This English-language adaptation of the Swedish novel by Stieg Larsson follows a disgraced journalist, Mikael Blomkvist, as he investigates the disappearance of a wealthy patriarch’s niece from 40 years ago. He is aided by the pierced, tattooed, punk computer hacker named Lisbeth Salander. As they work together in the investigation, Blomkvist and Salander uncover immense corruption beyond anything they have ever imagined. —IMDb
David Leo Fincher (born August 28, 1962) is an American music video and film director known for his dark and stylish portraits of the human experience, particularly Fight Club (film) and Se7en.
Born in Denver, Colorado, Fincher was raised in Marin County, California. He moved to Ashland, Oregon in his teens where he graduated from Ashland High School.
Inspired by Butch Cassidy and the Sundance Kid, Fincher began making movies at age eight with an 8 mm camera. Filmmaking seemed the perfect outlet for a kid who could spend all day drawing and loved to make sculptures, take pictures and tape-record. Fincher eschewed the film school route, getting a job loading cameras and doing other hands-on work for John Korty’s Korty Films. He next got a job at Industrial Light and Magic in 1980 with his first screen credit being for Return of the Jedi, and stayed until 1984. He left ILM to direct a dark commercial for the American Cancer Society, a grim hint of things to come, showing… read more
I'm a bit obsessed with this film, I think. Because it's set in "Europe," there can be aggressive smoking - and a lot of drinking; in fact, there is a whole progression of imbibements, coffee, wine, scotch, vodka, a rohypnol-like gas, finally back to coffee when everyone's been sorted. Fincher's trust of such a simple cinematic motif is the sign of a kind of master, at least as regards big commercial films.
Rooney Mara is animalistic in a way that the greatest actresses - Huppert, Russell, Bonnaire - manage only sporadically. She attacks her role like she just got the first paragraph of The Second Sex tattooed on her vadge. But setting acting watermarks in genre is not so hard; it remains to be seen if indie dramaland will uphold her or let her down. They need her more than they want to admit, and vice versa.
The Portuguese maestro talks digital, film and DCP, early influences and teachers, David Fincher and filmmaking now.
Can criticism find a place for workflow?
The new Film Quarterly and a round of papers from Boston.
“The pace of their rush toward destruction never lets up, pile upon pile of medium shots, thousands of fast cuts…”
Stieg Larsson’s wish-fulfillment-fantasy-disguised-as-a-thriller as process and data.
And more year-end lists from New York and the Guardian. Plus: Sony vs the New Yorker.
On the Internet, your trailers can run 3 minutes and 42 seconds.
Nouvelle adaptation du roman de Stieg Larsson deux petites années après avoir été porté au cinéma par Niels Arden Oplev. Véritable adaptation du bouquin, on trouve aux manettes David Fincher, qui avec… read review
In the entire history of cinema I cannot name a single significant foreign film that was a remake of a motion picture made in the United States. However, the number of American remakes of major foreign… read review
the original novel of the girl with the dragon tattoo deals with the corruption of neoliberal information economy, the loothole of swedish welfare state regarding the violence against women and the… read review