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Keane in 4K
by Sean Greenwood | blu-ray.com | April 4, 2023
This week Grasshopper Film has a Blu-ray for Lodge Kerrigan’s Keane (2004), starring Damian Lewis, Abigail Breslin, Amy Ryan, Christopher Evan Welch and Tina Holmes.
Grasshopper Film presents Keane from a new 4K scan of the original camera negative, which was supervised by Lodge Kerrigan and Kristina Boden. Extras include Steven Soderbergh’s alternate cut of the film and a theatrical trailer.
William Keane (Damian Lewis) is a mentally unbalanced man who roams the Port Authority Bus Terminal in New York City, looking for his daughter, who was supposedly kidnapped a year earlier.
When he’s not at the bus station he holes up in a dingy hotel, numbing himself with drugs and alcohol.
But when Lynn (Amy Ryan), a young single mother, and her daughter, Kira (Abigail Breslin), check into the hotel, Keane reaches out to help them, and he ends up helping himself at the same time.
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Watch Keane on AppleTV
by Gingersnap | damian-lewis.com | January 22, 2023
The new 4K restoration of Lodge Kerrigan’s film Keane starring Damian Lewis is now available for pre-order on AppleTV starting today and streaming begins January 31, 2023. Visit AppleTV here for more information. Roger Ebert described the film as “a masterfully harrowing psychodrama” in his 2005 review here.
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Cinema Verité: The Criterion Collection
by Staff | Criterion.com | December 28, 2022
In the 1960s filmmakers on both sides of the Atlantic spilled into the streets in search of cinematic truth, armed with lightweight cameras that allowed for an unprecedented level of intimacy and liberated documentary from the conventions of voice-over narration and talking-head interviews. Today the term Cinema Verité (“cinema of truth”) is used as a catchall for both the philosophical and ethnographic inquiries of Jean Rouch and Edgar Morin—who coined the term—and the Direct Cinema movement in the U.S., which revolutionized and popularized the documentary form by attempting to capture, with startling immediacy, the truth of everyday life, often finding it in the era’s churning counterculture.
This January, it’s time to get real. Our Cinema Verité collection looks back at the movement that revolutionized documentary filmmaking, producing some of the most adventurous and captivating nonfiction films of all time. We’re taking a closer look at formative moments in two of our favorite filmmakers’ careers, spotlighting the time that Mike Leigh spent making extraordinary teleplays at the BBC and Abbas Kiarostami’s work crafting films for and about children. And that’s just the beginning of a month that’s packing genre thrills (courtesy of Fernando Di Leo), Hollywood classics (starring Joan Bennett), unforgettable suspense (Hitchcock, anyone?) and so much more!
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by Gingersnap | damian-lewis.com | August 20, 2022
Damian seen at Keane 4K screening on Saturday, August 20, 2022. Blue suede shoes with purple socks and all 🙂 Watch the complete Q&A video below and see more photos from the event in our gallery here.
Moderated by Christopher Abbot, Damian and director Lodge Kerrigan joined viewers for an in-person Q&A on Saturday, August 20, 2022 after the 6:30 p.m. screening of the 2004 movie Keane at Film Lincoln Center in New York City. One audience member shared, “The restoration of the 2004 film was stunning. Damian’s performance was incredibly moving. And, the Q&A with Director Lodge [Kerrigan] was a massive treat.”
Grasshopper Film snapped up distribution rights to the critically acclaimed pic for the U.S. theatrical release, which is executive produced by Steven Soderbergh and produced by Andrew Fierberg. As previously reported here, the movie will also get a release in Los Angeles on August 28 and Boston on September 23. In addition, the movie is expected to be released on VOD, TV and home video soon. (The movie received a limited theatrical release in New York back in 2005.)
Keane turns on William Keane (Lewis) who is struggling to cope six months after his six-year-old daughter was abducted from New York City’s Port Authority Bus Terminal while traveling with him. Repeatedly drawn to the site of the abduction, Keane wanders the bus station, compulsively replaying the events of that fateful day as if hoping to change the outcome. When one day he meets a financially strapped woman, Lynn Bedik (Amy Ryan), and her seven-year-old daughter, Kira (Abigail Breslin), at a transient hotel, Keane becomes increasingly attached to Kira and uses her to fill the void left by his own daughter’s disappearance.
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by Staff | Grasshopper Film | August 19, 2022
USA / 2004 / 94 minutes / NR
William Keane (Damian Lewis) is barely able to cope. It has been six months since his six-year-old daughter was abducted from New York City’s Port Authority Bus Terminal while traveling with him. Repeatedly drawn to the site of the abduction, Keane wanders the bus station, compulsively replaying the events of that fateful day, as if hoping to change the outcome. One day he meets a financially strapped woman, Lynn Bedik (Amy Ryan), and her seven-year-old daughter, Kira (Abigail Breslin), at a transient hotel. Keane becomes increasingly attached to Kira and, in a harrowing climax, uses her in an attempt to fill the void left by his daughter’s disappearance.
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Lewis is an Absolute Revelation: A Gorgeously Urgent Piece of Filmmaking
by Joshua Brunsting | Criterion Cast | August 19, 2022
Now nearly 30 years on from his debut feature, Clean, Shaven, director Lodge Kerrigan has become arguably better known for his TV work (primarily as creator on the TV adaptation of The Girlfriend Experience as well as stints on everything from The Killing to Longmire) than his feature work, with only four features to his name. However, with one in The Criterion Collection and now one the recipient of a breathtaking new restoration from Grasshopper Films, Kerrigan may be on the brink of the reappraisal his career deserves.
Originally released in 2004, Keane stars Damian Lewis as the titular William Keane, a man on the edge of sanity following a terrible tragedy. William has, according to his disturbingly vivid memory, seen his marriage crumble in the wake of the abduction of his daughter six months prior to the start of the film. Trolling New York City’s Port Authority bus terminal in the hopes of replaying the events enough to catch the kidnapper in the act again, William begins to get closer to a woman (Amy Ryan) and more specifically her seven-year-old daughter Kira (Abigail Breslin), culminating in one of the more harrowing and unnerving finales of the early 2000s. With as much a focus on mental instability as seen in his debut film, Kerrigan shines his ever bright light upon the world of mental health once again for this long underrated masterpiece, spearheaded by a career defining lead performance and some stunning cinematography.
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A Taut Realism That Will Knock You For A Loop
by Staff | This Week in New York | August 19, 2022
KEANE (Lodge Kerrigan, 2004)
Film at Lincoln Center, Francesca Beale Theater, Elinor Bunin Munroe Film Center
144 West 65th St. between Eighth Ave & Broadway
Opens Friday, August 19, 2022 www.filmlinc.org grasshopperfilm.com
Lodge Kerrigan’s remarkable third feature, Keane, is mesmerizing, always teetering on the brink of insanity. Damian Lewis, years before Homeland and Billions, stars as William Keane, whom we first meet as he rants and raves in the Port Authority, filled with anger, paranoia, and a twitchiness that immediately sets you on edge and never lets up. He is trying to figure out what went wrong when his daughter was abducted from the area, but he now acts like just another crazy at the bus depot. As he befriends a desperate woman (Gone Baby Gone’s Amy Ryan) and her daughter (Little Miss Sunshine’s Abigail Breslin), you’ll feel a gamut of terrifying emotions rush through your body. The cast also features such familiar faces as Liza Colón-Zayas, Christopher Evan Welch, Chris Bauer, Frank Wood, Stephen McKinley Henderson, and others in tiny roles.
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Damian’s Instinctual Performance
by Charles Bramesco | The Playlist | August 19, 2022
While his unnerving 1993 debut, “Clean, Shaven,” really floored audiences who saw it back in the day, when director Lodge Kerrigan’s belated third film “Keane” first made the rounds on the festival circuit in the fall of 2004, it reintroduced the filmmaker to the forefront of a then-flourishing American independent cinema. In the nervy, visceral portrait of a paranoid father searching for his abducted daughter and finding a surrogate in a pre-fame Abigail Breslin, he proved how much can be done with a modest budget under one mil and a spirit of resourcefulness. Shooting in quivering handheld long takes around Port Authority, Kerrigan and his crew charted the grittiest fringes of New York by implanting themselves in real street-level milieus instead of approximating them with fakery. (Surely, the Safdie brothers and Ronald Bronstein picked up a couple of tricks for their simpatico Big Apple breakdowns “Daddy Longlegs” and “Frownland.”) At the time of the film’s theatrical release nearly one year later, he extolled the virtues of low-budget filmmaking as a necessary condition for an artist to make their kind of movie, their way.
But the years to come would steer Kerrigan away from the cinema and upend what he thought was his place in the industry. After completing one more feature (2010’s little-seen “Rebecca H. (Return to the Dogs),” an often inscrutable metafiction in which Kerrigan himself plays “The Director”), he transitioned into TV work for the remainder of the decade. For-hire jobs on “Homeland,” “Bates Motel,” “The Americans,” and “The Killing” brought him as much fulfillment as he’d ever gotten from the movies, each guest-directing spot posing a unique hurdle to clear.
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Damian’s Magnetic Band of Brothers Role Leads to Keane
by Erik Luers | Film Maker Magazine | August 19, 2022
If every film is a document of its own making, then Lodge Kerrigan’s Keane, shot in real locations in and around New York City in 2004, is also a depiction of the period in which it was made. Viewing the film on the occasion of a new digital restoration by Grasshopper Film that begins a theatrical run at Film at Lincoln Center today, I was struck by the numerous billboards and posters placed atop taxi cabs that the film’s lead character, William Keane (Damian Lewis), obliviously walks by. Short of pointing at the screen, Leonardo DiCaprio-style, as I noticed a poster for the upcoming season of The Sopranos or a cab ad advertising Bernadette Peters in Gypsy on Broadway, I appreciated the unintentional media ephemera that pops into the background of many of Kerrigan’s frames—such are the unexpected pleasures of filming in live locations!
When we first meet the title character, the unemployed, unstable redhead is wandering the Port Authority bus depot in an effort to retrace the steps he took when his daughter was abducted months prior at the complex’s basement level. When he’s not putting himself through this agonizing recreation of brutal trauma, Keane is living in a hotel and getting drunk, snorting cocaine, hooking up with various women in bathroom stalls,and purchasing children’s clothes for the eventual return of his kin. Something feels off: when Keane informs a character later in the film that he was married once but is now divorced, we begin to suspect that that might not be true and grow unsure as to whether there ever was an abducted daughter to begin with. When, back at the hotel, Keane encounters a down-on-her-luck mother (Amy Ryan) with a young daughter (Abigail Breslin), we fear that Keane may see something in the girl that reminds him of his. Sure enough…
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Masterfully Harrowing Psychodrama
by Isaac Feldberg | Roger Ebert.com | August 18, 2022
Across a body of work both compassionate and uncompromising, the filmmaker Lodge Kerrigan has maintained a distinctive physical proximity to the emotionally isolated characters he depicts living in society’s margins.
“Clean, Shaven,” his 1993 debut, worked rigorously to approximate the inner reality of a paranoid schizophrenic, conveying his visual and auditory hallucinations in all their abrasive force and abstraction. 1998’s “Claire Dolan,” meanwhile, applied a chillier, more disassociated kind of gaze to its study of an upscale New York sex worker, observing appointments through the windows of looming glass high-rises as if peering inside a fishbowl.
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Magnetism of Damian Lewis
by Ethan Vestby | The Film Stage | August 18, 2022
Often a re-release is granted to some long-cherished classic or cult sensation. In the case of Lodge Kerrigan’s Keane, which played the festival circuit through 2004 and received a small theatrical run in 2005, a much-underseen film has been given another chance to find the audience it’s long deserved with a brand new 4K restoration courtesy Grasshopper Film.
The titular Keane (played impressively by Damian Lewis pre-Homeland and Billions) a mid-30s man suffering from schizophrenia and on a fruitless quest to find his lost daughter through the purgatory of New York City. Coming across Lynn (Amy Ryan) and her young daughter Kira (Abigail Breslin) living in precarity in the same motel, and soon finding himself taking care of the young girl while her mother tends to waiting tables. Keane begins to see her as potentially his lost daughter, which leads him down a dark path of recreating and revisiting his past.
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Mesmerized by the Performances
by Patrick Preziosi | Slant Magazine | August 15, 2022
As American indie cinema continues to make startlingly popular in-roads into extremely suffocating subjectivity—as evinced by the success of the Safdies’ Good Time and Uncut Gems, as well as the critical attention paid toward Eliza Hittman—it’s important to uphold the foundational impact of Lodge Kerrigan’s four films. The last decade and change has seen the director lending his talents to television, most notably The Girlfriend Experience, and, now, ahead of the release of the 4K restoration of his 2004 film Keane, it’s as good a time as any to reacquaint oneself with the singular potency of Kerrigan’s artistry.
Even after the visceral puzzlebox journey of 1993’s Clean, Shaven and the unnerving stateliness of 1998’s Claire Dolan, Keane still has a sideswiping power, which proved Kerrigan not to be some nominal provocateur, but a true disciple of some of the most penetrating of American directors of the back half of the 20th century, from Frederick Wiseman to John Cassavetes. As the eponymous William Keane, Damian Lewis ably registers both insurmountable grief and a more subtle mental imbalance: Perpetually searching for his missing daughter in and around the Port Authority Bus Terminal, where she was abducted some months earlier, Keane is a man reasonably drowning in obsession and paranoia, compounding his personal, stalled-out investigation with drugs and alcohol.