Director
William Oldroyd
Producer
Fodhla Cronin O'Reilly
Genre
Romance
Drama
Runtime
1 hour 30 minutesInitial Release
April 28, 2017Box Office
3.9 million USDBudget
$650,000Cast
 |
Florence Pugh | ... | Katherine |
 |
Cosmo Jarvis | ... | Sebastian |
 |
Paul Hilton | ... | Alexander |
 |
Naomi Ackie | ... | Anna |
 |
Christopher Fairbank | ... | Boris |
 |
Golda Rosheuvel | ... | Agnes |
| |
Anton Palmer | ... | Teddy |
| |
Rebecca Manley | ... | Mary |
| |
Fleur Houdijk | ... | Tessa |
| |
Cliff Burnett | ... | Father Peter |
| |
David Kirkbride | ... | Edward |
 |
Bill Fellows | ... | Dr. Burdon |
| |
Nicholas Lumley | ... | Mr. Robertson |
| |
Raymond Finn | ... | Mr. Kirkbride |
 |
Ian Conningham | ... | Detective Logan |
 |
Finn Burridge | ... | Farmhand |
| |
Jack Robertson | ... | Farmhand |
| |
Kema Sikazwe | ... | Farmhand (as Kema Slkazwe) |
| |
Elliott Sinclair | ... | Farmhand |
| |
Andru Davis | ... | Gentleman (as Andrew Davis) |
| |
Alan Billingham | ... | Gentleman |
Origin/ Adapted from:
Shakespeare's Lady Macbeth appeared to be a composite of two personages
found in the account of King Duff and in the account of King Duncan in Holinshed's Chronicles
(1587). In the account of King Duff, one of his captains, Donwald,
suffers the deaths of his kinsmen at the orders of the king. Donwald
then considers regicide at "the setting on of his wife", who "showed him
the means whereby he might soonest accomplish it." Donwald abhors such
an act, but perseveres at the nagging of his wife. After plying the
king's servants with food and drink and letting them fall asleep, the
couple admit their confederates to the king's room, where they then
commit the regicide. The murder of Duff has its motivation in revenge
rather than ambition.
Plot
In 1865, a young woman named Katherine is in a loveless marriage to
an older man, Alexander. They live at the estate of Alexander's father,
Boris, in rural England. Katherine is forced to maintain a strict
schedule and prevented from leaving the house. Boris scolds her for not
giving Alexander a son, but Alexander's sexual interest in his wife
seems to be limited to watching her naked body. One day, both Boris and
Alexander have to leave the estate for separate business matters,
leaving Katherine alone with the housemaid, Anna. For the first time in
memory, she is free to explore the area to alleviate her boredom.
Katherine soon discovers Anna being suspended from the ceiling of
an outhouse by the men who work on the land. She is attracted to one of
them, Sebastian, and the next day sets herself up to meet him. When
Sebastian comes to the house to visit Katherine, they begin an affair.
Anna informs the local priest, who attempts to warn Katherine, but she
sends him away. When Boris returns home, he is informed of the affair,
beats Sebastian and locks him in a stable, and threatens Katherine when
she demands his release. Katherine poisons his food, and calmly makes
small talk with Anna as he chokes to death in the next room.
Anna is terrified into muteness, and Boris is buried without
suspicion. Katherine takes over the estate, and she and Sebastian
continue their affair openly. One night, while they are asleep in
Katherine's marital bed, she awakes to realise that Alexander has
returned home. After he reveals that he is aware of the infidelity,
Katherine summons Sebastian and they start to have sex in front of him. A
fight ensues, during which Katherine kills Alexander. The couple bury
Alexander's body in the woods and kill his horse. They are not directly
accused of the murder, and Sebastian begins to dress and behave as the
lord of the manor himself.
A woman arrives at the estate with a young boy named Teddy, who
she claims is the product of an affair between Alexander and her
daughter. Katherine reluctantly shelters the pair. Sebastian, angry at
the change in living arrangements, returns to the outhouse. Katherine
realises she is pregnant, but is unable to inform Sebastian. She also
begins to bond with Teddy. When Teddy disappears after Katherine scolds
him, Sebastian finds the boy sitting over a waterfall and rescues him.
When he returns Teddy to the house, he admits that he considered pushing
him. Katherine dissuades Sebastian from leaving, promising to do
anything he wants in return.
While Teddy's grandmother is asleep, the couple use the
opportunity to smother Teddy. Sebastian hides in the woods while
Katherine claims that Teddy died in his sleep. The village doctor is
skeptical of the story, but while the issue is being discussed, a
guilt-ridden Sebastian returns from the woods and confesses everything.
Katherine calmly turns Sebastian's confession back on him, and accuses
him of committing all the murders with Anna. Her word is taken over his,
especially when Anna remains mute. As Sebastian and Anna are taken away
by the police, Katherine remains alone in the house with her unborn
child.
Technology
| Color | Color |
| Aspect Ratio | 2.39 : 1 |
| Printed Film Format | DCP (Scope) |
Marketing
When cinema audiences meet Florence Pugh’s striking Lady Macbeth later this week they won’t get what they expect. For a start, this is not that Lady Macbeth.The Posters
The
first poster shows Pugh in period dress clutching the back of a chair
and looking around as if she has some scheme or plan on her mind. A
positive quote from an early review is at the top and we’re told below
the title that this is based on a source novel. The movie’s festival
history is toward the bottom to make it more attractive to moviegoers
who are interested in such things.
The Trailers
The first trailer
starts off by showing Lady Katherine is married to a mean, heartless
man who doesn’t care for her dreams or personality at all. While he’s
gone she starts an affair with a local farmer who’s nothing like her
husband, who’s not thrilled. The lovers take matters into their own
hands, which leads to more drama in the small town and in her own home,
but she remains in control of the situation at all times.
It’s great, selling a psychological thriller with a story that’s both
original and recognizable. Pugh looks fantastic as the woman who
decides she will not be subject to anyone else’s idea of what her fate
should be and goes after what she wants. The trailer hints at plot
twists that should be expected in a movie like this but it looks very
enjoyable.
Online and Social
The official website
opens by playing the official trailer, which is certainly worth watching
again. “Trailer” is actually the first item on the content menu at the
top. If you go back to “Home” you can see some full screen video
featuring footage from that trailer along with the same image that’s on
the poster of Katherine sitting on the couch.
A series of positive
quotes from early reviews rotates at the top. Farther down the page you
can “Save to calendar” a reminder of when tickets are on sale in your
area.
The only other content on the site aside from a link to the movie’s Facebook profile, is “Synopsis.” That offers a pretty short recap of the story along with the names of those involved.
Advertising and Cross-Promotions
Nothing I’ve seen or am aware of here. Roadside probably did some localized advertising in the initial cities it’s playing in but that’s likely about it.Media and Publicity
Positive buzz from a screening at the Toronto International Film
Festival got things off on a good note, particularly for Pugh as her
performance was pegged as being impressive. It was soon picked up by Roadside Attractions. It was later announced the movie would also head to Sundance 2017 before its eventual release.
Pugh’s performance was singled out for effusive praise and called the single best reason to see the movie. She talked in that interview about the role and how she approached while director William Oldroyd about what made her right for the part.
Overall
This is the second movie in about a month to emphasize the idea of
women retaking their agency in its marketing, the first being The Beguiled
last month. It shows just enough of Katherine’s motivations and actions
to make it clear she’s had enough of the situation she’s been put into
and is taking matters into her own hands, whatever that might entail.
She will no longer be anyone’s possession but will follow her passions.
Synergy
Here are the several companies that were involved to produce and distribute the film.Production Companies
British Film Institute
Type
Film, television charitable organisationIndustry
FilmFounded
1933Founders
Tom FatjoHeadquarters
United KingdomChairman
Josh BergerChief Executive
Amanda NevillWebsite
bfiBackground
The British Film Institute (BFI) is a film and charitable organisation which promotes and preserves filmmaking and television in the United Kingdom.
It was established by Royal Charter to:
Encourage the development of the arts of film, television and
the moving image throughout the United Kingdom, to promote their use as a
record of contemporary life and manners, to promote education about
film, television and the moving image generally, and their impact on
society, to promote access to and appreciation of the widest possible
range of British and world cinema and to establish, care for and develop collections reflecting the moving image history and heritage of the United Kingdom.
BBC Films
Industry
FilmFounded
18 June 1990Headquarters
Broadcasting House, London, United KingdomProducts
Motion PicturesParent
BBCWebsite
bbcBackground
BBC Films is the feature film-making arm of the BBC. It was founded on 18 June 1990, and has produced or co-produced some of the most successful British films of recent years, including Truly, Madly, Deeply, Alan Partridge: Alpha Papa, Quartet, Chef, Salmon Fishing in the Yemen, Saving Mr. Banks, My Week with Marilyn, Jane Eyre, In the Loop, An Education, StreetDance 3D, Fish Tank, Nativity!, Iris, Notes on a Scandal, Man Up, Billy Elliot and Brooklyn.
BBC Films co-produces around eight films a year, working in partnership with major international and UK distributors. Christine Langan is of BBC Films, responsible for the development and production slate, strategy and business operations.
BBC Films has been based at Broadcasting House in London since 2013.
Prior to 2007, it was based nearby in Mortimer Street, while still
under full control of the BBC. A restructuring of the division
integrated it into the main BBC Fiction department of BBC Vision. As a result, it moved out of its independent offices into BBC Television Centre, and its head David M. Thompson left to start his own film production company.
Distribution Company
Altitude Film Distribution
Altitude Film Distribution was launched in 2012 by Optimum Releasing founder Will Clarke and is part of The Altitude Film Entertainment Group.
The Altitude Film Entertainment group comprises Altitude Film
Production led by Will Clarke chairman and joint-CEO with Andy Mayson;
Altitude Film Sales with Managing Director Mike Runagall; and Altitude
Film Distribution with Head of Distribution Hamish Moseley.
Altitude Film Distribution’s first release came in 2014 with the Oscar-winning documentary 20 Feet from Stardom, which was followed by Fruitvale Station and Abel Ferrara's Welcome to New York. In 2015, Altitude released Ira Sachs' Love Is Strange; a biopic film, Amy, about the British singer Amy Winehouse, which was directed by Asif Kapadia and was released in cinemas on 3 July 2015 in the United Kingdom; international espionage thriller Spooks: The Greater Good; and Narcopolis, a science fiction film. In 2016, they released Bolshoi Babylon, a behind-the-scenes portrait of Moscow's Bolshoi Theatre. On April 27, 2016, it was announced that Altitude would partner with the British Academy Award winning film director Kevin Macdonald, on a new documentary film on Whitney Houston's
life and death. It was released in 2018. It's been revealed that the
movie is to include rare unheard tracks & performances, with family
members & friends to help build up the film through recorded
interviews and archive footage.
Other Companies
- Angels the Costumiers (special thanks)
- Aquarium Studios (sound post-production)
- Cinelease UK (grip and lighting equipment)
- Digital Post Services (digital asset servicing, quality assurance)
- Dirty Looks (post-production facilities)
- Freeway CAM B.V. (collection account management)
- Great Point Media (funding)
- Medics UK (paramedics)
- Pixipixel (camera equipment provided by)
Technological Convergence
Technological convergence in media refers to the evolution of
technology, and how different types of technology may now perform the
same functions.
In the case of Lady Macbeth, technological convergence is obvious when you can watch
the movie on Netflix via a laptop, smart TV, gaming consoles, etc.
Promotion of the film can also be counted in this category since they
also tried to use the means of social media and their own websites.
Release
The film had its world premiere at the Toronto International Film Festival on 10 September 2016. Shortly after, Roadside Attractions and Altitude Film Distribution acquired US and UK distribution rights to the film, respectively. It went onto screen at the BFI London Film Festival on 14 October 2016 and the Sundance Film Festival on 20 January 2017.
The film was released in the United Kingdom on 28 April 2017 and in the United States on 14 July 2017.
