THE PIANO
1993, Park Circus/Miramax, 121 min, Dir: Jane Campion

In 1851, mute Scottish woman Ada McGrath (Best Actress winner Holly Hunter) arrives in colonial New Zealand for an arranged marriage, with her precocious young daughter (Best Supporting Actress Anna Paquin) and beloved piano in tow. Her practical new husband (Sam Neill) refuses to transport the piano to their home and makes a deal with his neighbor, George Baines (Harvey Keitel), to take the piano off his hands. Attracted to Ada, Baines agrees to return the piano in exchange for a series of piano lessons that become a series of increasingly charged sexual encounters. As pent-up emotions of rage and desire swirl around all three characters, the savage wilderness begins to consume the tiny European enclave. Edited by Veronika Jenet.


INCREDIBLES 2
2018, Walt Disney Pictures, 115 min, USA, Dir: Brad Bird

In this animated action-adventure, Helen (Holly Hunter) is called on to lead a campaign to bring Supers back, while Bob (Craig T. Nelson) navigates the day-to-day heroics of “normal” life at home with Violet (Sarah Vowell), Dash (Huck Milner) and baby Jack-Jack - whose superpowers are about to be discovered. Their mission is derailed, however, when a new villain emerges with a brilliant and dangerous plot that threatens everything. But the Parrs don’t shy away from a challenge, especially with Frozone (Samuel L. Jackson) by their side. That’s what makes this family so incredible.


THE INCREDIBLES
2004, Walt Disney Pictures, 115 min, USA, Dir: Brad Bird

“THE INCREDIBLES was everything that computer-generated animation had trouble doing,” noted writer-director Brad Bird of the challenges the action-adventure represented to his team at Pixar – but the end result was a blockbuster hit that earned Oscars for Best Animated Feature and Sound Editing. Craig T. Nelson and Holly Hunter provide the voices of Bob and Helen Parr, who live quietly with their kids in a Metroville surburb, until the arrival of the nefarious Syndrome (Jason Lee) prompts the Parrs to return to their previous identities as superheroes. Like the film’s visual design, Michael Giacchino’s retro-futuristic score has the feel of 1960s spy movies and comic books while remaining contemporary.


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