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Director - Matthew Pope / Genres - Drama / Score - 25 votes / runtime - 85 minutes / creators - Matthew Pope, Don M. Thompson / countries - USA. Blood on Her namen mit. Blood on her name full movie. @Jake9918 cool. i found them on a breakdown vid someone made. 
Blood on her name yellow veil. Blood on Her name index. Blood On Her Name 83 MIN / 2019 / USA / ENGLISH / DRAMATIC THRILLER A womans panicked decision to cover up an accidental killing spirals out of control when her conscience demands she return the dead mans body to his family. Director: Matthew Pope Screenwriter: Don M. Thompson and Matthew Pope Producer: Don M. Thompson and Matthew Pope Cast: Bethany Anne Lind, Will Patton, Elisabeth Rohm, Jimmy Gonzales, Jared Ivers Festivals: Fantasia International Film Festival, Beyond Fest Download Press Kit View Trailer.
Blood on her name watch. Blood on her name movie 2019. Blood on her name movie. EXCLUSIVE: Vertical Entertainment has secured English-speaking world rights to the neo-noir thriller Blood on Her Name, with an aim for a day-and-date release in early 2020. Bethany Anne Lind ( Reprisal, Ozark) Will Patton. Remember The Titans, Armageddon) and Elizabeth Röhm ( American Hustle, Joy) star in the film, which was picked up at the American Film Market. Directed by newcomer Matthew Pope, the pic follows a single mother (Lind) whose panicked decision to cover up an accidental killing spirals out of control when her conscience demands she return the dead mans body to his family. Blood on Her Name had its world premiered this year at the Fantasia International Film Festival followed by a U. S. premiere at Beyond Fest. Pope penned the screenplay with Don M. Thompson. Both served as producers under the Rising Creek Banner. Verticals Josh Spector handled the deal with Hugues Barbier, Justin Timms and Joe Yanick of Yellow Veil Pictures on behalf of the filmmakers.
Blood on Her names. Blood on Her name name. Blood on Her named. Theres an entire sub-genre of slow-burn thrillers centered on everyday people forced by circumstance into a life and death world previously unknown to them. More specifically, the films are about a “good” person” who makes a choice — out of anger, greed, foolishness — that sets in motion a bloody chain of events requiring actions and reactions well beyond their wheelhouse. Two of the best in recent years are Blue Ruin (2013) and Bad Day for the Cut (2017) but in addition to being tales fueled by vengeance theyre also ones about men. Director/co-writer Matthew Pope ‘s feature debut, Blood On Her Name, goes counter to both as it focuses instead on a woman simply struggling to do right by her family, but as a tension-filled and devastating look at the inevitability of consequence it absolutely belongs in the same conversation. Leigh ( Bethany Anne Lind) stands over a dead body in the garage she owns. Blood pools from the dead mans head, and while she comes close to calling the police, her fingers hesitate over the phone. Her teenage son Ryan ( Jared Ivers) sits afraid and shaken in another room, and with worries about him, painful memories about her own father ( Will Patton) and the fate of her already struggling business swirling in her head, she decides instead to dispose of the body. Its a decision born from desperation, and its one complicated by her own morality — the dead man has a family of his own, and not wanting to leave them trapped in a purgatory of not knowing what happened to him, she instead returns the body to their shed for them to find. No good deed, as they say. Blood On Her Name wisely drops viewers right at the moment of emotional conflict — the dead man, and the choice that will haunt what follows. Leighs problems began far earlier, though, and the film slowly teases those origins out across its running time revealing her to be a character more informed by her past than defined by it. Some of her issues come as a package deal with being a woman and a daughter, but while they try to pull her backward its her ferocity and determination as a mother that keeps her fighting forward. Popes script (co-written by Don M. Thompson) accomplishes this dynamic best through conversations between friends, family, and strangers, but it stumbles slightly with a handful of flashbacks that struggle to fit the films otherwise starkly pragmatic tone. Were grounded in Leighs reality, a world smeared equally in blood, tears, and grease, and lucid dreams/memories that see her alongside her younger self feel too far removed. Theyre a minor distraction, though, as theyre both infrequent and overshadowed by the rich character interactions revealing far more effectively the weight of family and history. Leighs relationship with her father is especially telling as the source of much of her trouble, but the film wisely refuses to lay it all at his feet. It isnt pointing fingers, and while Leigh is tempted to shes instead compelled to accept her own role in this current predicament. As with 2008s Frozen River, this isnt a film about a female victim as its instead the story of a complex woman weighed down by choice and consequence. Decisions made by the men in her life have undoubtedly helped shape her, but its her own that carry the ultimate weight. Both the script and Popes direction avoid flashiness preferring instead to let tensions and anticipation simmer on their way to outbursts both verbal and violent. Dialogue is economical at times, and while the necessary details come through, the bulk of their power comes packed in exchanges between Leigh and her father. Lind and Patton both give achingly controlled performances here as a daughter and father marked as deeply by their shared trauma as by their individual sins, and while dialogue provides the details its their faces that tell the story. Pattons no stranger to intense characters, and its once again a factor here as his attempt towards mending past transgressions only serves to ratchet things up further. Similarly, Lind plays Leigh as a woman brought her through forces beyond her control — but trapped here through actions of her own. The title is as applicable to her family name as it is to given one, and as she cycles through anger, resentment, guilt, and love, Linds portrayal reveals a woman hellbent on salvaging the scraps of her life and a future that she may not even be a part of. Guilt, PTSD, and a desperate desire to avoid a cycle of violence make for a powerful combination, and Lind makes her a woman worth caring about instead of one worth pitying. One quick note… Leighs choices throughout the film are the kind prone to critical scoffing — “thats dumb, Id never do that” — but as with the other films mentioned above theyre the kinds of choices made by real, average people in desperate situations well beyond their wheelhouse. Its easy to point out “dumb” decisions on the screen from the comfort of our couch, but the only thing that matters is whether we believe these characters would make these choices under these conditions. Leighs situation is clear, her options are ugly, and shes fueled by a single-minded goal. We believe her, and what follows is all the more tragic because of it. Blood On Her Name is a beautifully told tale of family, crime, and the price we sometimes pay for both. Elements here are shared with other, similar films featuring unprepared people in unfamiliar situations, but it stands as part of a very select grouping of movies that focus on a womans perspective. Its ultimately a sad film, one infused with suspense and humanity, but that female perspective carries through to the very last line as an unexpected and haunting expression of guilt and concern.
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Blood on her name (2019. Synopsis A woman's panicked decision to cover up an accidental killing spins out of control when her conscience demands she return the dead man's body to his family. Popular reviews More This felt really good. Bethany Anne Lind is completely watchable. I bought her. Her character came off as a real person to me. Will Patton and Dani Wilson are also totally present and bonafide in this. The script shoots for the rural American now and mostly gets it. It does a solid job setting up a series of circumstances that trap the protagonist into making hard and poor choices. But something there at the end, some slippage of rational motivation, some slight scripting convenience to force a wrap up, took me out of it. To the film's credit, the authenticity it achieves throughout is what makes the misstep at the end feel so glaring. It could've used a clearer story… It was fun but the tension could have been built better Fantasia 2019 Comparisons to the likes of BLUE RUIN and BAD DAY FOR THE CUT are apt, but it's less of a revenge tale than those two gems. Instead, the focus here is on the poor choices we make with the best of intentions. It is very nice when the tail end of third- sport of thriller has all of its pieces clicking together, maybe not forming something perfect but nevertheless making sense, maybe just a bit more than it had a moment or two earlier. Lots of movies have those sort of turns; few have them work so well. That all works in large part because everything before it was impressively human foibles. Compassion will mess with even the perfect crime, and the endless morass of getting pulled down here by trying to do right things true, especially in this middle-of-nowhere spot where there probably isn't enough to go around, and sentiment really will sink you as much as greed. Throw in a tremendously solid spine in Bethany Ann Lind's performance, put up against a few dependable character actors, and then cut until there's no fat left, and you've got a fine modern/rural noir. Thats why you never 👏 wear 👏 a 👏 necklace 👏 when 👏 you 👏 commit 👏 manslaughter 👏 Recent reviews The lesson I learned from watching this movie: If you are going to commit a crime, don't grow a conscious halfway through it. I bought the characters, even if I questioned the intelligence and how they aren't in jail already. I could see the plot of this movie happening and may actually be surprised if it hasn't. The drama and suspense kept me engaged in the entire movie, even as I was cringing and thinking "don't do that. Blood On Her Name is a thrilling rumination on "right" versus "wrong. tension strung tight enough to slice through crowds like the opening scene in Ghost Ship. Full Review: Blood on Her Name is a very intimate Southern Gothic crime thriller, which focuses on only a half dozen or so characters. The film kicks off right at the inciting incident, as Leigh is left having to deal with a dead body in the middle of her garage. Thus begins an existential crisis for Leigh, who wants to both protect the wellbeing of her son, while also wanting to do the right thing. Overall, Blood on Her Name is a quite well-done thriller and well worth checking out. Bethany Anne Lind is fantastic. Though the script makes a couple of late turns that threaten to stretch credibility, her performance is always 100% believable. Popular Lists Release Schedule — 2020 ROI/UK releases due in 2020. Dates and details in notes. 2020 2021 Listed in three brackets: first, chronologically, films with… Fantasia 2019 Lineup In July 2019, the Fantasia will celebrate its 23rd edition. Located in the heart of beautiful Montreal, Fantasia is a….
If this is a dank meme, Updoot this comment! If this is not a dank meme, Downdoot this comment! If this post breaks the rules, report it and Downdoot this comment! Thank you for helping us in keeping r/dankmemes dank. Hit us ^up if you have any questions. I'm a ^bot. Trailer Directed by Matthew Pope United States, 2019 Crime, Drama, Thriller Synopsis A womans panicked decision to cover up an accidental killing spins out of control when her conscience demands she return the dead mans body to his family. This film is not currently playing on MUBI but 30 other great films are. See whats now showing Blood on Her Name Show all (1) Awards & Festivals Fantasia Film Festival 2019 (8) Cast & Crew Director and Screenplay Will Patton Cast Elisabeth Röhm Don M. Thompson Screenplay Bethany Anne Lind Jared Ivers Jimmy Gonzales Jack Andrews What are people saying? Be the first to review this film! In these lists Submissions by João R. Films 5514 Followers 35 The Leftovers by jcslvs 45 0 Related films City of God Fernando Meirelles, Kátia Lund, 2002 Mother Bong Joon-ho, 2009 Sympathy for Lady Vengeance Park Chan-wook, 2005 MUBI Rental Play button Rent for 3. 99 Jackie Brown Quentin Tarantino, 1997 Blood Simple Joel Coen, 1984 Elevator to the Gallows Louis Malle, 1958 Rififi Jules Dassin, 1955 The Silence of the Lambs Jonathan Demme, 1991 Chinatown Roman Polanski, 1974 Peeping Tom Michael Powell, 1960 Reservoir Dogs 1992 The Long Goodbye Robert Altman, 1973.
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