post.html#more
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ΔημοσίευσηΘέμα: Απ: Camp X-Ray (2014)   Τρι 21 Ιαν 2014 - 23:05

Συνέντευξη στο On The Red Carpet - Πρεμιέρα Sundance



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ΔημοσίευσηΘέμα: Απ: Camp X-Ray (2014)   Τετ 22 Ιαν 2014 - 23:41

2 νέες συνεντεύξεις στο VH1 απ'το Sundance

http://www.vh1.com/video/interview/996406/kristen-stewart-had-a-tiny-period-of-time-to-prepare-for-camp-x-ray-role.jhtml

http://www.vh1.com/video/interview/996404/kristen-stewart-talks-about-the-casting-process-for-camp-x-ray.jhtml

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ΔημοσίευσηΘέμα: Απ: Camp X-Ray (2014)   Πεμ 23 Ιαν 2014 - 21:34

PARK CITY TV INTERVIEW



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ΔημοσίευσηΘέμα: Απ: Camp X-Ray (2014)   Κυρ 26 Ιαν 2014 - 21:26



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ΔημοσίευσηΘέμα: Απ: Camp X-Ray (2014)   Πεμ 6 Φεβ 2014 - 21:35

IFC Films Acquires “Camp X-Ray” Distribution Rights

IFC Films announced today that they have acquired North American distribution rights to Camp X-Ray, director Peter Sattler's debut film that premiered in the U.S. Dramatic Competition at the 2014 Sundance Film Festival.

Starring Kristen Stewart as a member of the military overseeing detainees in a Guantanamo Bay detention facility, Camp X-Ray has been the subject of much buzz since it premiered on January 17th. Writing for The Hollywood Reporter, David Rooney had a very positive reaction to the new work. "In essence a two-hander," Rooney described, "[the film] balances a powerfully internalized performance from Kristen Stewart, delivering perhaps her best screen work to date as an inexperienced military guard, against an equally compelling characterization from Peyman Moaadi as the long-term detainee who pierces her shell. Its psychological complexity and rich emotional rewards should ensure this expertly crafted if overlong film a significant audience."

On the powerful performances given by the film's two leads, President of IFC Films Jonathan Sehring raved "Maadi proves once again that he is a force to be reckoned with, and Stewart undoubtedly gives the best and most moving performance of her already remarkable career."

Although a release date has yet to be set, expect a theatrical roll out later in the year, accompanied by a pre-theatrical On Demand run (IFC Films has had much success with this distribution model in the past).

http://www.filmlinc.com/daily/entry/ifc-films-acquires-camp-x-ray-distribution-rights
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ΔημοσίευσηΘέμα: Απ: Camp X-Ray (2014)   Σαβ 8 Μαρ 2014 - 18:44

Poster από το promo

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(via http://www.strictlyrobsten.com/)
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Camp X-Ray (2014)
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