‘Her Private Hell’ Director Nicolas Winding Refn on Ignoring Critics, Why the Government Must Regulate AI and Planning His Third Film With Ryan Gosling

‘Her Private Hell’ Director Nicolas Winding Refn on Ignoring Critics, Why the Government Must Regulate AI and Planning His Third Film With Ryan Gosling - Variety
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‘Her Private Hell’ Director Nicolas Winding Refn on Ignoring Critics, Why the Government Must Regulate AI and Planning His Third Film With Ryan Gosling

- 10 min read - Source: Variety
TOP SUMMARY

Nicolas Winding Refn‘s 11th film, “Her Private Hell,” is a long way away from the grounded work many fans are familiar with, like “Drive” and “Bronson.”...

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Key points

  • Nicolas Winding Refn‘s 11th film, “Her Private Hell,” is a long way away from the grounded work many fans are familiar with, like “Drive” and “Bronson.” The feature, now in theaters via Neon, is a neon-drenched sci-fi tale of an actress, Elle (Sophie Thatcher), a soldier, Private K (Charles Melton) and a killer known as Leatherman who move around a futuristic city in a dreamy fog.
  • It’s a sexy, sweaty and divisive film, which premiered at Cannes to mixed reviews but is certain to draw a cult audience, like his most recent movie, 2016’s “The Neon Demon,” to which “Hell” feels like a mysterious and fashionable companion piece.
  • In a way, you can say everything I’ve done has led to this film, because it’s a kind of an amalgam of everything that I’ve ever done, everything that I like to see.
  • Everything had to be very fluffy, so you’d want to eat it like whipped cream with injected color coats.

What happened

Nicolas Winding Refn‘s 11th film, “Her Private Hell,” is a long way away from the grounded work many fans are familiar with, like “Drive” and “Bronson.” The feature, now in theaters via Neon, is a neon-drenched sci-fi tale of an actress, Elle (Sophie Thatcher), a soldier, Private K (Charles Melton) and a killer known as Leatherman who move around a futuristic city in a dreamy fog. It’s a sexy, sweaty and divisive film, which premiered at Cannes to mixed reviews but is certain to draw a cult audience, like his most recent movie, 2016’s “The Neon Demon,” to which “Hell” feels like a mysterious and fashionable companion piece. In a way, you can say everything I’ve done has led to this film, because it’s a kind of an amalgam of everything that I’ve ever done, everything that I like to see. Everything had to be very fluffy, so you’d want to eat it like whipped cream with injected color coats. But I think for the human soul, we also need to come together. Are you able to make it to the movie theater as much as you’d like to these days?

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