First trailer for Ryan Gosling’s directorial debut

The first trailer for Ryan Gosling’s directorial debut, Lost River (previously, How to Catch a Monster) is here, and it’s as mysterious and strange, as it is enigmatic and delightful.

(Article continues under the video) 

How to Catch a Monster is a much more memorable as a title, but with this trailer I don’t think people will forget, Lost River either. Over the past few years, Ryan Gosling, has proved to be one of the best young actors around. He played a handsome charmer in, Crazy, Stupid, Love, and a year later he was in Derek Cianfrance’s, The Place Beyond the Pines. He get’s around to say the least, and often in very different movies. With Lost River, it look like he has learned a lot from two of his partners, Derek Cianfrance and Nicolas Winding Refn.

While the feel of the trailer gives of a tone reminiscent of the tone in a Nicolas Winding Refn film, the locations feel like their part of a Cianfrance film. It also gives associations to David Lynch, where mood and absurdity goes center stage. The first paragraph of the script, which is written by Gosling himself, is also something one would expect in a Lynch film.

The plot in and of itself is worth taking note, where Christina Hendricks plays a mother who is swept into a dark underworld. While her son discovers a road that leads him to a secret underwater town. Matt Smitt, Saoirse Ronan, Eva Mendes and Iain De Caestecker will join Hendricks as the cast, while Gosling has secured Benoît Debie as cinematographer. Debie has done masterful work with movies like Spring Breakers and Irréversible. Composer, Johnny Jewel, is still a hidden name in the industry, but with Bronson on his portfolio it seems promising. He also composed additional music to Cliff Martinez soundtrack for, Drive.


Reportedly the movie was received with both boos and applause after it’s screening at Cannes, but the Cannes-audience is a little too proud of their boos to be taken seriously any longer. Remember, Only God Forgives got booed last year, and Gasper Noé’ masterpieces, Irréversible and Enter the Void also got the boo-treatment a few years earlier. It often speaks of a movie  that delivers something different than the audience was expecting or hoping for.


Per Morten Mjolkeraaen

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