Download Film Trophy Wife
Richelle Raridon
Trophy Wife is a 2014 Filipino romantic drama and thriller film[3] directed by Andoy Ranay, starring Cristine Reyes, Derek Ramsay, Heart Evangelista, and John Estrada. The film will be distributed by Viva Films with the co-production of Multivision Pictures and was released on July 30, 2014 in theatres nationwide.[3][4][5][6][7]
Lani feels betrayed by Gwen's feelings for Chino, and promises to win Chino back. Lani succeeds. Sammy discovers the infidelity of his wife. Sammy's violent streak surfaces as his jealousy turns to rage. He soon discovers the connivance of the sisters and takes Lani to a remote cabin to kill her.
Gwen learns from their mother about Lani's miscarriage. She decides to tell Chino about Lani's misfortune together with her secret as Lani's long-lost sister. Realizing the absence of Sammy and Lani in the house, Chino and Gwen seek help from Sammy's ex-wife. After they obtained vital information about the whereabouts of Sammy and Lani, Chino and Gwen head to the cabin to save Lani. Gwen and Chino find the cabin as Sammy is torturing Lani. Chino and Sammy wrestle for the gun. The unthinkable happens. Chino kills Sammy.
In the first act of the film, Yaya tells Carl, in what seems to be a rare moment of honesty between the two, that the only way out of modeling is to become a trophy wife. On the other hand, Carl tells Yaya that he wants gender equality.
But interestingly enough, in the second act of the film, in the yacht, Yaya while being surrounded by rich men, some of whom are actively seeking for young attractive women's company, doesn't seem to care about them. Instead, she flirts with the bearded shirtless crew member. Maybe to make Carl jealous? Looking at her actions, she doesn't seem like she wants to be a trophy wife really, does she?
On the other hand, can we argue that it's actually Carl who would love to be someone's trophy husband? Is this what he really meant by wanting "gender equality" earlier? Because if we look at it, we don't see Carl actually working and making money at any point of the movie. It's all Yaya's. In the first act, yes, we see Carl going for an audition but he doesn't get booked, we only see Yaya who's actually doing the modeling work, and their hotel stay was payed by her as well. Also in the yacht, she's continues working (doing photo shoots -- how ever superficial it may seem from outside) to pay their stay at the yacht, as a barter. So in fact, she is the sugar momma of Carl. What Carl is good at (besides his looks obviously) is role playing. Interestingly, we never see him pleasing his women through intercourse, neither Yaya nor Abigail later. Perhaps, he's not really good at actual sex? Also, by reporting the bearded shirtless crew member to the yacht supervisor, did he eliminate his (only) competition in the yacht? Did he feel threatened by the shirtless guy?
Finally, in the third act, Carl seems to be the only one in the surviving group to do exactly the same thing/job that he did before -- i.e. being the trophy husband, but now sleeping with Abigail. After all, he's a model. We see him got excited when he found a perfume on the beach (when everyone else were searching for food), the same way as someone who wants to catch a fish would get excited if he found a fishing tool, for example.
Eric has directed eight short films, his debut feature film "Trophy Wife" and written nine feature film screenplays. Whilst assisting on 23 short film projects. Eric is a candidate member of the Writer's Guild of GB.
Furthermore I knew someone close to me, whom had been affected by the trauma of domestic abuse. Hence, I wanted to make a film about someone overcoming this subject and finding light at the end of the tunnel.
The making of Trophy Wife took personal sacrifice, time, patience and a herculean amount of work. I am beyond words, how grateful I am to the cast Paola Ceseracciu, Michael Hoad, Tanya Beckett, Emily Jack, Tony Deufemia and Spencer Allum. Crew Sophie Marchant (Sound Recordist and Sound Editor), Krzysztof Rodzik (DIT), Rod Ramsey & Psyona Williams (Stills Photographer), Florence Gibson, Michael Coe, Kara Lovejoy (2nd AC), David Gregory (VFX Supervisor & Gimbal Operator), Nativit Khlongmekhum (Composer), Soner Metin (Spark) Conor Tychowski (Assistant Colourist) Eric Garson & Michael Hoad (Producers) Andrew D. Dobson & Peter J. Owen (Executive Producers) and Crowdfunders Liz Patton, Des Howarth, Philip Spain, Sanita Gurm, Charles Hagerty and Peter Stead. Finally Thank you's too Ivor Powell, Amanda Graham, James Caley, Eithne Pearson, Barry Sawers, Thomas Biddle, Ryan Morris, Roger Harlow, Sonja Clarke, Joshua Callis-Smith, Andy Hudson of Cinelab London, Chaima Zaine of Superhire, whom without, this film would not exist.
MANILA, Philippines - A Viva Films/MVP Entertainment co-production, Trophy Wife initially comes to us like a deja vu reminder of the kind of domestic dramas Viva was known for, and excelled in, some 15, 20 years ago. But thanks to the energetic screenplay and muscular directing of Andoy Ranay, the film surprises and aims to give us something much darker and sinister, Filipino noir couched in a story of siblings, love and lust, with revenge thrown in for good measure.
Trophy wives proliferate movies and television shows, but have you ever actually met one? According to new research, this stereotypical arrangement of young, highly attractive women with older, less attractive but highly successful men is not as common as the entertainment industry leads us to believe. In real life, trophy wives actually seem to be exceedingly rare.
To get to the bottom of the trophy wife myth, relationship inequality researcher Elizabeth McClintock analyzed attractiveness ratings, professions and socioeconomic backgrounds of couples from a nationally representative survey. McClintock combed the data for statistical correlations, looking for hints that successful men pair with attractive women.
I listened (by proximity rather than choice) to meetings about film and polypropylene and resins and recycling and customers and engineers and business cases. I had video chats with friends from long ago, nearly daily FaceTime with the kids/grandkids or sisters and mother. I cleaned the top of my cabinets, scrubbed my floors by hand, and posted non-stop on Facebook and Instagram.
Ok who ever wrote the article got the entire "Trophy Wife" all wrong...Indians will do that often...used terminology in English to describe something that is way off...as if they just learned the phrase and are using just to show they learned it. A Trophy Wife is usually a young and very physically beautiful or hot young lady. And what it means is that an older and very successful man, dumps his life partner or hooks/marries the young/hot woman because he has accomplished it all financially and therefore deserves a Trophy. Like trading in an old model for a new one. Being young and marrying the most beautiful or richest girl in town is usually seen as a ladder climber, unless you are the richest young guy in town then you are just getting an early trophy till she gets old then you trade her in....
In 1977 France, tightfisted factory owner Robert Pujol is so shocked when his workers strike for higher wages that he suffers a heart attack. His acquiescent wife, Suzanne, whose father had founded the factory, takes over management duties during Robert's convalescence.
The opening of this film finds Catherine Deneuve as Suzanne Pujol, jogging through a forest in a red tracksuit and wearing curlers; a complete juxtaposition of expectations for how we usually see the grande dame of French cinema presented. Such is the sly inversion that Ozon uses throughout the film along with satire of both 70's values as well as contemporary French politics. Ozon also tips his hat to Jacques Demy's The Umbrellas of Cherbourg several times, not least with the casting of his leading lady.
Potiche is a political comedy set in 1977/78 France and starring two of that country's greatest exports Catherine Deneuve and Gerard Depardieu as former lovers, now a businessman's trophy wife (the Potiche of the title) and local communist mayor respectively. When Deneueve's husband's mismanagement forces his workers out on strike, she must mediate with Depardieu for a successful solution to please all and, in doing so, realises there is more to her than being a lady of leisure.
Ozon's movies always have an energetic campiness to them and this is one of his campiest, a nostalgic callback that pits two of France's greatest actors, Catherine Deneuve and Gérard Depardieu - against each other in a charming, whimsical film that benefits from impeccable costume and set design. Multiple moments of coincidence are hilarious as they come with each new revelation being more out of the blue than the last, but it's a fun series of events that's very easily watchable and makes for a light hearted, if a bit too safe at times, romp.
If only more movies could end with Catherine Deneuve singing to a crowd .
I loved the nod to Umbrellas of Cherbourg as well .
Probably a lesser entry in the Ozon filmography but still very enjoyable with some good moments .
- On Goodfellas as a 'bro' movie. As a teenager, I think I did see it as straightforward wish fulfilment, but older and (maybe) wiser, that's just a naive view. I felt that at least part of the point of The Irishman (maybe his best since Age of Innocence?) was Scorsese saying 'if you thought the people in Goodfellas were cool and glamorous, you're an idiot, look at how tawdry these people are.' Right from Frank's first hit, everything about them is so pathetic.
I\u2019ve spent more time than is reasonable defending one of the most recognisable and celebrated filmmakers in the world. I know how absurd that is, of course. The job of the film critic is generally to avoid this kind of emotionalism around directors. But Martin Scorsese has always been a filmmaker very close to my heart. As an artist, a teacher, and a human being, he holds a pivotal place in my film education, and his tireless passion for film history and preservation underlines why so many people regard him highly. I tend to feel that even his worst movies (Gangs of New York, don't @ me) still have a level of craft that puts them head and shoulders above most other filmmakers\u2019 work.
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