{"id":16530,"date":"2015-03-16T02:30:28","date_gmt":"2015-03-16T01:30:28","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=16530"},"modified":"2015-03-16T02:30:28","modified_gmt":"2015-03-16T01:30:28","slug":"refns-reds","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2015\/03\/16\/refns-reds\/","title":{"rendered":"Refn&#8217;s reds"},"content":{"rendered":"<p><img decoding=\"async\" alt=\"refn00.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2015\/03\/refn00.jpg\" \/><\/p>\n<p>When you work your way through a director&#8217;s filmography, particularities of <em>mise-en-sc\u00e8ne<\/em> often become apparent. Nicolas Winding Refn&#8217;s next film\u2014<em>The Neon Demon<\/em>\u2014has a title that promises more of the same. I&#8217;m looking forward to it.<\/p>\n<p><strong>Pusher (1996)<\/strong><\/p>\n<p><img decoding=\"async\" alt=\"refn01.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2015\/03\/refn01.jpg\" \/><\/p>\n<p>Kim Bodnia (above) and Laura Drasb\u00e6k (below).<\/p>\n<p><img decoding=\"async\" alt=\"refn02.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2015\/03\/refn02.jpg\" \/><\/p>\n<p><strong>Bleeder (1999)<\/strong><\/p>\n<p><img decoding=\"async\" alt=\"refn03.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2015\/03\/refn03.jpg\" \/><\/p>\n<p>Zlatko Buric (above) and Kim Bodnia (below).<\/p>\n<p><img decoding=\"async\" alt=\"refn05.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2015\/03\/refn05.jpg\" \/><\/p>\n<p><img decoding=\"async\" alt=\"refn04.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2015\/03\/refn04.jpg\" \/><\/p>\n<p><!--more--><\/p>\n<p><strong>Fear X (2003)<\/strong><\/p>\n<p><img decoding=\"async\" alt=\"refn06.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2015\/03\/refn06.jpg\" \/><\/p>\n<p>John Turturro and a hotel in Montana that looks like an annex of Hell.<\/p>\n<p><img decoding=\"async\" alt=\"refn07.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2015\/03\/refn07.jpg\" \/><\/p>\n<p><img decoding=\"async\" alt=\"refn08.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2015\/03\/refn08.jpg\" \/><\/p>\n<p><img decoding=\"async\" alt=\"refn09.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2015\/03\/refn09.jpg\" \/><\/p>\n<p><strong>Pusher II (2004)<\/strong><\/p>\n<p><img decoding=\"async\" alt=\"refn10.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2015\/03\/refn10.jpg\" \/><\/p>\n<p>Mads Mikkelsen (above) and Leif Sylvester (below).<\/p>\n<p><img decoding=\"async\" alt=\"refn11.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2015\/03\/refn11.jpg\" \/><\/p>\n<p><img decoding=\"async\" alt=\"refn12.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2015\/03\/refn12.jpg\" \/><\/p>\n<p><strong>Pusher III (2005)<\/strong><\/p>\n<p><img decoding=\"async\" alt=\"refn13.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2015\/03\/refn13.jpg\" \/><\/p>\n<p>Zlatko Buric again. Not much red light but a lot of red clothes throughout. Also a memorable corpse-disposal problem.<\/p>\n<p><img decoding=\"async\" alt=\"refn14.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2015\/03\/refn14.jpg\" \/><\/p>\n<p><strong>Bronson (2008)<\/strong><\/p>\n<p><img decoding=\"async\" alt=\"refn25.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2015\/03\/refn25.jpg\" \/><\/p>\n<p>Tom Hardy in and out of prison.<\/p>\n<p><img decoding=\"async\" alt=\"refn26.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2015\/03\/refn26.jpg\" \/><\/p>\n<p><img decoding=\"async\" alt=\"refn27.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2015\/03\/refn27.jpg\" \/><\/p>\n<p><strong>Valhalla Rising (2009)<\/strong><\/p>\n<p><img decoding=\"async\" alt=\"refn16.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2015\/03\/refn16.jpg\" \/><\/p>\n<p>Mads Mikkelsen amid some lurid Scottish landscapes.<\/p>\n<p><img decoding=\"async\" alt=\"refn17.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2015\/03\/refn17.jpg\" \/><\/p>\n<p><img decoding=\"async\" alt=\"refn18.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2015\/03\/refn18.jpg\" \/><\/p>\n<p><img decoding=\"async\" alt=\"refn19.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2015\/03\/refn19.jpg\" \/><\/p>\n<p><strong>Drive (2011)<\/strong><\/p>\n<p><img decoding=\"async\" alt=\"refn20.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2015\/03\/refn20.jpg\" \/><\/p>\n<p>Carey Mulligan and Ryan Gosling.<\/p>\n<p><img decoding=\"async\" alt=\"refn21.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2015\/03\/refn21.jpg\" \/><\/p>\n<p><strong>Only God Forgives (2013)<\/strong><\/p>\n<p><img decoding=\"async\" alt=\"refn22.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2015\/03\/refn22.jpg\" \/><\/p>\n<p>Yayaying Rhatha Phongam (below) and Ryan Gosling (again) whose pulchritude is repeatedly juxtaposed with <a href=\"http:\/\/warymeyers.blogspot.ie\/2010\/08\/enter-dragon.html\" target=\"_blank\">the best wallpaper in the world<\/a>. So many scenes are drenched with scarlet neon it&#8217;s difficult to pick a favourite shot.<\/p>\n<p><img decoding=\"async\" alt=\"refn23.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2015\/03\/refn23.jpg\" \/><\/p>\n<p><img decoding=\"async\" alt=\"refn24.jpg\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2015\/03\/refn24.jpg\" \/><\/p>\n<p>Previously on { feuilleton }<br \/>\n\u2022 <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2014\/01\/08\/valhalla-rising\/\">Valhalla Rising<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>When you work your way through a director&#8217;s filmography, particularities of mise-en-sc\u00e8ne often become apparent. Nicolas Winding Refn&#8217;s next film\u2014The Neon Demon\u2014has a title that promises more of the same. I&#8217;m looking forward to it. Pusher (1996) Kim Bodnia (above) and Laura Drasb\u00e6k (below). Bleeder (1999) Zlatko Buric (above) and Kim Bodnia (below).<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[4,7],"tags":[7106,3011,7101,7102,7105,7104,5614,7107,8541,7109,7108,7103],"class_list":["post-16530","post","type-post","status-publish","format-standard","hentry","category-design","category-film","tag-carey-mulligan","tag-john-turturro","tag-kim-bodnia","tag-laura-drasbaek","tag-leif-sylvester","tag-mads-mikkelsen","tag-nicolas-winding-refn","tag-ryan-gosling","tag-sylvester","tag-tom-hardy","tag-yayaying-rhatha-phongam","tag-zlatko-buric"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-4iC","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/16530","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=16530"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/16530\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=16530"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=16530"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=16530"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}