Philip Haas Movies

The war in Iraq provides the backdrop for this story of personal and political chaos from British filmmaker Philip Haas. Anna (Connie Nielsen) is an American journalist covering the fighting in Iraq in 2003. American forces have removed Saddam Hussein from power, but violence remains widespread on both sides, and many of the criminals and opportunists who attached themselves to Hussein's regime are scrambling for position under the American-authorized government. Anna has friends and allies on both sides of the conflict, and is romantically involved with two men -- Dan (Damien Lewis), a CIA operative who believes the future of Iraq depends on Americans working with moderate Iraqis and rebuilding the damage done in the war (beliefs that run counter to those of his superiors), and Zaid (Mido Hamada), a photographer from Iraq who is eager to leave his battered country behind and start a new career in the West. As Anna's loyalties are torn between these two men and their differing perspectives on Iraq, a scandal polarizes the nation when two Iraqi children are found dead after having been thrown off a bridge by American soldiers. The Situation was written by Wendell Steavenson, a former journalist who was inspired to write the script by her own experiences covering the Iraq war. ~ Mark Deming, Rovi

A woman left alone by the death of her husband finds her love life has become suddenly and dangerously complicated in this drama. Mary Panton (Kristin Scott Thomas) is a British woman living in Italy in 1938 who has been financially ruined by the death of her husband. Edgar (James Fox), an aging diplomat, asks Mary for her hand in marriage, and while she doesn't love him, she longs for the security of a husband and asks for a few days to consider the proposal. The next evening, Mary is invited to a party by an American socialite known as the Princess (Anne Bancroft); there, Mary meets Rowley Flint (Sean Penn), a rough-hewn and cocky American who is intrigued by her. Mary also feels drawn to Rowley, but their personalities clash, and they end the evening in an argument. Mary impulsively spends the night with Karl (Jeremy Davies), a young musician who played at the party. In the cold light of day, Mary decides that her fling with Karl is best left as a one-night stand, but Karl insists that he's fallen in love with her, and he melodramatically kills himself. Mary, desperate, calls upon Rowley to help her hide the body; he agrees, and soon they are both being questioned by local fascist leader Leopardi (Massimo Ghini) about Karl's disappearance. Up at the Villa was adapted from a novella by W. Somerset Maugham. ~ Mark Deming, Rovi

A 19th-century British naturalist falls in love with the beautiful daughter of a wealthy aristocrat, but he soon discovers that her family's perfect facade disguises unexpectedly grim secrets. Director and co-screenwriter Philip Haas's adaptation of A.S. Byatt's Morpho Eugenio eschews the usual gentility of Victorian period pieces in favor of subtle creepiness. The unsettling mood is emphasized by the film's detailed attention to its protagonist's scientific endeavors, which center on the study of insects and their behavior. In fact, it is his love of insects that brings William (Mark Rylance) to the well-heeled Reverend Alabaster (Jeremy Kemp), who takes a personal interest in William's welfare when a shipwreck leaves William practically penniless. William is welcomed into the Alabaster home, and he resumes his entomological studies while courting the reverend's daughter, Eugenia (Patsy Kensit). Close-up glimpses of insect society parallel this aristocratic world and hint at the dark secrets with which William soon becomes unexpectedly familiar. As in Haas's previous film, The Music of Chance, an unusual, highly symbolic filmmaking approach creates an effective drama, with the potentially detached intellectualism balanced by unusual characterizations and an absorbing attention to detail. ~ Judd Blaise, Rovi

Documentary filmmaker Philip Haas made his dramatic feature film debut with The Music of Chance, adapted from Paul Auster's terse, existential novel. The film follows the plight of two hapless drifters -- Jim Nashe (Mandy Patinkin), who is escaping family and responsibility with an inheritance and a red BMW, and Jack Pozzi (James Spader), a down-on-his-luck gambler and world class manipulator. Pozzi convinces Nashe to shoot the works and put his remaining $10,000 into a high stakes poker game against two rich suckers -- reclusive lottery winners Willie Stone (Joel Grey) and Bill Flower (Charles Durning), who share a lavish but isolated country estate, using the remains of their lottery fortune to construct a self-contained world on the grounds of their mansion. Instead of bilking the two millionaires, however, Pozzi and Nashe lose their windfall and find themselves indebted to Stone and Flowers, who compel them to work off their losses by constructing a stone monument on their estate, a chore that results in deception, flight, and possibly murder. ~ Paul Brenner, Rovi

Though all but unknown outside of the United Kingdom, the eccentric performance artists Gilbert and George (Gilbert Prousch and George Passmore) first carved out a niche for themselves in the 1970s and '80s. Always appearing together, and ere clad in matching business suits, the duo perpetuated such stunts as covering themselves in gold paint and miming continually to a recording of "Underneath the Arches," and filming themselves getting progressively intoxicated on Gordon's gin. They also created a series of incendiary artistic photographs highlighting a series of bodily substances (urine, semen, feces, etc.). The 1981 documentary The World of Gilbert and George (which the pair directed themselves) caters to those viewers familiar with the pair by assuming that the viewer harbors a foreknowledge of the artists' work. It features such spectacles as Gilbert and George drinking tea, Gilbert and George performing hymns, Gilbert and George doing a morrisdance, and Gilbert and George espousing their philosophies about art ad nauseum. ~ Nathan Southern, Rovi