Cameras are rolling on the French Caribbean island of Guadeloupe for the tenth anniversary series of BBC One’s hugely popular Death In Paradise, making it one of the first BBC single camera dramas to start filming since lockdown.
Red Planet Pictures have worked closely with industry bodies, other production companies and the BBC to develop a detailed Covid-19 protocol policy, implementing various safety measures including social distancing, face coverings and temperature and Covid-19 testing to minimise any risk of infection. There is also a full-time Covid-19 Supervisor on set to make sure the protocols are being implemented correctly and the latest guidance is incorporated into the policy. The health and safety of our cast and crew is paramount and production is working in line with the Guadeloupe advice as well as the industry guidelines.
Returning to the sun-soaked island to reprise their roles are Ralf Little as D.I. Neville Parker, Don Warrington as Commissioner Selwyn Patterson, Tobi Bakare as D.S. JP Hooper and Elizabeth Bourgine as Mayor Catherine Bordey.
As well as the usual baffling murders, intriguing puzzles and famous guest stars, viewers can expect some huge surprises as the show celebrates a decade as one of the most loved British dramas - and these surprises begin with the return of D.S. Florence Cassell, played by audience favourite Josephine Jobert. Florence thinks she’s ready to get back to work after her fiancé’s death two years ago - but she hasn’t banked on her new boss, Neville. As she tries to understand his peculiarities, sparks are bound to fly…
Neville soon realises he is existing in the Caribbean, rather than embracing life there. With Florence’s help, he determines to seize the day and finds himself starting to reveal some of his secrets - including of a romantic nature. But is Neville really built for a life in the tropics? And is a romantic relationship ever going to be possible for him?
After two series bringing law, order, and joy to the streets of Saint Marie, we’re sad to say goodbye to Ruby Patterson who made such a massive impact in such a short time! DS Madeleine Dumas will also be departing Saint Marie’s sunny shores and we would like to thank Shyko Amos and Aude Legastelois-Bidé for bringing Ruby and Madeleine to life and wish them all the very best for the future.
We are excited to welcome a brand-new face to the team, in the shape of Tahj Miles. His character, 18-year-old petty criminal Marlon Pryce, is a ball of energy and thinks he knows it all. But when he runs into JP, his life takes an unexpected turn and he finds himself looking at a very different future to the one he expected.
The arrival of twins is the least of JP’s challenges as he finds Marlon - and some shocking developments at work - testing him to his limits. Selwyn’s frustrations with his new detective take a back seat when he finds himself in the firing line and Catherine’s life is turned upside down when the death of a friend pulls her into grave danger.
Executive Producer, Tim Key, says: “We are delighted to be able to start filming and can’t wait to celebrate our tenth series with our audience. It’s a joy to be working with Josephine Jobert again and we think the viewers will love watching her trying to get to grips with Neville. And we are very happy to welcome Tahj Miles to the show. Marlon is going to make real waves once he arrives in Saint Marie. We’ve got some real treats for our long-term viewers as the series progresses - including some major surprises and the possibility of another returning face or two. We are determined to make this our biggest and best series yet and can’t wait to take our viewers back to Saint Marie in 2021.”
Red Planet Pictures' Joint Managing Director, Alex Jones, says: “Like every other production company, we have faced huge challenges to get to this point, so we are delighted to be up and running again and extremely grateful to everyone who has helped us get this far, not least the people of Deshaies and the region of Guadeloupe for their assistance. The safety of our cast and crew - as well as our friends in Guadeloupe - is the most important thing to us and our policies have been designed to protect everybody whilst still delivering an amazing series for our tenth year.”
BBC Commissioning Editor, Tommy Bulfin, says: “We are so pleased that filming has started on this special tenth anniversary series of Death In Paradise. This series is packed-full of captivating cases and unexpected twists, as well as some really great surprises for fans of the show. Thanks so much to Red Planet Pictures for working so hard to make it happen.”
Death In Paradise is a Red Planet Pictures production for BBC One made with the support of the region of Guadeloupe and internationally distributed by BBC Studios. Series ten is produced by Jim Poyser.
还挺喜欢电影的质感和风格的，尤其是摄影，但还是很不喜欢卷福主要是脸，对比之下男二显得可爱了很多
简·坎皮恩用大量的符号形象来完成对性的隐喻，正是这些不能明说的部分彰显了西部世界极具破坏力的性压抑。年轻男孩确实颠覆了来自某个男性的强权统治，但他可不是什么革命者，因为他的初衷还是保卫一个传统的家庭秩序。
80，只看剧情的话65。反融入片，却成功地将导演技巧融入了故事内容。不能被貌似一样的外物混入、干扰。病牛和牛群、吃饭时旁边那桌人和养牛人、像真花的纸花、和钢琴同一旋律的弹奏、像好牛皮的病牛皮，像当初那个人的男孩。卷福是弱者又是坏人，因为他一直都对前辈（外力）念念不忘、易受外力影响，还施加外力影响其他人。男孩是对外力施加外力，最终排除外力干扰。全片内敛又有张力，内外都体现着非凡的控制力。
这个男孩很毒
无论摄影，音乐，人物刻画还是剧情设计，这部影片都属于大师作品，拥有绝佳的细腻质感。作为新时代女性力量的代言人，导演简·坎皮恩这次的作品令人惊艳。
我从未见过男主角这样傲慢无礼之人。电影开场10分钟，到了餐馆那场戏，他吼那个琴师我是真的忍无可忍了，实在看不下去，直接关了。
谁是犬类呢？是残忍杀死菲尔的彼得，是一再羞辱彼得和罗丝的牧场牛仔、上流社会那些高弹教养风雅的人，还是嘲弄这对母子的菲尔？谁是受害者，谁又是施害者？每一个人都在压抑自己，无论是看似娇弱无力的彼得，还是表面粗旷坚硬的菲尔，他们的残忍冷漠和温柔细腻，都是被扭曲在他们灵魂深处的另外一部分自我。露丝仅仅是一个饱受歧视的弱者、只能用酒精麻醉自己的可怜人吗？她又何尝不是在以另外一种扭曲的方式将自己的痛苦转嫁给儿子彼得，在精神上紧紧捆锁着他呢？每一个人都渴望爱、惧怕孤独，但人类只从自我出发的、自私的、排他的爱最终变成欲望、控制、暴力，吞噬着别人的自由与尊严。真正的犬类，恰恰是这不自知的罪。「但我是虫，不是人，被众人羞辱，被百姓藐视…我的救主啊，求你快来帮助我！求你救我的灵魂脱离刀剑，救我的生命脱离犬类」
总体是高级的，细节上有点故弄玄虚。邓斯特和肥版戴萌冰血暴之后又演了一回夫妻，简直了。
很久没看过后劲这么大的好片了——越咂摸越有味道，简直回味无穷。好电影都有有一种魅力，那就是让你看完还想再看，《犬之力》就是这样的电影。
放在19世纪的牧场封闭空间，挖掘一个人的内在脆弱，这一切都过于正常，要是能放到当下某个政客或者企业家就更牛了。
花了很多笔墨在讲嫁入豪门的寡妇无所适从是为什么……前后比较割裂，看到最后就是……hmm？而且似乎揪着大哥和弟媳的矛盾说事儿本就……没啥意思。Jesse Plemons纯工具人有点儿可惜。Kirsten Dunst略显苍老，以及我真心觉得卷福大哥演技也就那样，这角色也不那么适合他。
我先预订一升眼泪。/开始还以为尼仔终于演了个黑化扭曲阴暗伤害他人的角色，结果他才是全片唯一正常人，外表再凶恶也没有伤害别人，内心善良柔软得像个小兔子。又让我心疼一把！这些配角一个个全tmd不配和我缺搭戏😡。
最出色的其实是邓斯特的女性形象，是女性主义的，是女性创作者清醒冷静，不被政治话语带跑的塑造。
克制又残忍，看完有种心头一凉的感觉。但是不理解母亲到底遭受了什么样的待遇，她自己的堕落和不堪为什么都要归咎于别人？
扣0.5🌟配乐暗示性太强了，喧宾夺主，扣0.5🌟本尼的演技，其实也不是差，和DDL比差一点点，其他都还好
很工整不难看 剧情舒缓有冲突点也还蛮吸引人看下去 而且视听非常不错 很多画面一看就是大导演的手笔 就是2022年了 还在看深柜的故事 对于我来说太没有什么意思了
千万别对后辈爹味十足，他正是暗中对着你吐信子的小毒蛇。
女导演拍摄男性题材果然与常规的叙事习惯有所出入。这部与《圣母》有异曲同工的魔力，不同观众会对主人公和他的侄子看法相左。这两个人物承载着矛盾复杂的性别意识，主人公是外表粗犷却内心柔软的同性恋，侄子则是外表阴柔却内心阴险的异性恋。最终由侄子击败代表父权的主人公，相当讽刺，不止是对父权制度的一记耳光，也无情地讥讽了大男子主义。这种刻板观念统治着整个社会政治结构，既压迫了女性也束缚了男同性恋，被压抑的同性性向与恐同意识往往是相通的。
缓慢的叙事、克制的情感。坎皮恩的节奏控制能力太强了，重要的情节点到为止，但是也能让观众明白。前半程一直在铺垫，结尾大爆发，甚至让人不寒而栗。导演的调度绝了，摄影绝了，演员的表演绝了，全程沉浸感🈶️所有特写镜头都好有感觉啊～我可太喜欢了，怒给五星！
Jane Campion的回归，仍然觉得她是先于时代的完成意识；在更多聚焦女性议题和辩论的今天- -那是她几十年前就在做的- -所以如今要完成的，是解构与重塑其它类型的故事。看之前两个最大的“担忧”：选择新西兰的取景，以及换角的危险，都得到了远超预期的惊喜。孤独、自我厌弃、伪装、以及身份焦虑…属于每个角色的情绪，都在不动声色的故事进展里暗潮涌动，并等待着燃烧。直到最终幕，Kodi Smit-McPhee证明了自己多么值得一次肯定；他的能量，也并没有随着过早成名和超英片的选角，消失殆尽，而是有种刚好开始的精彩。
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