Any investigation that Detective Graves would make into what left all the inhabitants of the Big House buried side-by-side might uncover some more of the “how,” but any extra episodes would tear at the thin fabric of “why” that these six episodes already left with us. Hal (Joel Fry) has tasted sheep flesh, which kind of makes a return to life as a concert pianist feel like an unfulfilling career move. All the people responsible for unleashing this neon blue-eyed version of Matilda into this world are now in a shallow grave. The last 10 minutes of “Requiem” feel like a preemptive strike against that push. No matter how cataclysmic the ending, no matter how final or ambiguous things may end up, there will always be a clamor for more an army of people searching for a Season 2.
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#Customize requiem ed version tv
That drive for answers about the “Requiem” ending might just fuel a conversation we had only a couple months ago with “The End of the F**king World.” As IndieWire TV Critic Ben Travers pointed out at the time, we’ve hit a mark in the Age of Netflix where these self-contained miniseries are an endangered species.
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As “Requiem” ends with a visibly altered Matilda smiling, the credits roll without explaining whether or not it’s the same woman who made the journey to Penllynith or a vessel for a being that’s traveled a great deal farther. The aftermath of Stephen Kendrick luring Matilda (Lydia Wilson) to an underground lair as an offering for an ancient ritual helped to cap off a fascinating season. And come they do, in the form of a betrayal that’s not exactly surprising, but is still the last shocking piece of a puzzle six episodes in the making. After the fact that he doesn’t show up until the second episode of “ Requiem,” the new Netflix/BBC supernatural co-production, it’s almost instantly clear that his biggest moments will come late in this story. "In a homogenized world of brand names and mass production," Mansell said in 2000, "a world where art is always at odds with commerce, it is unbelievably gratifying to work with artists such as Darren Aronofsky and the Kronos Quartet, whose desire to go beyond the norm, beyond the expected, is not tempered by the desire to be commercially palatable.When you cast an actor like Brendan Coyle, a familiar, welcoming face to people who’ve seen popular British television before, there’s an expectation that he’s going to be an important figure in the story. "In a homogenized world of brand names and mass production," Mansell said in 2000, "a world where art is always at odds with commerce, it is unbelievably gratifying to work with artists such as Darren Aronofsky and the Kronos Quartet, whose desire to go beyond the norm, beyond the expected, is not tempered by the desire to be commercially palatable." Mansell’s score for Requiem for a Dream serves to intensify the wide range of emotions that permeate the film. The two would go on to collaborate on The Fountain (2006) and Noah (2014)-both of which also feature Kronos Quartet on the soundtrack- The Wrestler (2008) and Black Swan (2010). Requiem for a Dream, which stars Ellen Burstyn, Jared Leto, Jennifer Connelly, and Marlon Wayans, was the second collaboration between Mansell and Aronofsky, following the director's 1997 feature debut, pi. The new 2-LP vinyl edition, which also includes the bonus tracks, features the original 2000 soundtrack cover art for the anniversary.
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The soundtrack was originally released on Nonesuch in 2000 the first vinyl edition was released for Record Store Day in 2016 with new artwork and two previously unreleased bonus tracks. Clint Mansell's haunting score to director Darren Aronofsky's 2000 film Requiem for a Dream, performed by Kronos Quartet, has returned to vinyl for the film's twentieth anniversary year, out now.