CHRISTINE

by Antonio Campos
CHRISTINE - CHRISTINE

Informations

Nation: USA

Year: 2016

Length: 119'

34° TORINO FILM FESTIVAL

Section:

Synopsis

The early 1970s. Christine Chubbuck is a young journalist, awkward and introverted. She works for a local broadcaster in Florida and despite her desire to grow professionally, she is in conflict with the TV director, who wants news items which grab the spectators’ attention, to the detriment of the quality of the news. Deeply hurt, already unstable and insecure because of her inability to make friends with the others, Christine falls into a state of neurosis which leads her to commit a shocking act on live TV. Based on a true story. [mp]

Director

António Campos

António Campos

Born in Leiria in 1922, Antonio Campos is best known for his documentary features, which since the seventies have established him as one of the most perspicacious social observer in Portugal. After studying painting in Porto, he returned to Leiria to make is first film, Um Tesouro (1958), a fiction short. He continued working in short films until 1971, when he moved into documentary feature with the magnificent Vilarinho das Furnas. Setting out to describe the transformations of the Portuguese countryside, Campos began developping a fascinating body of anthropological film work. In 1991 he directed his first fiction feature, Terra fria, based on a novel by Ferreira de Castro.

Filmography:
Um tesouro (cm, 1958), A Almadraba Atuneira (1961), Chagall (1966), Colagem (1967), Vilarinho das Furnas (1971), Falamos de Rio Onor (1974), Gente de Prai de Vieira (1975), Histórias Selvagens (1978), Terra fria (1991), A tremonha de cristal (1993).

Cast and Credits

regia/director
Antonio Campos
soggetto, sceneggiatura/story, screenplay
Craig Shilowich
fotografia/cinematography
Joe Anderson
montaggio/film editing
Sofía Subercaseaux
scenografia/production design
Scott Kuzio
costumi/costume design
Emma Potter
musica/music
Danny Bensi, Saunder Jurriaans
suono/sound
Micah Bloomberg
interpreti e personaggi/cast and characters
Rebecca Hall (Christine), Michael C. Hall (George), Tracy Letts (Michael), Maria Dizzia (Jean), J. Smith-Cameron (Peg), Tim Simons (Steve), Kim Shaw (Andrea), John Cullum (Bob Anderson), Morgan Spector (Dr. Parsons), Jayson Warner Smith (Mitch), Kimberley Drummond (Gail)
produttore/producer
Melody Roscher
produzione/production
Yes but Film


contatti/contacts
Great Point Media
Jon Wray
jwray@greatpointmedia.com
www.greatpointmedia.com

Director statement

“Right from the start, I wanted to show a certain ambition in Christine. I always wanted to show Christine obsessing over how to become a better journalist. The film’s story could have taken a very different turn. It could have been a story of an odd quirky girl who makes it in the rough-and-tumble world of broadcast journalism. I wanted to come into it with that kind of playfulness. […] I wanted to make the audience forget that it’s a story about a woman who kills herself. She doesn’t know she’s going to kill herself. So it was important to me that the beginning of the film had a different kind of energy.”

Synopsis Learn more

The early 1970s. Christine Chubbuck is a young journalist, awkward and introverted. She works for a local broadcaster in Florida and despite her desire to grow professionally, she is in conflict with the TV director, who wants news items which grab the spectators’ attention, to the detriment of the quality of the news. Deeply hurt, already unstable and insecure because of her inability to make friends with the others, Christine falls into a state of neurosis which leads her to commit a shocking act on live TV. Based on a true story. [mp]

Director All about direction

António Campos

António Campos

Born in Leiria in 1922, Antonio Campos is best known for his documentary features, which since the seventies have established him as one of the most perspicacious social observer in Portugal. After studying painting in Porto, he returned to Leiria to make is first film, Um Tesouro (1958), a fiction short. He continued working in short films until 1971, when he moved into documentary feature with the magnificent Vilarinho das Furnas. Setting out to describe the transformations of the Portuguese countryside, Campos began developping a fascinating body of anthropological film work. In 1991 he directed his first fiction feature, Terra fria, based on a novel by Ferreira de Castro.

Filmography:
Um tesouro (cm, 1958), A Almadraba Atuneira (1961), Chagall (1966), Colagem (1967), Vilarinho das Furnas (1971), Falamos de Rio Onor (1974), Gente de Prai de Vieira (1975), Histórias Selvagens (1978), Terra fria (1991), A tremonha de cristal (1993).

Cast and Credits Discover the cast of the film

regia/director
Antonio Campos
soggetto, sceneggiatura/story, screenplay
Craig Shilowich
fotografia/cinematography
Joe Anderson
montaggio/film editing
Sofía Subercaseaux
scenografia/production design
Scott Kuzio
costumi/costume design
Emma Potter
musica/music
Danny Bensi, Saunder Jurriaans
suono/sound
Micah Bloomberg
interpreti e personaggi/cast and characters
Rebecca Hall (Christine), Michael C. Hall (George), Tracy Letts (Michael), Maria Dizzia (Jean), J. Smith-Cameron (Peg), Tim Simons (Steve), Kim Shaw (Andrea), John Cullum (Bob Anderson), Morgan Spector (Dr. Parsons), Jayson Warner Smith (Mitch), Kimberley Drummond (Gail)
produttore/producer
Melody Roscher
produzione/production
Yes but Film


contatti/contacts
Great Point Media
Jon Wray
jwray@greatpointmedia.com
www.greatpointmedia.com

Director statement Read more

“Right from the start, I wanted to show a certain ambition in Christine. I always wanted to show Christine obsessing over how to become a better journalist. The film’s story could have taken a very different turn. It could have been a story of an odd quirky girl who makes it in the rough-and-tumble world of broadcast journalism. I wanted to come into it with that kind of playfulness. […] I wanted to make the audience forget that it’s a story about a woman who kills herself. She doesn’t know she’s going to kill herself. So it was important to me that the beginning of the film had a different kind of energy.”