Israeli films have had a strong profile at international film festivals and in the Oscar competitions for the past decade. For the next two weeks, New York area audiences will get a chance to sample the variety, dexterity and quality of contemporary Israeli films as the Israel Film Festival marks its 25th anniversary. The Festival runs through May 19 at the AMC Loews 84th Street Theater on Manhattan’s Upper West Side. Over a dozen filmmakers will join us from Israel for their film...
FLUX FILMS and HIGH LINE PICTURES present
Anton Chekhov's THE DUEL
ANDREW SCOTT TOBIAS MENZIES
FIONA GLASCOTT NIALL BUGGY
MICHELLE FAIRLEY and JEREMY SWIFT
Casting by JOYCE NETTLES
Co-producers PER MELITA, IGOR A. NOLA
and SUSA HORVAT
Composer ANGELO MILLI
Costume Designer SERGIO BALLO
Production Designer IVO HUSNJAK
Edited by KATE WILLIAMS
Director of Phot...
Andrew Scott as Laevsky playing Card.
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Fiona Glascott as Nadya in ANTON CHEKHOV'S THE DUEL. Directed by Dover Kosashvili. Photo by Paul Sarossy...
"The vibrant new film adaptation of the Anton Chekhov novella The Duel...nails also the essential qualities of comic indolence and dangerous yearning in Chekhov, which have proved so elusive time after time, in adaptation after adaptation.... The Duel looks beautiful, but it is not merely so. It doesn't carry the baggage of an important adaptation; it's deft, droll and languorously sexy.... This film is indeed something like a miracle." - Michael Phillips, Chicago Tribune [Read the r...
Director: Dover Kosashvili.
The pivot point is an emotional and psychological triangle: a civil servant, Laevsky (Andrew Scott, appalling and appealing); his married mistress, Nadya (Fiona Glascott, a milky beauty); and a zoologist, Von Koren (Tobias Menzies, suitably rigid). The story gets going with Laevsky bitterly complaining about Nadya to an older friend, a doctor, Samoylenko (Niall Buggy). Laevsky claims to no longer care for Nadya, who, having left her husband, now inspires her lover’s contempt or, perhaps, fatigue. Like a caged animal, he wants out and claws at Samoylenko as Von Koren watches and seethes, stoking his loathing for Laevsky. For his part, by cutting to Nadya during Laevsky’s rant and capping the scene with a disapproving look from Von Koren, Mr. Kosashvili suggests that his own sympathies are divided.
