Skip to content
R15

WOMAN OF THE HOUR

Genre
Thriller
Running time
89 minutes
Year
2023
Language
English
Subtitle
English
Country
United States of America (USA)
Director
Anna Kendrick
Bio
Producer
Roy Lee, Miro Yoo, J.d. Lifshitz, Raphael Margules
Cast
Anna Kendrick, Tony Hale, Daniel Zovatto, Nicolette Robinson
Scriptwriter
Ian Maccallister Mcdonald
Actor Anna Kendrick, familiar from the Pitch Perfect series as a classic American sweetheart, here casts herself in a very different kind of role in her superbly controlled directorial debut. Based on the true crimes of serial killer Rodney Alcala, who in 1978 became a successful contestant on the television show The Dating Game, the taut narrative cuts between Alcala’s grisly doings and those of Sheryl Bradshaw, a struggling actor who goes on the show in the hope of boosting her career. Swirling through the game and its terrifying aftermath are questions that remain unhappily contemporary: about the morality of dating shows, about everyday threats of violence against women and about the fact that women who had encountered Alcala simply were not believed.

Other movies

SINK

Director: Zain Duraie

Behind the facade of a perfect life, Nadia, a 40-year-old wife and mother of three, struggles with her marriage and a lost sense of self, leaving her emotionally detached. Her one true connection is with her eldest son, Basil, a brilliant but unsociable high school senior. When a violent outburst at school leads to his suspension, Nadia’s world crumbles. On the verge of burnout, she attempts to care for him, but as she battles her own crisis, she's pulled into his undiagnosed mental illness. As his condition spirals, Nadia's struggle to prove that her son is normal intensifies. The film is an intimate look into a powerful maternal bond and a portrait of unconditional love in the face of chaos.

GHOST SCHOOL

Director: Seemab Gul

This gentle yet arresting debut feature from Seemab Gul centers around 10-year-old Rabia, a clear-eyed, logical-thinking, courageous child protagonist who wants to understand the real reason for the abrupt closure of her school. Rumours start that the school is haunted and her teacher is possessed by supernatural beings. However, her day-long quest for the truth, fuelled by her simple desire for an education, leads her into an adult world that has been plunged into superstition. What soon becomes clear are the machinations behind a corrupt regime and classist society, giving way to the nature of its real victims. Ghost School is a bittersweet portrayal of injustice for Rabia and the hope of a better future for all younger generations.

LATE SHIFT

Director: Petra Volpe

Petra Volpe’s salute to caregivers is executed with strength and admiration. Led by a nuanced and meticulous performance from Leonie Benesch, Late Shift is an eloquent plea for compassion, as well as being a gripping story about a day in the life of a hospital worker. Floria (Benesch) is a nurse on an understaffed surgical ward, where she balances the constant demands of her patients — medical and emotional — knowing that every decision she makes (or neglects) could have fatal consequences. Floria, and Volpe’s camera, are constantly on the move to beeping monitors and crash carts in the ward’s confined quarters. As Switzerland’s Oscar submission, Late Shift delivers high drama and a sharp question: who will care for the carers?

PRIMAVERA

Director: Damiano Michieletto

Primavera is a haunting story set in a vividly recreated Venice, a tale of art and music, opportunity and repression. Damiano Michieletto’s drama transports us to the Ospedale della Pietà in the early 1700s, an orphanage where musically gifted girls perform new works as part of a lucrative orchestra. When Antonio Vivaldi is hired, he identifies Cecilia’s clear talent and makes her first violin, but her fate has been long-since foretold. Tecla Insolia plays Cecilia with a tenderness that cuts through time — her predicament reverberating across the ages. While not completely factual, Vivaldi did teach at the Ospedale for 40 years, and the film is based on a literary novel whose core truth resonates here.

الشروط والأحكام المتعلقة بتذاكر أفلام المهرجان

• التذاكر غير قابلة للاستبدال أو الاسترجاع، ولا يجوز إعادة بيعها.
• يُضمن حجز المقعد حتى 15 دقيقة قبل موعد بدء العرض أو الندوة.
• يُسمح بدخول المتأخرين وفق تقدير إدارة القاعة.
• يرجى العلم أن البرامج والجداول والمواقع قابلة للتغيير.
• قد يُطلب إظهار ما يثبت العمر في الأفلام المقيّدة بفئة عمرية محددة.
• يُمنع منعًا باتًا استخدام أجهزة التسجيل أو التصوير في جميع العروض والندوات.
• يمكن لحاملي الشارات إلغاء حجز التذاكر حتى 60 دقيقة قبل موعد العرض عبر التطبيق أو الموقع الإلكتروني أو من خلال شبّاك التذاكر.
• التذاكر غير المُلغاة وغير المستخدمة تُحتسب تحت حكم عدم الحضور .

للاستفسارات والاقتراحات، الرجاء التواصل معنا على البريد التالي:
customerservice@redseafilmfest.com

أو الاتّصال على الرقم التالي:
920051177

تنويه بشأن التصوير والتسجيل

تخضع جميع مواقع مهرجان البحر الأحمر السينمائي الدولي للتصوير الفوتوغرافي وتصوير الفيديو والتسجيلات الصوتية، ويُمكن عرض كل وأيّ مادة على وسائل التواصل الاجتماعي بغرض الإعلان والتسويق. لذلك ننوّه بأنكم وبمجرد دخولكم لِمواقع المهرجان، فأنتم توافقون على الظهور في جميع هذه المواد الإعلامية دون تعويض. 

RedSeaIFF Ticket Terms 

• Tickets are non-exchangeable, non-refundable, and cannot be resold.
• Seating is guaranteed up to 15 minutes before the start of the screening and panel.
• Late arrivals are seated at the Theatre Manager’s discretion.
• Programs, schedules, and venues are subject to change.
• Proof of age may be required for age-restricted films.
• Recording devices are strictly prohibited in all screenings and panels • Badge holders may release tickets up to 60 minutes before the screening via the app, website, or Box Office. Unreleased and unused tickets will count toward the No Show Policy.

For assistance, contact 920051177, customerservice@redseafilmfest.com, or reach us via the RedSeaIFF Mobile App.

 

Photography and Recording Notice

By entering any RedSeaIFF venue, guests acknowledge that photography, video, and audio recording may be taking place. All recorded material may be used by the Festival for social media, advertising, and marketing purposes. Attendance at the Festival constitutes consent to appear in such material and authorizes its use without compensation.