Alfonso Cuarón’s ‘Disclaimer’: A cinematic journey into the realm of psychological thrillers
A bold pitch to Apple
When Alfonso Cuarón approached Apple with the idea of adapting Renée Knight’s 2015 novel “Disclaimer” into a five-and-a-half-hour psychological thriller, he was upfront about one thing: “I don’t know how to do television.” Reflecting on his initial pitch, Cuarón admits, “For me, it’s a bit too late in the game to start learning.” Instead, he and stars Cate Blanchett, Kevin Kline, and Sacha Baron Cohen decided to approach the project as they would a film.
Inspirations from cinematic history
Cuarón drew inspiration from several sprawling, narratively dense works in cinema history. Films like “Reds,” “1900,” “Fanny and Alexander,” “Once Upon a Time in America,” and even “Twin Peaks” served as touchstones for what he aimed to achieve. These films, often set against historical backdrops filled with wars and revolutions, justified their epic lengths. However, “Disclaimer” is a modern tale, dealing with contemporary issues.
The story of ‘Disclaimer’
“Disclaimer” follows Catherine Ravenscroft (Blanchett), a seasoned documentarian and journalist whose life is turned upside down when she receives a book that threatens to reveal secrets she desperately wants to keep hidden. The series moves back and forth in time, exploring Catherine’s crisis and her past encounter with the deceased son of Stephen Brigstocke (Kline), a conniving widower with a grudge. The show functions both as a gripping thriller and a complex examination of bias and public shaming.
The power of narrative
Cuarón emphasizes the importance of narrative in shaping our perceptions. “The whole question of narrative is relevant in fiction, but more than ever right now, we are experiencing a period in which narratives are taking over,” he notes. This idea is echoed in a scene where Christiane Amanpour warns Catherine about the power of narrative and form, highlighting their potential to both reveal truth and manipulate.
Assembling an A-list cast
Cuarón’s reputation as an acclaimed director, with Oscars for “Roma” and “Gravity,” allowed him to assemble a stellar cast. He knew Blanchett from the festival circuit and her collaborations with his friends Guillermo del Toro and Alejandro G. Iñárritu. Kline, a major star of the ’80s and ’90s, was suggested by Blanchett. Cuarón recalls Kline’s diverse range in films like “Sophie’s Choice,” “The Big Chill,” and “A Fish Called Wanda.” As for Baron Cohen, a longtime friend of Cuarón, he was initially daunted by the non-comedic role but ultimately embraced the challenge.
Visual storytelling
Reuniting with his longtime cinematographer Emmanuel “Chivo” Lubezki, Cuarón also brought in Bruno Delbonnel to serve as co-cinematographer. The series features many of the long, swooping shots characteristic of Cuarón’s work, particularly in scenes involving Blanchett. For Stephen’s scheming, Cuarón opted for tighter framing and more frequent cuts.
Voiceover and narrative perspective
Like “Y Tu Mamá También,” “Disclaimer” uses voiceover to reveal characters’ motivations and thoughts. Stephen’s narration has a Machiavellian flavor, while Catherine’s alternates between second-person and third-person omniscience. “Each one of those voices leads to a completely different understanding,” Cuarón explains.
A new wave of sexual candor?
Premiering at the Venice Film Festival alongside other sexually forward works, “Disclaimer” opens with a scene of a couple having enthusiastic sex in a train car. While Cuarón acknowledges the role of eroticism in cinema, he doesn’t see “Disclaimer” as part of a revolution in on-screen sexual candor. “Eroticism is part of humanity,” he says. “As long as it is used to convey that human experience, it should be embraced.”
The challenges of production
The production of “Disclaimer” was more challenging than Cuarón anticipated, taking over a year to shoot due to COVID restrictions and delays. This extended timeline was “really draining” for the actors, who had to pass on other jobs and live with their characters longer than expected. “My miscalculation is that it took a long time to shoot,” Cuarón admits.
What’s next for Cuarón?
Having completed his version of a “Reds” or “Fanny and Alexander,” Cuarón is looking forward to a change of pace. “I would love to do some 90-minute kind of film,” he says.
For more information and to watch the trailer, visit Disclaimer.
This article provides a deep dive into Alfonso Cuarón’s latest project, “Disclaimer,” offering insights into its creation, narrative structure, and the challenges faced during production. For cinema and TV series enthusiasts, it’s a must-read exploration of a modern psychological thriller by one of today’s most acclaimed directors.