Emma. ≡Yes Movies≡
Average ratings: 7,2 of 10. Drama. Writer: Eleanor Catton, Jane Austen. Directed by: Autumn de Wilde. Score: 12498 Vote. Jane Austen"s beloved comedy about finding your equal and earning your happy ending, is reimagined in this. Handsome, clever, and rich, Emma Woodhouse is a restless queen bee without rivals in her sleepy little town. In this glittering satire of social class and the pain of growing up, Emma must adventure through misguided matches and romantic missteps to find the love that has been there all along
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Emma. mattress. Emma. Theatrical release poster Directed by Autumn de Wilde Produced by Tim Bevan Eric Fellner Graham Broadbent Pete Czernin Screenplay by Eleanor Catton Based on Emma by Jane Austen Starring Anya Taylor-Joy Johnny Flynn Josh O"Connor Callum Turner Mia Goth Miranda Hart Bill Nighy Music by Isobel Waller-Bridge David Schweitzer Cinematography Christopher Blauvelt Edited by Nick Emerson Production companies Perfect World Pictures Working Title Films Blueprint Pictures Distributed by Focus Features Release date 14 February 2020 (United Kingdom) Running time 124 minutes Country United Kingdom Language English Box office $25. 2 million [1] [2] Emma. [a] is a 2020 British comedy-drama film directed by Autumn de Wilde, from a screenplay by Eleanor Catton and is based on Jane Austen "s 1815 novel of the same name. Its story follows Emma Woodhouse, a young woman who interferes in the love lives of her friends. It stars Anya Taylor-Joy, Johnny Flynn, Josh O"Connor, Callum Turner, Mia Goth, Miranda Hart, and Bill Nighy. It was released in the United Kingdom on 14 February 2020, and in the United States on 21 February 2020. It received generally favourable reviews from critics, and has grossed $25 million worldwide. Plot [ edit] In Regency-era England, wealthy Emma Woodhouse searches for a new companion after her governess, Miss Taylor, marries and becomes Mrs. Weston. Emma settles on Harriet Smith, a younger girl whom Emma supposes is the unclaimed child of a gentleman; Harriet"s parents are unknown but her education has been provided for. Emma learns that Mr. Robert Martin, a tenant farmer of her sister"s husband"s brother, Mr. Knightley, has proposed to Harriet. Though claiming she will not interfere, Emma manipulates Harriet into declining Mr. Martin"s offer of marriage, much to Harriet"s distress. Emma believes that Mr. Elton, the local vicar, is in love with Harriet and encourages Harriet to transfer her hopes to him. At Christmas time, Emma"s older sister and Mr. Knightley"s younger brother come to visit. After everyone leaves dinner with the Westons early, Emma finds herself alone in a carriage with Mr. Elton, who declares his love for her. Emma promptly refuses him and Mr. Elton disappears for six weeks, eventually returning with a wife. Two much-talked-about members of Emma"s social circle appear: Jane Fairfax, the governess niece of Miss Bates, and Frank Churchill, Mr. Weston"s son from his first marriage. Emma grows jealous of Jane, but is entranced by Frank. Frank"s arrival prompts the Westons to hold a ball, where Mr. Elton embarrasses Harriet by pointedly refusing to dance with her. She is rescued by Mr. Knightley, who asks her to dance. Emma and Mr. Knightley also dance together, awakening romantic feelings between them. Though Emma leaves before Mr. Knightley can speak to her, he runs to her home only for their meeting to be interrupted by Frank, who has rescued Harriet after she was set upon by gypsies. Harriet intimates to Emma that she has fallen in love again, leading Emma to believe Harriet is in love with Frank. Emma again vows not to interfere, but manipulates circumstances so that Harriet and Frank may spend more time together. Emma tries to spend more time with Mr. Knightley and is surprised when he repeatedly ignores her. On a picnic with their entire party of social acquaintances, Frank urges them to play a game to amuse Emma, who unthinkingly insults Miss Bates, leading the party to disband in discomfort. Mr. Knightley rebukes Emma for her behaviour, and a humiliated Emma apologizes to Miss Bates, who accepts her apology without question. Frank Churchill"s wealthy aunt dies, and he is no longer required to be at her beck and call. The Westons reveal that he has been secretly engaged to Jane Fairfax and was waiting for the death of his aunt, who was opposed to the match. The Westons had hoped he would marry Emma, but Emma is only distressed on account of Harriet. Emma breaks the news to Harriet, who reveals that she is actually in love with Mr. Knightley. Harriet realizes that Emma herself is in love with Mr. Knightley. Mr. Knightley goes to Emma to comfort her about the news of Frank, and to reveal that he is in love with her and hopes to marry her. Initially pleased with his offer of marriage, Emma develops a nosebleed when she realizes how upset Harriet will be. Interfering one last time, she goes to Mr. Martin to make amends, offering him a portrait of Harriet she drew herself. Harriet tells Emma she has accepted Mr. Martin"s offer of marriage, and that her father has revealed himself now that she is of age; he is not a gentleman, but a tradesman who makes galoshes. Emma congratulates Harriet and invites her and her father to her home. Though Emma and Mr. Knightley are very much in love, Emma is distressed at the thought of leaving her father alone. To accommodate her wishes, Mr. Knightley suggests that rather than have Emma quit her father"s home, he join them there. Emma happily agrees and the two are married. Cast [ edit] Production [ edit] In October 2018, Anya Taylor-Joy was cast in the film adaptation of Emma, with Autumn de Wilde making her directorial debut with the film. [4] In December 2018, Johnny Flynn joined the cast of the film. [5] In March 2019, Bill Nighy, Mia Goth, Josh O"Connor, Callum Turner, Miranda Hart, Rupert Graves, Gemma Whelan, Amber Anderson and Tanya Reynolds joined the cast of the film. [6] Alexandra Byrne was costume designer for the film. [7] Principal photography began on 18 March 2019. [8] [9] Firle Place in Sussex was used for the exterior of Emma’s home. [10] Release [ edit] It was released in the United Kingdom on 14 February 2020, coinciding with Valentine"s Day, and was released in the United States on 21 February 2020. [11] Emma was released on 20 March to streaming platforms in response to increased restrictions on screenings in movie theaters due to the 2019–20 coronavirus pandemic. [12] Reception [ edit] Box office [ edit] As of 17 March 2020, Emma has grossed $10. 1 million in the United States and Canada, and $15. 1 million in other territories, for a worldwide total of $25. 2 million. [1] [2] The film made $230, 000 from five theaters in its opening weekend for a per-venue average of $46, 000, the highest of 2020 at that point. [13] The film went wide two weeks later, grossing $5 million from 1, 565 theaters and finishing sixth at the box office. [14] Critical response [ edit] On Rotten Tomatoes, the film holds an approval rating of 85% based on 191 reviews, with a weighted average of 7. 19/10. The website"s critics consensus reads: "Other adaptations may do a better job of consistently capturing the spirit of the classic source material, but Jane Austen fans should still find a solid match in this Emma. " [15] On Metacritic, the film was assigned a weighted average score of 71 out of 100, based on 45 critics, indicating "generally favorable reviews". [16] Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale, and PostTrak reported it received an average 3 out of 5 stars, with 44% of people saying they would definitely recommend it. [14] Notes [ edit] References [ edit] ^ a b "Emma. (2020)". Box Office Mojo. Retrieved 18 March 2020. ^ a b "Emma". The Numbers. Retrieved 18 March 2020. ^ Carr, Flora (14 February 2020). "Emma. director Autumn de Wilde explains the film"s unusual punctuation". Radio Times. ^ Kit, Borys (25 October 2018). "Anya Taylor-Joy to Star in Jane Austen Adaptation "Emma" (Exclusive)". The Hollywood Reporter. Retrieved 29 October 2018. ^ D"Alessandro, Anthony (20 December 2018). "Johnny Flynn Joins Focus Features-Working Title"s "Emma " ". Deadline Hollywood. Retrieved 2 March 2019. ^ Grater, Tom (21 March 2019). "Bill Nighy, Mia Goth, Josh O"Connor, Callum Turner board "Emma" for Working Title, Blueprint (exclusive)". Screen International. Retrieved 21 March 2019. ^ "Alexandra Byrne". Independent Talent. Retrieved 14 May 2019. ^ "Production Weekly" (PDF). Production Weekly. No. 1123. 20 December 2018. p. 19. Retrieved 28 January 2019. ^ de Wilde, Autumn (18 March 2019). "DAY ONE of production complete".. Retrieved 19 March 2019. I am thrilled to announce that I am directing Jane Austen’s ”Emma” starring @anyataylorjoy for @focusfeatures @workingtitlefilms & // screenplay by eleanorcatton // photo by @anyataylorjoy // @emmafilm // “Emma Woodhouse, handsome, clever, and rich, with a comfortable home and happy disposition, seemed to unite some of the best blessings of existence; and had lived nearly twenty-one years in the world with very little to distress or vex her. ” // #emma #hansomecleverandrich ^ Medd, James. "Where was "Emma" filmed? ". CN Traveller. ^ "Emma". Launching Films. Retrieved 22 August 2019. ^ Johnson, Save (20 March 2020). "Watch The Invisible Man, The Hunt and Emma at home starting today". CNET. Retrieved 20 March 2020. ^ Ramos, Dino-Ray (23 February 2020). " " Emma" Delivers Charming Opening, "Impractical Jokers: The Movie" Laughs Its Way To $2M Debut – Specialty Box Office". Retrieved 23 February 2020. ^ a b D"Alessandro, Anthony (8 March 2020). " " Onward" Seeing Blasé $40M Domestic Opening, $68M WW: Are Coronavirus Fears Impacting B. O.? – Sunday Update". Retrieved 8 March 2020. ^ "Emma. Rotten Tomatoes. Retrieved 6 March 2020. ^ "Emma. Reviews". Metacritic. Retrieved 7 March 2020. External links [ edit] Official website Emma. on IMDb Emma. at Rotten Tomatoes Emma. at Metacritic.
Emma pretend play. Emma. knightley. Emma.portner. Emma emma. Emma thompson. Idgewater. Youve come such a long way. So proud of u????. Emma. soundtrack 2020. I t’s quite the career sucker punch: Pablo Larraín follows the buttoned-up anguish of Jackie with this heady plunge into sweat-drenched melodrama and a stingingly malicious failing relationship. It’s a tonal swerve to rival François Ozon’s leap from the austere romanticism of Frantz to the lurid S&M mind games of L’Amant double. The marriage of reggaeton dancer Ema (Mariana Di Girolamo) and her controlling choreographer husband Gastón (Gael García Bernal) hit the rocks after a failed adoption. Both blame each other and waste no opportunity to fire recriminating barbs across the dancefloor. Now the relationship is fraying, publicly and savagely. Everything about Ema and Gastón – and for that matter the film-making – is screamingly exhibitionist. And that includes their breakup. The superficiality of these self-serving characters is reflected in Larraín’s direction. The film is all about the chase: it’s an aggressive seduction that teases with bold visual statements, with flesh and flame throwers. But does it satisfy? Not on any deep emotional level, certainly. But there’s something thrillingly primal about Ema’s scorched-earth approach to tearing down her marriage and rebuilding her life however she damn well pleases. Available on Mubi.
Emma. 2020 streaming. Emma. streaming. Emma heming. Emma. and jannie. haves. a baby. Emma. bridgewater. I love you Emma and Marcus and Martinus. Emma. thompson. Emma. showtimes. What sweatpants is Emma wearing. I"ve been trying to find sweats like these but I can"t find them. 2:47. Pablo Larrain returns with this tale of a woman who will go to fiery lengths to be reunited with her adoptive son Dir. Pablo Larraín. Chile. 2019. 102 mins. Pablo Larraín has been a fairly consistent film-maker in his formal invention and – the English-language Jackie excepted – in his concentration on the recent history of his native Chile. He has also been genuinely unpredictable in the range of his stylistic experiment, from the surreally-edged social drama of Tony Manero and Post Mortem; through the downbeat, introspective The Club; to the pastiched realism of docu-drama No, with its use of archaic video textures. But his audacity has never been as free-wheeling as in Ema, a drama about a young woman who takes the term ‘playing with fire’ to fearless extremes. For all its celebration of female agency, it’s hard to shake off the impression that Larraín and his two male co-writers are getting a little intoxicated on the thrill of young modern women’s gender fluidity At once a visually expressionistic hymn to female agency and liberation, a psychological thriller that always stays one step ahead of the viewer and a flamboyant reggaeton dance musical, Ema will strike some as a heady celebration of a movie, while leaving others bemused by stylistics that sometimes overpower narrative and psychological plausibility. Much depends on how you take to the central character and the full-on presence of lead Mariana Di Girolamo. Not a little self-indulgent, Ema is Larraín’s least conventionally successful film, and is less likely to connect with audiences than his earlier work; nevertheless it shows a film-maker pursuing his own path as intrepidly as his heroine pursues hers. Up-and-coming Chilean actor Di Girolamo plays Ema, a young woman dedicated to dance, who performs in the experimental troupe run by her choreographer husband Gastón (Gael García Bernal, reunited with Larrain after No and Neruda). The couple had adopted a young boy, Polo (Cristia?n Sua?rez) but, by the start of the film, they have returned the child to care after the boy burned the face of Ema’s sister, causing serious scarring. Now, with her marriage under stress and desperate to be reunited with the boy, Ema hatches a plan to get Polo back. The boy now lives with lawyer Raquel (Paola Giannini) and her firefighter husband Anibal (Santiago Cabrera), and Ema’s ploy involves seducing each of the two separately. Her methods, observed by Larraín with sometimes torridly rapt fascination, include inviting Raquel to a steamy dance night and all-female orgy with her girl gang of dancers. She also catches Anibal’s attention by arming herself with a flamethrower and setting a car on fire. This might seem an extreme tactic, but then Ema has a penchant for bursts of therapeutic pyromania – not the most environmentally friendly hobby, but it does makes for considerable visual dazzle. Meanwhile, Ema devotes herself to dance – both Gastón’s arty variety and the kinetic reggaeton street style – with muscular ferocity. She also vents excess energy in the sack with multiple partners – as in one montage, bordering on the comic, of her getting it on in turn with Raquel, Anibal and assorted female buddies. In another montage, Larrain goes the full music video mile, with Ema and crew going through their paces around the city of Santiago; on docksides and rooftops, in warehouses, even on public transport. More rarefied is the opening glimpse of Gastón’s work, featuring video projections of a blazing solar surface, establishing a metaphor for Ema’s irreducible incandescence that at times feels repetitive and literal. Throughout, electronica artist Nicolas Jaar, who previously scored Jacques Audiard’s Dheepan, contributes a soundtrack that runs from muscular dance styles, accompanying the work of choreographer José Vidal, to eerie, richly coloured atmospherics. In a film that is not predominantly verbal, there are nevertheless some fine script flourishes; notably in a terrific scene, as Gastón fulminates against reggaeton as a dance and music style, and a priceless moment in which a school principal confesses to Ema that she has always hated being an authority figure. Larraín’s regular cinematographer Sergio Armstrong matches Ema’s own mercurial changeability – one moment catching the chemically-tinged fluorescence of city neon or heightening the blazing hues of the dance show, the next immersing the screen in bled-out tones, echoing the depressive register of Post Mortem. For all its celebration of female agency, however, it’s hard to shake off the impression that Larraín and his two male co-writers are getting a little intoxicated on the thrill of young modern women’s gender fluidity. Whether this theme convinces the viewer depends on their belief in the indomitable will and incandescent sexuality of Di Girolamo’s Ema, whose ploy is based on the conviction that no-one, male or female, will resist her erotic allure or her con-artist charm. It’s moot whether the audience will yield so easily: while she’s a formidable presence with her intense eyes, androgynous cool and slicked-back helmet of platinum hair, Di Girolamo can also feel hard and distant, her warmth only fully emerging when Ema plays a faux-vulnerable gamine role. Other cast members perform full-bloodedly and with with, notably Giannini, as a woman amazed to be venturing into sexual terra incognita. And García Bernal gives one of his oddest performances yet, often looking dumbfounded, petulant and child-like – although that’s perhaps the effect of a brutal hairstyle and a very unflattering line in dungarees. Production company: Fabula International sales: The Match Factory, Producer: Juan De Dios Larrai?n Screenplay: Guillermo Caldero?n, Pablo Larrai?n, Alejandro Moreno Cinematography: Sergio Armstrong Editor: Sebastia?n Sepu?lveda Production design: Estefani?a Larrai?n Music: Nicolas Jaar Main cast: Mariana Di Girolamo, Gael Garci?a Bernal, Paola Giannini, Santiago Cabrera, Cristia?n Sua?rez.
Emma. jannie. play. toy. kid. lol. fun. kids. 2:22 - 2:40 SHE IS SOO PRETTY. Emma. barton. Its literally so stupid to hate her just because she didnt dye her hair. Emma"s blog. Emma. movie 2020.
Emma. throw. up. Emma afra miami. Emma. rotten tomatoes. It just hurt my feelings I guess It breaks my heart this girl is still young and because of her so called fans she feel pressured to do something she may be dont like, I mean people need to grow up its her video and her content so let it be if you like it then cool if you dont just shut up. people on the last video is like you suck and whatsoever and now you all are so nice. Emma. hd-cam trailer. Emma. game. Emma. watson.
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/ brief: Yedinci Kogustaki Mucize is a movie starring Aras Bulut Iynemli, Nisa Sofiya Aksongur, and Deniz Baysal. A story of love between a mentally-ill father who was wrongly accused of murder and his lovely six years old daughter. The / audience Score: 22228 Vote