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“So, it did take a while to figure out how to put him to bed and wake Tom up and get on with my life and be myself. “I would come home from work and I would see myself in the mirror and I would see him,” he told the outlet. In the interview, Holland also shed light on how hard he was hit by the heavy and dark content of the show, so much so that it became difficult to break away from. Set in Manhattan in the summer of 1979, investigator Rya (Amanda Seyfriend) must solve the mystery behind it before the true criminal strikes again. In The Crowded Room, Holland portrays the role of Danny Sullivan who is arrested for a shocking crime he allegedly didn’t commit. That was a part of the show that I don’t miss for sure.” I really like how my hair is like my mum’s, kind of red. Bless Zendaya, she had a lot to put up with, with me looking like that for 10 months, it was rough.”įurthermore, Holland himself wasn’t a fan of his coif. Holland then went on to praise the Euphoria actress, 26, for putting up with him, “I had the bangs. And obviously I had that crazy hairstyle.” I really did find myself kind of morphing with him in certain moments. “But The Crowded Room, it’s 10 months of playing this character, day in and day out.

In these moments the film is also very funny, driven by combustible, mutable performances.“I think a large reason for that is when you make a film, it only takes four months, and that would be considered a long film,” Holland told the outlet.

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'You're full of shit,' Marie replies, and by way of illustration, she snaps into an overwrought, awards-season acting performance that shows just how easy authenticity can be switched on - and through art's funhouse mirror they go. 'Authenticity doesn't matter,' spits Malcolm. Where is the authorial perspective in a collaborative piece, the film wonders. Much of the electricity of Malcolm and Marie is how it raises these questions and deliberately pushes forward ideas that challenge the identity politics that characterises so much of today's criticism, while also poking fun at the idea of artistic genius.

( Supplied: Netflix/Dominic Miller)Ĭertainly it'd be easy to scoff at Levinson, a privileged white director making a race-themed film with Black stars, who might be seen as trying to preemptively insulate himself against criticism.īut to do so feels reductive, given the project's collaborative nature: it risks diminishing the agency of the two stars, both of whom are producers, and ignores the rejoinders built into the script.Īs Marie gently reminds Malcolm after his speech, 'Do you think you're the first writer in the history of writing to have this issue with critics?' While answering fan questions for an IMDb interview with Zendaya, the Spider-Man: No Way Home star.

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Levinson said as soon as he started writing the character of Malcolm, he knew it had to be played by John David Washington. Tom Holland is ready to join his girlfriend, Zendaya, on the set of her hit HBO series Euphoria. (The rant has, perhaps predictably, earned the scorn of some reviewers for whom the words might have hit a little too close to home.) The movie's most divisive scene involves a long, amusingly exasperated monologue in which Malcolm calls out the performative writing of certain white critics who want to box in Black directors - reading aloud from a review peppered with race theory, loaded language, and white-saviour remarks. If Levinson riffs affectionately on film history, then he's apparently less fond of contemporary critics. Levinson and Euphoria cinematographer Marcell Rev shoot in an inky 35mm black and white that abstracts the work from realism and plays into film's themes around artifice, while the jazz-inflected soundtrack and self-consciously arty imagery hearken back at times to the 60s - a little bit of Michelangelo Antonioni, a lot of Mike Nichols' Who's Afraid of Virginia Woolf?. There are vague echoes of the character dramas of John Cassavetes here, but Malcolm and Marie is only superficially interested in improvised verite rather than run ragged into weird, uncomfortable places, Levinson's scenes are highly stylised, with an exacting kind of fluidity - dolly shots that glide along the house as its subjects pace like caged animals, frames that set traps from which the couple have to escape, and rapid cutting and jittery, hand-held camera that reflects the jangled nerves of the protagonists.

The film was shot over six weeks with a small crew, and strict COVID-19 protocols meant that no-one could leave the house.