Lorelei is a 2020 American drama film written and directed by Sabrina Doyle in her feature debut. It stars Pablo Schreiber, Jena Malone, Amelia Borgerding, Parker Pascoe-Sheppard and Chancellor Perry.It had its world premiere at the Deauville American Film Festival on September 9, 2020. It was released on July 30, 2021, by Vertical Entertainment.Lorelei 2021 .
The film had its world premiere on September 9, 2020 at the Deauville American Film Festival,[3][4] where a jury presided over by Vanessa Paradis awarded it the Jury Prize.[5] It was previously set to have its world premiere at the Tribeca Film Festival in April 2020, but this was postponed due to the COVID-19 pandemic.[6][7] The film subsequently got invited back to the 2021 Tribeca Film Festival, screening outdoors in Manhattan as part of the 20th anniversary edition of the festival.[8] During its festival run, Lorelei also picked up Audience and Jury Awards at the International Filmfestival Mannheim-Heidelberg[9] and the Jordan Ressler First Feature Award at the Miami International Film Festival.[10] In March 2021, Vertical Entertainment acquired U.S. distribution rights to the film.[11] It was released on July 30, 2021
A shaky narrative is given ballast by two vivid and well-matched leads in Sabrina Doyle’s exasperating, sporadically touching feature debut, the blue-collar melodrama Lorelei. As former high school sweethearts reconnecting amid dire socioeconomic circumstances, Pablo Schreiber and Jena Malone hustle to overcome movie-ish dialogue and clichéd story dynamics, investing their life-bruised characters with authentic feeling. They’re enough to make you care about the film — and the people in it — even at its clumsiest.And clumsy it often is. A collaboration between writer-director Doyle and The Florida Project producers Francesca Silvestri and Kevin Chinoy, Lorelei feels stuck halfway between male weepie (à la last year’s prison-set The Mustang or, to cite a superior contemporary example, Darren Aronofsky’s The Wrestler) and romantic two-hander. The film ends up tilting toward the former, suggesting its makers’ misguided belief that Schreiber’s character, an Oregon ex-convict trying to scrape a life back together, is the more interesting of the pair.
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