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Shot entirely in high-definition digital, premièred at the Cannes film festival and subsequently released in DVD format with a 12-page booklet and extra material, Alexander Fodor’s experimental low-budget adaptation of Hamlet (2006) blatantly presents itself as some kind of “Shakespeare in the extreme.” 1 And, indeed, Fodor’s film contains many elements that could be classified as “extreme” when compared to Shakespeare’s Hamlet: Polonius becomes Polonia (Lydia Piechowiak), a scheming femme fatale who would not be out of place in a film noir, and goes as far as to seduce a Reynaldo-turned-Reynalda with luscious cherries and red wine Ophelia (Tallulah Sheffield) is a drug addict who relies on her elder sister Polonia for her drug supply Horatio (Katie Reddin-Clancy) switches gender Laertes (Jason Wing) is a vicious Cockney thug the Ghost (James Frail) is omnipresent.
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