Movie Cosmos - LookupActor

Actor Geoffrey Bateman

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Léon: The Professional 1994 ( 8.301)

Léon, the top hit man in New York, has earned a rep as an effective "cleaner". But when his next-door neighbors are wiped out by a loose-cannon DEA agent, he becomes the unwilling custodian of 12-year-old Mathilda. Before long, Mathilda's thoughts turn to revenge, and she considers following in Léon's footsteps.

Heartbreaker 2010 ( 6.6)

Alex and his sister run a business designed to break up relationships. They are hired by a rich man to break up the wedding of his daughter. The only problem is that they only have one week to do so.

Manderlay 2005 ( 6.883)

In 1933, after leaving Dogville, Grace Margaret Mulligan sees a slave being punished at a cotton farm called Manderlay. Officially, slavery is illegal and Grace stands up against the farmers. She stays with some gangsters in Manderlay and tries to influence the situation. But when harvest time comes, Grace sees the social and economic reality of Manderlay.

Actor Geoffrey Bates

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A Prayer for Nettie 1995

A Prayer For Nettie dramatizes the death of an elderly woman who was Cumming’s photographic model from 1982 to 1993, presenting an improvised series of prayers and memorials for Nettie Harris by people who knew her, and some who did not. In its ambiguous mix of tenderness and aggression, A Prayer For Nettie extends the traditions of the grotesque and the absurd. The fervent prayers of the actors are undermined by indifference, forgetfulness, and the presence of the camera. In the end, comedy turns the tables on piety and remembrance as Nettie looks up from the grave.

Cut the Parrot 1996

In his first film, A Prayer for Nettie, Donigan Cumming had placed Albert at the heart of the posthumous tribute to Nettie, his former model. One year later, he composed Cut the Parrot, a new requiem intended for Albert, who also died amid total indifference. As in his previous film, the film-maker gathered a series of eulogies in honour of the deceased from the people, some close and others not so close, who were emotionally affected by his death. But this film differs from the previous one in that it seems to be based not only on respect but also on an intense anger. Several times Donigan films his own face and angrily tells about how he was informed of Albert's death or about his visit to the morgue to identify the body. From then on the principle behind his cinematographic quest seems clearly exposed: no life, however marginal it may seem, should end in such a way, without any consideration.