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Author: Emma Spiritcaller
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Resume - Jane Austen's beloved comedy about finding your equal and earning your happy ending, is reimagined in this. Handsome, clever, and rich, Emma Woodhouse is a restless queen bee without rivals in her sleepy little town. In this glittering satire of social class and the pain of growing up, Emma must adventure through misguided matches and romantic missteps to find the love that has been there all along. Tomatometers - 7,5 of 10 Star. . Star - Anya Taylor-Joy. creators - Eleanor Catton. runtime - 124M.

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Why yall speeking finnish or something

Emma afra. Emma. clip. Emma rocks! WE ALL LOVE HER. Emma. coronel. “iM sO sOrRy eMmA” everybody who said that were the people that were HATING on her. Shes an 18 year old girl who is trying to do what she wants, but when she does something you dont like, you drag her to FILTH. Whenever she does something an 18 year old normally does, SHE gets attacked. Yes, I know she chose to put her life out, but is it necessary to give her hate for everything she does? Let her live. Rie26 tiktok. Eview 2020. Onnee kun oot menny kihloihin! ❤️Oot niin hyvä tubettaja sä ja Tomas ootte ihanii💕💕.

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Here on the page Emma. Watch Emma. Online Full Watch EmmA. Online Twitter. Emma. For Free online gomovies...
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Yall be leaving some weird comments yo I just got done reading some 😂😂😂 I just come here to tell her she's cute then leave #MATJUSTCHILLIN #REACTIONS.

Good Job Emma. Emma digiovine. Emma is so cute! ❤️❤️❤️❤️❤️❤️. Emma. barnett. Emma. jenny. wendy.

YouTube. Emmy awards. Suomi 🇫🇮🇫🇮 Vallataan Emman kommentit niin kuin viimeks, kaikki suomalaiset kommentoimaan! 🇫🇮🇫🇮🇫🇮. Autumn de Wilde’s adaptation ramps up the comedy, but Anya Taylor-Joy remains wonderfully edgy as Jane Austen’s meddling heroine 3 / 5 stars 3 out of 5 stars. Mia Goth, left, as Harriet Smith with the ‘remarkable’ Anya Taylor-Joy as Emma Woodhouse. Photograph: Focus Features W ith its heady mix of social satire, romantic intrigue and endlessly reinterpretable gender politics, Jane Austen’s 1815 novel Emma has long proved catnip for film-makers. The 2009 TV miniseries starring Romola Garai followed a string of small-screen productions, dating back to such offerings as a 1948 BBC “telefilm” with Judy Campbell. Recent big-screen adaptations have ranged from Douglas McGrath’s 1996 hit featuring Gwyneth Paltrow (for which composer Rachel Portman won an Oscar) to the 2010 Hindi-language romcom Aisha with Sonam Kapoor. For many, however, Amy Heckerling’s 1995 “queen bee” treat Clueless remains a favourite, astutely transposing the British riffs of Austen’s source to the modern milieu of an American high school. This latest colourful incarnation boasts the remarkable Anya Taylor-Joy as Austen’s “handsome, clever and rich” heroine Emma Woodhouse, spoilt daughter of a doting widowed father, who has lived nearly 21 years “with very little to distress or vex her”. With no responsibility beyond the care of her draught-obsessed papa (a mournful Bill Nighy, dressed to accentuate his pipe-cleaner limbs), Emma entertains herself by match-making, presumptuously manipulating the relationships of those around her. When the comparatively lowly Harriet (played by Mia Goth with an infantile innocence that extends from saucer-wide eyes to a gambolling playground gait) falls into Miss Woodhouse’s circle, Emma rudely diverts her from the course of true love. Instead, she sets her sights on the clearly unattainable – and entirely inappropriate – Mr Elton (Josh O’Connor, oozing insufferable divinity). Meanwhile, neighbouring friend-in-law Mr Knightley (Johnny Flynn, combining vulnerability with a weapons-grade animal magnetism notably absent from Austen’s novel) circles Emma with an air of both adoration and exasperation, lamenting her casual cruelty while secretly admiring her wit and beauty. Directed by rock photographer and music-video veteran Autumn de Wilde, from a script by Man Booker prize winner Eleanor Catton, this latest Emma. (self-consciously styled in the title with a full stop) takes flirtatious liberties with Austen, to often hilarious effect. There’s a strong element of screwball comedy at play (De Wilde cites Bringing Up Baby as an inspiration alongside John Hughes’s coming-of-age movies), an approach that pays crowd-pleasing dividends, even as it reduces the complexities of the original text to a rather more caricatured screen romp. Anya Taylor-Joy (Emma) with Johnny Flynn as Mr Knightley. Photograph: Box Hill Films / Focus Features Having introduced Mr Knightley galloping gamely on a steed before watching him strip naked, De Wilde employs a mirrored bum-flashing motif that playfully suggests fleshy passions in her otherwise politely distanced leads. Later, the sturdy cinematic spectacle of dance doesn’t so much whisper what is left unsaid by the dialogue as scream it, ensuring that cinema audiences know exactly what’s going on, even as readers are still figuring it out. Elsewhere, scenes of near-slapstick mastication rub shoulders with moments in which existential unease mutates into something closer to sitcom-style silliness – flimsy, but great fun. Musically, Emma. juxtaposes folk tunes with operatic voices as the action traverses social boundaries, with composers Isobel Waller-Bridge and David Schweitzer linking characters to instruments (a harp for Emma, a bassoon for Mr Knightley) in their cues. Live performances play a key role, too, from the piano duelling of Emma and Jane Fairfax (the multitalented Amber Anderson) to a duet in which Knightley sings and plays violin while Emma seethes silently from a distance. The impressive ensemble cast includes Miranda Hart, who gets the balance between pathos and pratfalls just right as the loquacious but unjustly wounded Miss Bates. As the abrasive Mrs Elton, Tanya Reynolds deploys a raised chin and the merest hint of a sneer to excellent effect, while Callum Turner’s Frank Churchill is the cad incarnate. In the lead role, Anya Taylor-Joy creates an admirably spiky character who is less likable than some of her screen predecessors, and all the better for it. There’s a touch of Liza Minnelli in the juxtaposition of Taylor-Joy’s angular face and window-to-the-soul eyes, something that enables her to telegraph contradictory emotions with apparent ease – a silent-movie quality perfectly suited to this role. As production designer, Kave Quinn conjures a lavish environment in which the possibility of treading mud into cloistered enclaves remains a perceived threat, and costume designer Alexandra Byrne dresses the cast in a series of intrusively high collars that appear to offer everyone’s head on a platter – a neat visual metaphor for Austen’s guillotine-sharp social satire. The film may blunt some of the edges of that satire for the multiplex market, but it’s still in there, continuing to inspire new adaptations of what remains a timeless text. Watch a trailer for Emma,.

How is this “the worst video ever” she didnt do anything you guys should actually be offended by. To by si měli poslechnout všechny ty svině co mají děti a přitom se chovaj jako by neexistovali. Emma. showtimes showtimes. Emma. thompson. Emma movie 2020. Suomalaiset huomenna tulee emmalta uus biisi nähään sen kommenteissa🇫🇮❤️. Emma watson. Emma. watson. Je to nádherný! málo který song mě rozbrečí je to skvělý. 3 :3 BOREC.

Emma. movie yesmovies... When your brothers are famous. Emma. disney. princess. So many finnish peoples likes you❤️🇫🇮. Emma emma. Jane Austen’s beloved comedy about finding your equal and earning your happy ending is reimagined in this delicious new film adaptation of EMMA. Handsome, clever and rich, Emma Woodhouse is a restless “queen bee” without rivals in her sleepy little English town. In this glittering satire of social class, Emma must navigate her way through the challenges of growing up, misguided matches and romantic missteps to realize the love that has been there all along. Discover the film NEWSLETTER Sign up for Emma film updates SOCIAL Now Playing Video | Official Trailer: Emma social @workingtitlefilms EMMA: Behind The Scenes - Director's briefing... @amberandergram Has anyone noticed I’m in a period drama yet.... Mia & Johnny... & Ed... @autumndewilde Me, a broken umbrella and my boo @anyataylorjoy... Highlights from the US premiere of #EMMA in LA... news Vogue x Anya Taylor-Joy Anya Taylor-Joy x Live with Kelly and... Bustle profiles Johnny Flynn aka George Knightley. Anya Taylor-Joy visits Good Morning America. The New York Post profiles Anya Taylor-Joy. Vanity Fair invites us to meet "Jane Austen... W Magazine profiles Emma director Autumn de... @emmafilm Handsome, clever, and rich. @anyataylorjoy is... Town & Country asks "Is Emma Jane Austen's... British Vogue claims "Emma's Callum Turner is... Architectural Digest spirits us away to the set... bio Anya Taylor-Joy (left) as 'Emma Woodhouse' Handsome, clever and rich. @anyataylorjoy is... Just two days until EMMA is in UK cinemas!... @workingtitlefilms: @autumndewilde・・・I love these crazy kooks... Anya Taylor-Joy is EMMA. In cinemas Valentine’s... Director @autumndewilde photographed her... EMMA: Behind The Scenes - Filming in a downpour... Loveliness itself. #MiaGoth is Harriet Smith in... A gentleman, by all accounts. #JohnnyFlynn is Mr.... Eligible bachelor of Highbury. #CallumTurner is... The soundtrack to #EMMA is available now,... Words of wisdom from our #EMMA. Nouveau riche. @tanyaloureynolds is Mrs. Elton in... @anyataylorjoy Bonnet BabesFor @harpersbazaarus, talking all... Are you charmed? @joshographee is Mr. Elton in... Thank you to Anna Wintour and @voguemagazine for... “ A Sumptuous and Sparkling Romance. Vogue Traipsing around my beloved London and freaking... @harpersbazaarus “Emma is just bored, and she doesn’t know... Absolutely Stunning, Hilarious and Romantic. Marie Claire "It’s like swimming in a giant cupcake, ” says... I directed the incredible Johnny Flynn as Mr.... The rock photographer in me just can’t stop... Photo Anya Taylor-Joy stars as 'Emma Woodhouse' A necessary visit to @lockhatters today with Bill... Josh O'Connor (left) as 'Mr. Elton' Thank you @thelibrarianlookbook and... Flying home to LA today after my last day of ADR... Me in front of my favorite wallpaper we had made... Johnny Flynn (right) as 'Mr. Knightley' Bill Nighy stars as 'Mr. Woodhouse' @jakeatair And that, my friends is Christmas. Finished the... //... Recording for the score for @emmafilm starts... I have just realized that it is the birthday of... We’re up to something special in the studio... #Repost @autumndewilde: Hello from the cutting... Bill Nighy (left) stars as 'Mr. Woodhouse' #Repost @autumndewilde: And just like that we... Buttercups and moonbeams after a long day of... #Repost @autumndewilde:Mia Goth @emmafilm... #Repost @autumndewilde: Rupert Graves @emmafilm... Callum Turner stars as 'Frank Churchill' #Repost @autumndewilde:@tanyaloureynolds &... #Repost @autumndewilde: Callum Turner //... Wishing a very Happy Birthday to our #EMMA star... #Repost @autumndewilde: DAY ONE of production...

Emma. soundtrack 2020. Jane Austen ‘s beloved 1815 classic Emma is saddled with some serious 19th-century baggage: namely, that the romance at its heart pairs the fresh-faced, 21-year-old titular protagonist with a gentleman 16 years her senior, with all the power imbalances attendant to both their age gap and the gender norms of the era. For the new movie adaptation (stylized as Emma. ), the solution to this is fairly simple: cast the lovable Johnny Flynn as the male lead, mostly ignore their ages altogether and add human moments of flesh and passion to Emma Woodhouse and George Knightley’s story, turning the romantic interest’s paternalistic tendencies on the page into something a little more palatable for a 2020 audience sick of mansplaining. At least, that’s how director Autumn de Wilde and screenwriter Eleanor Catton approached the challenge in their colorful, witty take on Austen’s novel. Emma — like all of the author’s best-known books — is a comedy about love, a Shakespearean maze of relationships and miscommunications that, in the end, get tied up neatly with velvet ribbons. Ahead of its time, it features a complex female character and centers women’s interior lives, turning the seemingly mundane (everyday romantic dalliances) into the monumental (the struggle to survive during a time with limited options). The new Emma., starring a doe-eyed Anya Taylor-Joy opposite the scruffy, earthy Flynn as Knightley, hews closely to the original’s staid social norms, costume finery, decadent country estate settings and period-specific dialogue. It’s funny and fresh (see: flashes of nudity; Bill Nighy’s pitch-perfect comedy beats; a sugary, meticulous aesthetic that lands somewhere between Wes Anderson tweeness and Sofia Coppola’s Marie Antoinette) — though Clueless it is not. Yet in a sly move, de Wilde and Catton update the romantic relationship at the center of the story, turning Knightley from a safe — but questionably older — choice into a more appealing object of affection. Anya Taylor-Joy (left) as "Emma Woodhouse" and Johnny Flynn (right) as "'George Knightley" in director Autumn de Wilde's EMMA, a Focus Features release. Credit: Focus Features Courtesy of Box Hill Films—© 2019 Focus Features, LLC. All Rights Reserved When we meet the gentleman Knightley on the page, it’s as Emma’s older brother-in-law and neighbor. We learn early on about their significant age gap, and that their relationship has an unequal power dynamic, exemplified by Knightley’s gentle admonishments of Emma’s behavior. In conversations with others about Emma, Knightley remains astute but cool, telling her friend Mrs. Weston of the faults he finds: “She will never submit to anything requiring industry and patience, ” he laments. And: “Emma is spoiled by being the cleverest of her family. ” But he tempers his critiques with a superficial compliment: “I love to look at her. ” In Austen’s world, disparities of age and power between potential matches were par for the course; women were ushered at young ages into the safety of matrimony, the goal ultimately to match with the wealthiest possible future husband and protector. (See also: Marianne in Sense and Sensibility. ) Back then, with few options to earn income for themselves, this was necessary for survival. Today, however, this reads as antiquated, if not a little creepy. As for Knightley? His conversion from Emma’s mentor to her lover is slow and subtle; he grooms Emma into a better person with advice and criticism handed down from a superior. Patriarchal love is embedded in the story, even if Austen makes sure that Knightley learns some lessons by the end, too. But de Wilde’s take on the characters offers something both spicier and more equal, particularly in softening the characterization of Knightley. In one early scene, Flynn strips down to complete nudity while changing clothes, a moment of bodily vulnerability never seen in Austen’s writing. In interviews, de Wilde has explained her desire to flip the script a bit on period pieces that traditionally objectify the female form. In another scene, he flings himself to the floor of his lavish, empty estate, helplessly exhausted and lovelorn, a peek into his emotional state which the novel doesn’t offer. And when he chastises Emma for cruelly making fun of a friend, he does so fervently. “It was badly done, Emma, ” he explodes at her, raising his voice. The quote is nearly the same on the page, but it’s said as part of a longer and more measured monologue. Flynn’s delivery transforms its meaning, from a moral lesson into a moment of justified passion. Taylor-Joy’s Emma snaps right back. English gentry aren’t known for their displays of emotion, especially in the sedated world of Austen, so there’s something shockingly modern about their exchange. Later, there’s even that big Regency-era transgression: a kiss. It helps that Flynn, best known to U. S. audiences for playing the eternally jilted main character in the Netflix rom-com series Lovesick, channels Knightley with a kind of boyish intensity. (In real life — and typical Hollywood fashion — he is 13 years Taylor-Joy’s senior, although he comes across younger in character. ) The lessons he tries to impart to Emma — about refraining from meddling, about the realities and responsibilities of social class, about kindness — are not delivered with tact, but with real emotion, often clumsily. Crucially, his character’s age — and their age difference — is elided onscreen, leaving us to draw our own conclusions about their appropriateness for each other. The result: a worthy pairing, the kind contemporary audiences can root for instead of feel conflicted about. Flynn has admitted in interviews that Knightley is a bit of a “mansplainer. ” But he tried to play it from a less didactic — and more romantic — angle. “What I like is that he’s tortured about it, ” he told the Radio Times, “and he’d rather not be, and he apologizes for it. I think he explains what the feeling is behind it, and I think there’s a lesson for men in there somewhere, like being open to evolving. ” (That evolution is also in the text, as Knightley recognizes his own faults by the end. ) Johnny Flynn stars as "'George Knightley" in director Autumn de Wilde's EMMA, a Focus Features release. Credit: Focus Features Emma has been adapted at least a dozen times for film and TV. The most recent movie adaptation came out in 1996, starring a fresh-faced Gwyneth Paltrow as Emma and the refined Jeremy Northam as Knightley. They play their parts with tenderness and respect; their partnership is a foregone conclusion that only they cannot see, and Paltrow imbues Emma with a sweetness that Taylor-Joy exchanges for coyness. Paltrow’s Emma is a little too full of herself, but ultimately young, guileless and good-hearted; Taylor-Joy’s Emma, meanwhile, is a little too aware of her power and position, consciously using her femininity and status to get what she wants. (And when she messes up and her plans go awry, her pain feels sharp. ) By drawing out the pricklier and more complex character that Austen originally wrote, de Wilde confirms her potency as a woman in charge of her destiny. In fact, this movie’s read on Emma is a little more in line with what goes down in the original Austen — and in Clueless, Amy Heckerling’s 1995 masterpiece that catapults the character through space and time, rendering her as a modern Valley Girl. Emma is one of Austen’s most acerbic stories: she calls her protagonist “handsome, clever, and rich, with a comfortable home and happy disposition” who “seemed to unite some of the best blessings of existence; and had lived nearly twenty-one years in the world with very little to distress or vex her. ” You can read this as an endorsement, but you can also pick up on it is deadly-dry humor, which both Heckerling and de Wilde latch onto in their renditions. Alicia Silverstone ‘s Cher and Taylor-Joy’s Emma share a vanity and self-assuredness that make them both masterminds and subjects of the joke — but never passive players. That part of Emma, at least, never needed a modernization. Anya Taylor-Joy stars as "Emma Woodhouse" in director Autumn de Wilde's EMMA, a Focus Features release. Credit: Focus Features Updating the sexual politics and power dynamics of old stories for new audiences is hardly a new concept. Greta Gerwig did it in Little Women, doubling down on the economic considerations of single women in the 19th century and redrawing Jo March’s ultimate match into one who’s more appealing to romantics and feminists alike. (Though Gerwig also said she found many of those themes right there on the page, captured 150 years ago by Louisa May Alcott. ) 10 Things I Hate About You, released in 1999, remixed Shakespeare’s The Taming of the Shrew, with Julia Stiles in fine feminist form. And it’s not just heroines of yesteryear who have gotten a 21st century revision, but also characters introduced more recently — thanks to Hollywood’s reliance on preexisting IP, they’re revisited more than ever. Adaptations like Hulu’s teen drama Looking for Alaska, based on John Green’s 2015 young adult novel, gave its lead more agency. Even female superheroes (and antiheroes) have gotten revamped; Harley Quinn, who debuted in 1992, traded in her stilettos for more practical sneakers in this year’s Birds of Prey. After years of demanding more equality onscreen we are — finally — starting to see it more regularly. Not that Austen’s stories need too much brushing up. They’ve always been about women finding their way in the world, bristling against the pressures of female perfection. In Austen’s slice of 1815 society, that meant something very different than it does today. But a few things really are universal across the centuries, from the original to its many retellings: Emma always says she isn’t looking for love, but in the end, she finds one anyway. In the new Emma., she also gets an equal. Get The Brief. Sign up to receive the top stories you need to know right now. Thank you! For your security, we've sent a confirmation email to the address you entered. Click the link to confirm your subscription and begin receiving our newsletters. If you don't get the confirmation within 10 minutes, please check your spam folder. Write to Raisa Bruner at.

Emma. portner. Emma thompson. I feel like emmas disappointed bc she used to just be able to hang out with the camera and talk and have fun w no pressure, but now she feels like she has to be doing something that entertains an audience.

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Why yall speeking finnish or something

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