Stan, Australia’s unrivalled home of original productions, today unveiled the official trailer for the upcoming Stan Original Series Eden – and confirmed the eight-part mystery drama will premiere Friday, 11th June only on Stan, with all episodes available at once.
From the creators of Skins and Miss Fisher’s Murder Mysteries and written by an all-female writing team, Eden was shot on location in the stunning Northern Rivers region of New South Wales andstars Australian up-and-comers BeBe Bettencourt (The Dry) and Sophie Wilde (Bird),alongside Keiynan Lonsdale (The Flash), Cody Fern (American Horror Story), TV Week Gold Logie Award-winner Samuel Johnson (Molly) and Christopher James Baker (True Detective).
The acclaimed Australian cast also features Rachael Blake (Cleverman), Leeanna Walsman (Penguin Bloom), Simon Lyndon (Mystery Road), Maggie Kirkpatrick (The Letdown), Alexandria Steffensen (Happy Feet), Cassandra Sorrell(Her Own Music), Mark Leonard Winter (The Dressmaker), Claude Jabbour (Stateless), Geneviève Lemon (Ladies in Black), Benedict Hardie (Stan Original Series The Commons), Thom Green (Camp), Hunter Page-Lochard (Cleverman) and Dustin Clare (Spartacus franchise).
The mystery of Eden unfolds over eight thrilling episodes and follows high-achieving 20-year-old Scout (Sophie Wilde), who returns home to the beach community of Eden after her first year at Juilliard, the prestigious New York performing arts school, to find her enigmatic best friend Hedwig (BeBe Bettencourt) indefinably changed.
On a drug-fuelled night out, Scout confesses her burgeoning romantic and sexual feelings for Hedwig. Tensions escalate throughout the night and culminate in a violent struggle. Scout blacks out. When she wakes up with no memory of the evening’s end, Hedwig is gone.
Across the series, we track backwards through Hedwig’s summer and forwards to Scout’s desperate investigation into her friend’s disappearance – triggering revelation after revelation about the lives of Eden’s inhabitants that will change the town forever.
An exploration of human relationships through the lens of sex and desire, Eden was written by series creator, executive producer and writer Vanessa Gazy (Highway), alongside Jess Brittain (Clique), Anya Beyersdorf (Shakespeare Now), Clare Sladden (Freudian Slip) and Penelope Chai (Other People’s Problems).
Created in collaboration with Every Cloud Productions’ Fiona Eaggerand Deb Cox (Miss Fisher’s Murder Mysteries), and the creator of the UK cult hit Skins, Balloon Entertainment’s Bryan Elsley, Eden is produced by Fiona McConaghy (Stan Original Series The Gloaming) and directed by John Curran (Stan Original Series Bloom), Mirrah Foulkes (Judy & Punch) and Peter Andrikidis (Janet King). All eight episodes of the series have been shot by award-winning cinematographer Geoffrey Hall (Stan Original Series Bloom).
The Stan Original Series Eden is produced by Every Cloud Productions and Balloon Entertainment. Major production investment from Screen Australia in association with Screen NSW. Financed with support from all3media International, who is the global distribution partner on the series.
The Stan Original Series Eden premieres 11 June only on Stan, with all episodes available at once.
Summary: When Cecilia’s abusive ex takes his own life and leaves her his fortune, she suspects his death was a hoax. As a series of coincidences turn lethal, Cecilia works to prove that she is being hunted by someone nobody can see.
Australian Cinema Release Date: 27th February 2020
Thailand Cinema Release Date: 13th March 2020
Australian DVD Release Date: TBA
Country: Australia, United States, Canada, United Kingdom
Director: Leigh Whannell
Screenwriter: Leigh Whannell
Cast: Michael Dorman (Tom Griffin), Harriet Dyer (Emily Kass), Amali Golden (Annie), Benedict Hardie (Marc), Aldis Hodge (James Lanier), Oliver Jackson-Cohen (Adrian Griffin), Nick Kici (Taylor), Renee Lim (Doctor Lee), Elisabeth Moss (Cecilia Kass), Storm Reid (Sydney Lanier), Sam Smith (Detective Reckley)
Running Time: 124 mins
Classification: MA15+ (Australia) 18 (Thailand)
OUR THE INVISIBLE MAN REVIEWS & RATINGS:
Dave Griffiths’ The Invisible Man Review:
There has been a lot of commentary recently about the ‘new breed’ of horror films. The term has been given to films like Midsumma and Hereditary, films that supposedly show that the ‘new breed’ of horror filmmakers who are now ‘woke’ and incorporate social issues into the horror that their characters face.
To say that is a new form of filmmaking though is probably a little bit of a misconception as you could possibly argue that horror filmmakers were doing that a long time before it became a Hollywood trend. Early horror films regularly used the ‘horror’ to point out so-called anti-social behaviour. Remember all those slashers where the babysitter got killed because she fooled around with her boyfriend rather than watching the kids? Yep, that was filmmakers making a social commentary about promiscuous teens. Then there were films like Saw and Hostel that graphically look at the impact of greed and lust on society.
On the flip side there were also films like I Spit On Your Gave. Released in 1978 the controversial film showed what happened when a woman decides to get bloody revenge on a group of men that sexually assaulted her. Then in 2014 came James Cullen Bressack’s Pernicious which showed the dire consequences of what happens after three young backpackers disrespect Thai culture while visiting the country.
Most of the films I have just mentioned were pretty hard-hitting, but nothing will prepare you for the psychological horror of Leigh Whannell’s The Invisible Man. A lo of people will probably write this off as another remake of the famous 1930s film which of course was based on a novel by H.G. Wells. Nothing could be further from the truth though as Whannell takes the basic character of an invisible man and turns it into a menacing villain looking to further torture a woman who has just left him to escape an abusive relationship.
When it comes to the horror genre Whannell is one of the modern day godfathers. As a writer he created the paranormal worlds of franchises like Saw and Insidious, while as he director he also gave us the criminally under-rated Upgrade. With The Invisible Man he introduces us to Cecilia Kass (Elisabeth Moss – The Handmaid’s Tale) a woman trapped in a severely abusive relationship with a psychopathic scientist named Adrian Griffin (Oliver Jackson-Cohen).
With the help of her sister Emily (Harriet Dyer – Love Child) and her good friend Detective James Lanier (Aldis Hodge – Straight Outta Compton) Cecilia manages to escape the prison that is Adrian’s home. But as she goes into hiding she suddenly finds herself stalked by an entity that she can’t see – an entity that she believes is Adrian. The torture then begins as the ‘invisible man’ sets out to separate her from those she loves and hurt anyone that he feels stands in his way.
What Whannell has done here is take the invisible man character and deliver it to the audience in a way that no filmmaker has ever done before. We thought Hollow Man was spine-cilling but that is child’s play compared to what Whannell does here. The terror that Cecilia is put through by her tormentor mirrors what domestic abuse sufferers go through every day of their lives. The fear of not being able to leave their own home, having family members and friends not believe what is happening to them and of course the awkward legal meetings that they must endure should they chose to report their tormentor. Here those moments are brought to the screen as circumstances force Cecilia and Emily to meet with Adrian’s lawyer – his own brother Tom (Michael Dorman – Daybreakersi).
Whannell allows this film to hit its audience with the subtleness of a sledgehammer. His unique directional style allows the audience to always know where the invisible horror is and as a result they find themselves just as on edge as Cecilia is. As a filmmaker Whannell knows not to bother frightening his audience with jump scares and lame horror sequences instead he will reveal what to the naked eye looks like an empty frame on the screen only to then suddenly have a knife appear and you know that the ‘horror’ is present. It is easy to see that Whannell is a well-versed film fan and he strives to deliver the kinds of movies that he as a viewer would be impressed with as well. What he is created here is psychologically terrifying movie that even Alfred Hitchcock would have been proud of.
As is the tradition of Blumhouse produced horror films The Invisible Man allows for some lesser known actors and actresses to shine. Moss shakes off her ‘television actress’ tag with an amazing performance that should deservedly gain some Oscar talk when it comes to the next lot of nominations. As an actress she has to deliver everything from serious dramatic moments talking about her trauma through to fight sequences against a villain she can’t see… that is some pretty physically demanding work right there.
She is also well supported by the dangerously under-rated Michael Dorman who has previously shown his brilliance in films like the chilling Acolytes and vampire flick Daybreakers. Here Dorman plays the menacing lawyer Tom remarkably well and hopefully this gives him more of a profile in Hollywood.
The Invisible Man is a chillingly brilliant horror film that again shows why Leigh Whannell needs to be considered one of the best filmmakers currently going around. The psychological nature of the film takes the horror genre to a whole new level and shows why the term ‘modern day re-telling’ need not always mean a film that is going to be groan-worthy. If you are a serious film lover than please do not write of The Invisible Man as just another popcorn horror film as this is one of the best films that you are likely to see in 2020.
Kyle McGraths’ The Invisible Man Review
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