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Author: Little Joe Fanaccount
Info: Versuche seit Jahren, meinen Bruder Eric auf Diät zu setzen. Mit mäßigem Erfolg. Wir sind die Guten, denn wir sind die Cartwrights! #Bonanzamasche

Release date: 2019. Austria. Kit Connor. . liked It: 2659 Votes. Writed by: Jessica Hausner. Critics Consensus Little Joe 's unorthodox approach may baffle horror fans lured in by its premise -- but like its title character, the end result exerts a creepy thrall. 66% TOMATOMETER Total Count: 103 40% Audience Score User Ratings: 35 Little Joe Ratings & Reviews Explanation Little Joe Videos Photos Movie Info Alice, a single mother, is a dedicated senior plant breeder at a corporation engaged in developing new species. She has engineered a very special crimson flower, remarkable not only for its beauty but also for its therapeutic value: if kept at the ideal temperature, fed properly and spoken to regularly, this plant makes its owner happy. Against company policy, Alice takes one home as a gift for her teenage son, Joe. They christen it 'Little Joe' but as it grows, so too does Alice's suspicion that her new creations may not be as harmless as their nickname suggests. Rating: NR Genre: Directed By: Written By: In Theaters: Dec 6, 2019 limited On Disc/Streaming: Mar 10, 2020 Runtime: 100 minutes Studio: Magnolia Pictures Cast News & Interviews for Little Joe Critic Reviews for Little Joe Audience Reviews for Little Joe Little Joe Quotes Movie & TV guides.

Looks amazing, can't wait for it. Brilliant trailer - Thank you. They dont think I. Dont struggle cuz I count G 💯🤝🗣. “Mommy? Whats going on? Mommy?” Me if I was the mom: i got zee weed kid. Little Joe Theatrical release poster Directed by Jessica Hausner Produced by Bruno Wagner Bertrand Faivre Philippe Bober Martin Gschlacht Jessica Hausner Gerardine O'Flynn Written by Jessica Hausner Géraldine Bajard Starring Emily Beecham Ben Whishaw Kerry Fox Kit Connor David Wilmot Phénix Brossard Sebastian Hülk Lindsay Duncan Cinematography Martin Gschlacht Edited by Karina Ressler Production company Coop99 Essential Filmproduktion The Bureau Arte BBC Films British Film Institute Distributed by X Verleih AG (Germany) Filmladen (Austria) BFI Distribution (United Kingdom) Release date 17 May 2019 ( Cannes) 1 November 2019 (Austria) 9 January 2020 (Germany) 21 February 2020 (United Kingdom) Running time 105 minutes Country Austria Germany United Kingdom Language English Box office $136, 242 [1] [2] Little Joe is a 2019 internationally co-produced drama film directed by Jessica Hausner. It was selected to compete for the Palme d'Or at the 2019 Cannes Film Festival. At Cannes, Emily Beecham won the award for Best Actress. [3] [4] Beecham stars as Alice Woodard, a plant breeder and single mother who creates "Little Joe", a plant that gives its caretakers joy. Plot [ edit] Alice Woodard ( Emily Beecham) is a plant breeder who works in a lab that focuses on creating new strains of flowers. While her colleague Bella ( Kerry Fox) is failing at creating a hardy plant that will survive even weeks of undernourishment and neglect, Alice and her team have successfully created a flower that requires more care than an ordinary plant but which makes their owners happy. Alice decides to name the plants "Little Joe" in honour of her son and smuggles out one of the plants for him. The Little Joes begin to aggressively pollinate which Alice theorizes is because she has made them sterile. The same day Bella's dog, Bello, goes missing. Chris ( Ben Whishaw) goes looking for him and accidentally inhales some of the pollen. Later on he takes Alice out and despite her obvious reluctance attempts to kiss her twice. The following day Bella finds Bello in the lab. He attacks her and she insists that he has changed. Chris later tells Alice that Bella is mentally ill and had previously attempted suicide before being forced on a year long sabbatical, returning only shortly before Alice began working at the lab. Alice later learns that Bella had Bello put down. Bella tells Alice that the changes to Bello were due to the plant. Alice's son is accidentally pollinated by the plant and begins to act strangely, sneaking his classmate Selma, into the lab and stealing a Little Joe. He later tells Alice that he is considering moving in with his father, Ivan. Bothered by her son's behaviour Alice begins to examine test footage of subjects who have been exposed to the pollen. In every case their family members report that they are acting strangely and have seemed to change since the pollen test. However just as Alice begins to believe Bella's suspicions, Bella is exposed to the pollen herself and dismisses her previous beliefs as paranoia due to her mental issues. Joe reveals that he and Selma stole the plant in order to pollinate Ivan confirming Alice's suspicions her plant carries a virus, especially as she has used unorthodox methods to create Little Joe. However this turns out to be a joke as Chris previously talked to Joe about Alice's concerns. At work Bella reveals that she never inhaled the pollen and was only pretending to be happy in order to blend in with the others; she later tries to commit suicide. After Alice's boss dismisses her concerns she takes matters into her own hands and decides to kill the Little Joes before they are commercialized, lowering the temperature in the lab. She is stopped by Chris who, in trying to prevent her from harming the plant knocks her out on the floor of the lab, exposing her to the plant pollen. Later Alice learns that Little Joe has been nominated for an award meaning that the plant will be sold worldwide. When Chris apologizes for hitting her she kisses him, and later dismisses her concerns as paranoia. She allows Joe to move in with his father and starts a new, happier life with her own Little Joe. Cast [ edit] Emily Beecham as Alice Woodard Ben Whishaw as Chris Kerry Fox as Bella Kit Connor as Joe Woodard David Wilmot as Karl Phénix Brossard as Ric Jason Cloud as Student Sebastian Hülk as Ivan Leanne Best as Brittany Lindsay Duncan as Psychotherapist Goran Kostic Release [ edit] Martin Gschlacht, Jessica Hausner and Bruno Wagner (2020) The film had its world premiere at the Cannes Film Festival on 17 May 2019. [5] [6] [7] Shortly after, Magnolia Pictures and BFI Distribution acquired U. S. and U. K. distribution right to the film. [8] [9] It is scheduled to be released in Austria on 1 November 2019, by Filmladen. [10] in the United States on 6 December 2019, [11] Germany on 9 January 2020, by X Verleih AG, [12] and the United Kingdom on 21 February 2020. [13] Reception [ edit] The review aggregator website Rotten Tomatoes reported that 65% of critics have given the film a positive review based on 82 reviews, with an average rating of 6. 23/10. The site's critics consensus reads: " Little Joe ' s unorthodox approach may baffle horror fans lured in by its premise – but like its title character, the end result exerts a creepy thrall. " [14] On Metacritic, the film has a weighted average score of 59 out of 100 based on 22 critics, indicating "mixed or average reviews". [15] References [ edit] External links [ edit] Official website Little Joe on IMDb.

😢😢😢😢😢😢. I don't think that this movie deserved the award for best actress, but it is nonetheless one of the best that premiered at Cannes 2019. But one thing that I really like about the protagonist, is her immense sadness and her inability to let go. Even though the acting may be a little, so to say, minimalist, the character itself is deep and layered in a beautiful manner.
The sterile acting reminds me of how Lanthimos builds his characters in movies such as "The Killing of the Sacred Deer" or of the infinite space of boredom that lies between the characters in Antonioni's "The Night.
The idea of the modified plants is used in an intelligent and minimalist way. I like to see how the perspectives change and evolve during the film, in regards to the benefits or dangers of this plant "Little Joe. The plot it's like a developing state of psychosis; you cannot grasp the truth or the meaning of concepts, you lose your ability to understand what's right or wrong and you're lost in a sea of lies.
The cinematography is another strong point for "Little Joe. Even from the first shot, of the CCTV spinning round the flowers, I knew that this is gonna be a visual feast. The use of mirrors, glass, deep focus and travelling shots is utterly stunning.
I don't get the negative reviews, but each to their own. If you like films such as those directed by Yorgos Lanthimos and Michelangelo Antonioni, with a flair of light sci-fi going on, you're gonna love this one.

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Download full little joe song. Hey I dont live far from where this was filmed! Hell yeah. | Christy Lemire December 6, 2019 “Little Joe” is a cautionary tale about a mother who’s too busy with work to notice that her teenage son has been infected by the pollen from an evil plant—a plant she designed, named after him and brought home as a gift. Actually, that description makes the movie sound far more bizarre and compelling than it is. Austrian director and co-writer Jessica Hausner has taken an austere approach to her sci-fi horror film, both visually and tonally, which is an intriguing choice in contrast with its wild central idea. But it ultimately results in a cold, unsatisfying experience, and a yearning for Hausner and co-writer Geraldine Bajard to have said something as bold as the film’s color palette. Advertisement The antiseptic aesthetic of a behemoth British biotech lab gets awakened by bursts of color: the dark green of the cafeteria chairs, the light blue of the locker room and, increasingly, the menacing haze of the hot-pink glow from grow lights that hover over rows upon rows of designer plants. The plants themselves—which lead scientist Alice (a chilling Emily Beecham) affectionately names Little Joe after her own human boy ( Kit Connor)—are an explosion of crimson, with soft tendrils that seem to dance as their buds open. It’s as if they’re shyly saying hello—or subtly trying to enslave you. In theory, Alice and her team intend for these to be “mood-lifting, anti-depressant happy plants. ” And maybe there’s some sort of message here about the dangers of seeking shortcuts to wellbeing, rather than actually doing the work. Alice, an emotionally detached single mom, is herself in therapy as we see from a few of her sessions. Working with cinematographer Martin Gschlacht, Hausner slowly and hypnotically moves the camera back and forth during long takes between Alice and her therapist ( Lindsay Duncan). The conversation, however, seems to go nowhere—although maybe that’s also the point. What’s happening right under Alice’s nose (if you’ll pardon the pun), is that the plant she’s developed emits a pollen that initially elicits a sneeze, followed by total devotion. The people inhaling it don’t behave all that differently—but they also don’t seem overwhelmingly happy, either. Rather, they seem weirdly flat, like placid zombies—an indictment, perhaps, of a reliance on pharmaceuticals to even out emotional highs and lows. There’s an eeriness at first to the human interactions that result from exposure to Little Joe—an awkwardness in the inability to connect comfortably. This is especially evident when Alice’s colleague Chris ( Ben Whishaw, playing against nice-guy type) tries to woo her, first with nervous invitations to after-work drinks, then with tentative attempts at kisses. The plant’s effects on another scientist’s emotional support dog—normally a sweet-tempered, playful creature—also create an underlying tension. But then the Japanese-inspired score—heavy on strings and drums, mixed with the surreal sound of dogs barking—provides an even more obvious jolt. It’s another bold stylistic choice, one that’s initially startling but eventually overbearing. A subplot involving the human Joe and his first girlfriend, a confident young lady named Selma ( Jessie Mae Alonzo), suggests the film’s true source of anxiety. Alice’s little boy is growing up and becoming his own person, one she doesn’t recognize anymore with a life and interests outside her own. It’s a sad realization for any mom. Then again, she might just be paranoid, and Hausner seems content to allow us to interpret the film’s meaning in a multitude of ways. “Little Joe” never ventures anywhere near full-on terror mode; it’s more like a dryly British “ Little Shop of Horrors. ” And frustratingly, the film never fulfills the promise of its stylish weirdness. Instead, it steadily builds to nowhere, resulting in a collective shrug—and maybe another sneeze. Reveal Comments comments powered by.

May 17, 2019 9:15AM PT Jessica Hausner's artfully unnerving horror movie about a sinister flower is an 'Invasion of the Body Snatchers' for the age of antidepressants. Just about every horror movie has an opening stretch — it could be 20 minutes, or even the first 45 — that inches along in a creep-out mode of anticipatory anxiety, building to the moment when the demon, the slasher, the monster, the source of the fear factor is revealed. These days, the film will then usually turn into a ride. But even if it doesn’t, the source of the horror always becomes tangible, visible, alive. It takes audacity, and a special skill, to sustain that early mood of premonitory dread over an entire film. And that’s what happens in “ Little Joe, ” an artfully unnerving, austerely hypnotic horror movie about a very sinister plant. Behind the opening credits, the camera hovers, at a skewed high angle, over rows and rows of flower seedlings — hundreds of them — arranged with antiseptic precision in some sort of glassed-in white-on-white tech bunker of a laboratory. It’s hard not to notice that the flowers look a bit phallic, and when viewed in closeup, the bulbs, with a bit of red poking out at the top, suggest Venus flytraps just after they’ve had a munch. Years of horror thrillers have geared us to survey a scene like this one and expect, down the road, the eruption of something ghastly: an alien, perhaps, or monster seed pods like the ones in “ Invasion of the Body Snatchers. ” “ Little Joe ” wants us to be quietly unsettled by those plants. We look at them and wonder: Is this a nursery from hell? The answer is yes, sort of. “Little Joe, ” it turns out, is a variation on “ Invasion of the Body Snatchers. ” But it’s not the umpteenth remake; we hardly need another one of those. Instead, the Austrian filmmaker Jessica Hausner, directing her first English-language feature (and her fourth film to be shown at Cannes), picks up on the proverbial “Body Snatchers” theme — people turned into sinister conformist replicants of themselves — and updates it to our era in a singular and disturbing way. In “Little Joe, ” Hausner works in a shivery and deliberate modernist spook-show style, one that calls up echoes of early David Cronenberg and the Stanley Kubrick of “The Shining. ” She holds us in a refined trance, tantalized with fascination at what’s waiting around the corner. Keeping her camera moving with slow-glide voyeurism, she turns those plants into disquieting “creatures” even when they’re just sitting there being their innocent selves. The high-tech hothouse nursery where much the film is set is part of Planthouse Biotechnologies, a corporate plant-breeding laboratory in England that uses genetic engineering to create profitable new breeds. The seedlings glimpsed in the opening scene are the creation of Alice Woodard (Emily Beecham), a senior plant breeder with the company who has come up with the idea of a flower that gives off a scent so ambrosial it makes people euphoric just to sniff it. The flower she’s invented is pretty, but in a deceptively unspectacular way. It has a brown stem with a slight curve in it that looks like the sort of “designer” lamp you can buy at Target, and the bud opens into a snowball of red tendrils that makes the flower resemble an exotic chrysanthemum. Alice takes one of the plants home, where she lives as a single mom with her son, Joe (Kit Connor), who looks to be about 12. Setting the plant on a table with a light over it, she even names it: She calls the flower — and the entire breed — Little Joe. The flower’s scent is indeed divine. People take in one smoky burst of that pollen (it happens when the plant spreads its tendrils), and it transforms their mood. They feel happy. But they also feel different. They no longer feel completely like themselves. They look and sound the same, but on some barely perceptible level they don’t act in quite the same way. They’re a bit placid, a bit neutral, a bit in their own zone. They’re no longer engaged — not really — with the outside world. But it doesn’t matter (at least, to them), because the new way they feel is just as good; in fact, it feels better. They want to keep feeling that way. And thanks to the effect of Little Joe, they do. If this all sounds vaguely familiar, that’s because Hausner, working from a script she co-wrote with Géraldine Bajard, has built “Little Joe” around a daring metaphor. The original “Invasion of the Body Snatchers, ” made in 1956, with ordinary buttoned-down citizens being turned into emotionless “pod people, ” has sometimes been interpreted as a comment on the McCarthy era, but it was really a sci-fi allegory of the creeping social conformity of the 1950s. The 1978 version updated that same drone-of-conformity idea to the flaked-out weirdness of the post-counterculture ’70s. “Little Joe” spins it into a startling satirical view of the age of psychopharmacological drugs. The plants in “Little Joe” are nothing more, or less, than a horror-movie version of antidepressants. And in terms of the film’s drama, what’s sinister isn’t just the change in behavior we note in various characters: first Joe, a sweet kid who turns quietly indifferent to his mother, then Chris (Ben Whishaw), Alice’s devoted assistant on the plant project, who’s got a crush on her but then seems to morph into an office drone. No, the really creepy thing is the loyalty they develop to the plant that’s transformed them. Once they’ve been converted to their new state of weirdly numb contentment, they become fiercely protective of their new way of being; no one is allowed to question it. And that’s the scathing allegorical thrust of “Little Joe. ” It presents a landscape of medicated zombies who join in a cult of their own well-being, and who regard their new state as an ideology — not just a way to be but the way to be. Symbolically speaking, they’re addicts who don’t know it, hooked on the sinister interior aroma of mood-modification drugs. Hausner gets pinpoint performances out of her actors, and she needs to, since so much of “Little Joe” pivots around the subtlest of personality shadings. Emily Beecham, who’s like a more vivacious Claire Foy, plays Alice as beaming but increasingly troubled, a scientist who didn’t know she created a monster, and is now desperate to put that genie back in the bottle. Ben Whishaw is super-sly as the benign colleague who becomes a weasel without quite shedding his devotion to Alice. He’s not against her; he just wants her to join. David Wilmot is an arresting chameleon — now raging, now snake-oil smooth — as Alice’s office mate Karl, and Kerry Fox is superb as Bella, the mentally fragile Planthouse veteran who’s the first one to detect a shift in personality (in her dog). As for the film’s musical score, by Teiji Ito and Markus Binder, it’s practically another character: an Asian-flavored cacophony of drip drums, flute quavers, and shrieking tech that goes to work on your system. How you react to “Little Joe” may well hinge on your own beliefs about antidepressants — whether you think they’re an unalloyed force of good, a profit-driven conspiracy by Big Pharma (with the psychiatric establishment as their marketer/enablers), or something in between. But given how little direct criticism of our psychotropic-drug culture you can actually encounter in the media, it may be that a horror movie — albeit a shiveringly delicate and understated art-house one — is the ideal way to present the argument that we’re becoming a society of people too artificially addicted to well-being, regardless of the cost, to see anything outside it.

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I watched this film thinking that it was going to have some great climactic ending, only to realize that this film was a load of crap about nothing. The playbook is stolen from the invasions of the body snatchers, but dumbed down to insult the viewers intelligence with a stupid plant lab, a stupid woman, and a handful of stupid, colleagues. Time truly wasted on this nonsense.

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Download full little joe online. Great series, I grew Up in New York with a lot of characters like this, gift of the Gab. “The studio that made Beauty and the Beast, Aladdin, and The Lion King. Twice” Gold. “Fear can affect our perception of reality, ” says an inquisitive shrink about halfway through “Little Joe, ” Jessica Hausner’s highbrow horticulture horror flick (say that three times fast) that premiered at the Cannes Film Festival back in May, with lead Emily Beecham winning the festival’s Best Actress award. And if that observation might be the case for the beleaguered mother at the center of this sci-fi head-trip, it is entirely the other way around when describing Hausner’s intentions. With her English language debut, the Austrian filmmaker has channeled her perceptions of fear, taking a common reality — that which parents face when their kids reach adolescence – and refracting the myriad anxieties and uncertainties of that stage of life as a gonzo genre freak-out. Repurposing parental anxieties into psychological horror, “Little Joe” offers kind of thematic follow-up to David Lynch’s “Eraserhead” — only now the terror doesn’t come from an alien figure that requires constant care and attention, but one that has accepted that attention and is ready to move on. Beecham plays Alice, a professional flower-breeder and mother to Joe (Kit Connor). With her colleague Chris (Ben Whishaw), Alice has just bred her most promising genetic modification yet, and in honor of her son, she calls it Little Joe. Resembling something like a giant bulb of saffron as designed by Dr. Seuss, the Little Joe plant feeds on love and care and provides happiness in turn, as it was bred to emit the same hormone that bonds new mothers with their children. As is often the case in such narratives, the creation takes on life of its own when it senses danger to itself. You see, Alice has bred the flower to be sterile, so Little Joe must do what it can to guarantee its future existence – because, as someone else in the film says, “the ability to reproduce gives every living being meaning. ” The flower does so by a kind of mind control, producing pollen that increases the happiness of all who smell it, while making them fiercely loyal to it above all else. It creates a kind of “Invasion of the Body Snatchers” dynamic. Alice resists, but others in her orbit fall under the flower’s sway, with her son becoming one of its most prominent adherents. Hausner doesn’t go for scares, opting to mount this psychological horror film as procession of colors that grow more vivid as the flowers grow in influence. Shot with crystalline digital photography, the images have a hypnotic pull, with the flat clinical light of an industrial nursery gradually growing to almost violent levels of contrast. The director has plenty of fun with the film’s costumes and design, dressing the characters in dollhouse pastels and giving Beecham a veritable helmet of auburn hair. If the film can be somewhat unsubtle in its thematic questions, it matches that with an equally loud color palette – and you know what, that’s perfectly fine. What more can you ask from a film about a mind-controlling flower?

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