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Aug 19, 2019
3-Hour ‘Midsommar' Director's Cut Screened in NYC
Aug 19, 2019

This year’s 12th edition of the Scary Movies festival at Film at Lincoln Center premiered Ari Aster’s extended version of “Midsommar” this past Saturday.

Aug 19, 2019

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Tomas Alfredson’s ‘Seance on a Wet Afternoon,’ Starrng Rachel Weisz, Finally Starts Shooting in the UK

February 4, 2026 Jordan Ruimy

Remember Tomas Alfredson?

The Swedish filmmaker had that one-two punch of “Let the Right One In” and “Tinker Tailor Soldier Spy” before, quite epically, striking out with “The Snowman,” a film that somehow managed to feel both bafflingly unfinished and oppressively self-important—a prestige thriller that played like it had been edited with several crucial reels missing.

Since that 2017 flop, Alfredson went back to his native Sweden and made the comical farce “Se upp för Jönssonligan,” the fifteenth (!) installment in the Jönssonligan franchise and a reboot of the series. Things weren’t looking so good for him in Hollywood, but he’s now been given one more chance.

Alfredson has been working hard to get “Seance on a Wet Afternoon” going for over five years now. Rachel Weisz has been attached for an equal amount of time. A positive update: the film has finally started production in the UK!

“Succession” star Matthew Macfadyen has joined the previously announced Weisz. “Adolescence” writer Jack Thorne wrote the screenplay.

Based on Mark McShane’s acclaimed 1961 suspense novel, which was previously adapted as a film in 1964 starring Richard Attenborough and Kim Stanley, ‘Seance’ follows a self-proclaimed medium who convinces her husband to kidnap the son of a wealthy family in an effort to legitimize her psychic abilities.

Marcell Rév is the cinematographer; he’s best known for giving HBO’s “Euphoria” its woozy, neon-bruise visual language—restless camera moves and intimate close-ups.

← Martin Scorsese Calls ‘One Battle After Another’ A “Great American Film” — Is It Still Our Best Picture Frontrunner?First Look: Sebastian Stan and Renate Reinsve in Cristi Mungiu’s ‘Fjord’ →

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