#British directors
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karingottschalk · 2 years ago
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The Observer: Who was Muriel Box, Britain’s most prolific female film director? – Commentary
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nymphastral · 2 years ago
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“Gentlemen. I find it strange. You are poets, each one of you and speak of your muse in the feminine. And yet you appear to feel neither tenderness nor respect towards your wives, nor towards females in general.”
Orlando (1992) directed by Sally Potter
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notbecauseofvictories · 26 days ago
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It's very sad that I can't find a gifset that captures the manic, delightful, stupid, the-show-must-go-on-even-if-he-has-a-concussion!!! energy of The Goes Wrong Show, because as someone who did theater in high school, and has met a couple people who are professional performers.....it might be the most accurate depiction of Theater People I've ever seen.
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artfilmfan · 1 year ago
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How To Have Sex (Molly Manning Walker, 2023)
cinematography: Nicolas Canniccioni
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pintoras · 1 year ago
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Bridget Riley: Painting the Line (Sophie Deveson, 2021)
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the-woman-upstairs · 5 months ago
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Twisters is so funny because we’re first introduced to the corporate sponsored tornado chasers and they’re just…a boring collection of dudes. Totally bland, with barely a single personality between them. And then in come the Tornado Wranglers: the hottest, gayest collection of exuberant fun-loving weirdos you could possibly imagine. And it’s like…gee I wonder who the good guys are.
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tothechaos · 9 months ago
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in "anecdotes that sound entirely made up," this evening i was at dress rehearsal for the show im in, the importance of being earnest. i was in the dressing room and one of the costume assistants fainted. i caught her and was asking her if she was alright, if she knew where she was, etc. the uh. unfortunate part is that i was asking her entirely in character, which includes a british accent. imagine if you will, fainting, and when you come to, a man dressed as a mid 19th century woman is asking you if youre alright in a british accent. i think i would faint again
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yourdailyqueer · 26 days ago
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Jambareeqi (James McLoughlin)
Gender: Male
Sexuality: Bisexual
DOB: 19 September 1990
Ethnicity: White - British
Occupation: Youtuber, animator, actor, comedian, puppeteer, songwriter, screenwriter, director, producer
Note: Is autistic
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gd-dollopole · 2 months ago
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I cannot stop thinking about the comparison between BBC Merlin and Smallville.
As the directors of BBC Merlin have said, an inspiration has been taken from the ten long seasons of Smallville, an US TV show I always loved, and literally grew up with, and since a few months back, I also made a re-watch of Smallville, I can’t stop thinking about the potential BBC Merlin could have had, if it actually followed some bits of the storyline of Smallville.
We can already see some of the similarities between the shows:
Merlin wears a red neckerchief with a blue tunic and viceversa, like Clark Kent, and whenever he’s hopeless or sad or angry, he wears worn out grey colours, and as an avid fan of Smallville, I can assure you that Clark Kent wears the same things;
Clark Kent has to hide his powers in a world that would hurt him, kill him, or experiment on him, if he let on his deepest secret, and for that, he not only loses the people he cares about the most, much like Merlin does, which are his father, his friends, his lovers, and almost even his mother, but forbids himself to fall in love, and therefore pursue any kind of relationship;
he’s witty, yes, like Merlin, but also shy and brave and lonely.
But the difference between Smallville and Merlin is that in Smallville, there is the closure I would have liked to see in Merlin:
Clark kent does hide his secrets, and he is good at it, until everyone else finds out about him, all on their own.
We’re talking about everyone (maybe because Clark/Merlin are not as sly as they think):
Lex and Lionel and Luthessa Luthor, Lana Leng, Chloe Sullivan, Pete Ross, Oliver Queen and so many others, either because they already had their suspicions or because someone else showed them.
And this brings the right amount of angst in the show, mixed with the betrayal and the lies and the secrets and the love triangles and the tropes that come out of them.
But where is Arthur in this picture?
Oh, this is the good bit.
For very obvious reasons, apart from the fact that he doesn’t talk as much as her, Arthur is definitely Lois Lane.
FROM THIS MOMENT ON, SPOILERS AHEAD FOR THOSE WHO HAVEN’T WATCHED SMALLVILLE:
Lois Lane makes her appearance as a main character in the later seasons, after Clark understands that he has officially lost Lana, and starts working at the Daily Planet, in the same office as Lois.
But, unlike Arthur, Lois loves Superman (or The Blur, as he’s called for the entire ten seasons of Smallville, because he’s always caught on camera, but just as a blur). She talks to him in secret, and Clark masks his voice through the phone, he helps her and she helps him, he saves her innumerable times (does this remind you of anything?), and each time Lois compliments The Blur, Clark gets angry, because it’s his alter ego who gets the praise for a job well done, and not him, the clumsy idiot of the Daily Planet, much like everyone else in Merlin’s life has always got the credit for saving Arthur’s life, instead of him.
But what they should have given us in Merlin is what they gave us in Smallville, and it would have honestly made for the biggest magic reveal:
once Clark needs to fend off another enemy of the year, and thinks he’s going to officially die, he goes to say goodbye to his friends and his most loved ones, Lois included (“I’m happy to be your servant, until the day I die”).
Although, unlike in Merlin, where Arthur is a sweet himbo, who doesn’t inspect, and who doesn’t suspect anything, Lois had her suspicions, given that she and Clark had not only started falling in love, but now worked together too, and since she cared a whole lot about him, she follows Clark.
In the Smallville TV show, Lois hides behind a building from where, minutes later, Clark falls from. Lois believes he’s dead (Clark is immortal, and this begs the questions again: does he remind you of anyone?), and notices that he’s been stabbed in the chest with a blue crystal (context: the blue kryptonite removes Clark’s powers, and renders him human, and therefore mortal, unless the kryptonite, much like the green one, gets away from him). Following her guts, and sad and desperate that the man she loves the most might die, and believing in her suspicions and instinct, Lois pulls the crystal from Clark’s body, but the moment she hears some clutter, probably thinking they’re the enemies, she runs away, and goes back hiding.
And there, she sees him.
Clark grunts, gets up, completely safe ad healthy, sees that the crystal may have fallen by itself, or simply disappeared (and actually asks himself how that could have happened) and runs away:
by using his super fast power.
And Lois sees him.
Now, what could have been perfect was, if Arthur did the same.
After an attack gone wrong in the woods and losing sight of Merlin, he goes searching for the idiot, yelling something very along the lines of, “Where’s that useless buffoon?”, when he’s actually worried sick, and finds Merlin stabbed in the middle of a clearing.
Now, Arthur despises magic. He loathes it, he doesn’t trust it, yet, bless him, he still tries to understand it. This could have happened after Uther’s death, the moment Arthur’s reign begins.
He watches Merlin.
Arthur’s alone and shocked and scared and sick, so he drops to his knees next to him. He does not cry, he does not scream, he does not faint, that’s not really him at the end of the day, right? (Lois is the same. She grew up in a strict household with a strict solider father, and has lost her mother, and she had to be the parent to her older sister… Very, very much like Arthur). Or that’s what he thinks, and out of pure desperation, and something that sounds a bit like love, just like Lois Lane, since Merlin flinches, when he should be dead, for goodness’ sake, and out of instics and probably destiny, Arthur pulls whatever has stabbed Merlin out of his abdomen.
But as soon as he does, and as soon as he hears the knights coming close to him, and not to alarm anyone, and because he does not want them to see him in this sort of shocked state, Arthur hides behind a tree.
And there, he watches as Merlin, half dead and half alive, calls for Kilgharrah.
And Arthur has the same reaction of the finale.
He does not act on what he just discoveres.
At first, he’s sceptical, once Merlin comes back like he always does (and now he knows why and how), so he avoids him, he makes awful jokes, or hints about magic and about how powerful and dangerous it can be.
But once he’s sort of gone over this phase, noticing that Merlin hasn’t done anything with his big powers, like showing him off or anything of the likes (because Arthur has always known, magic or not, that Merlin would have never hurt him or Camelot), Arthur becomes… Curious.
And here comes the part that aligns with Smallville (we can also add the sexuality/gender identity/coming out metaphor):
much like in Smallville, and with magic and superpowers, and like in real life, someone does not force this information out of people, but Arthur, like Lois, is dying of curiosity, and just wants Merlin/Clark to trust him/her and tell him/her his secret, because he/she already knows of it.
So Arthur starts doing what Lois did.
The day after everything is well, and Lois now certainly knows about Clark’s superpowers, and the fact that he is The Blur, she goes to work, until Clark arrives too, and tells her that he must be quick for something, and needs some documents for a research. Lois stalls, and pretends she’s being SUDDENLY clumsy and a bit of an idiot (this would go perfectly well with Arthur, because he is an idiot, and he is also smitten with Merlin), and let her pen fall under the desk, to see what Clark would do.
And he uses his powers.
So imagine a wild Arthur in his natural habitat (his chambers), bored like no one else, and on the verge of imploding, because his manservant and best friend and love of his life he’s being stubborn and an oaf and an idiot and a toad.
He lets the apples or the sword or the belt fall under the table, pretends he’s keen to an act of kindness, and picks up the items himself, instead of letting Merlin do it, while he instructs said servant to do something else in the meantime.
Shocked at first, but following through with the orders, Merlin does as he’s being told, after throwing several sceptical looks at his prat of a king, and as soon as Arthur gets up from his crouched down position on the floor, the bed is already done, and the clothes are already folded, and Arthur goes mad, because, oh, he was right, and what else can Merlin do?
The curiosity gets him as much as his developing feelings for the cretin, with apparently super magical powers, who could also break a neck with a flick of his eyes, if he wanted to, and Arthur starts pretending to be even more of an idiot to see more magic, without Merlin knowing that he’s actually showing Arthur his abilities.
And the best part of it all?
The magic reveal.
I love Smallville, because the way Clark confesses his secret to Lois isn’t anything grand or majestic.
Yes, Clark does take Lois flying; yes, he also shags the living brains out of her, IN THEIR FARMS IN THE MIDDLE OF NOWHERE (I must do this again but, does this remind you of ANYONE/ANYTHING IN PARTICULAR?), but he’s just built and hot and intelligent, but also very, very shy and a bit silly.
That’s why I love Clark the most as the best version of Superman, and Merlin as the best version of the famous wizard.
So Clark calls Lois to meet him in one of the Daily Planets departments, where documents and papers are stashed and kept there, on the last floor of the building, and where no one ever goes, and he fidgets a bit with his fingers, and he stammers a lot, and Lois is about to lose it, because still, after all these years, and our love? And how can Clark not tell me? Does he not trust me? Does he not want me like I want him? And all these emotions are well encompassed on her face, because Clark fails to tell her, and he says that he’s sorry, he can’t lose her, he can’t take that risk, he has lost so many loved ones already, and what does Lois do?
She understands, because she loves Clark, and she does not want to force him.
She gulps her tears, she miles brokenly, she nods, she tells Clark that it’s fine, but when she’s about to turn on the elevator, Clark realises that the love of his life is about to slip away from his fingers, and just blurts his secret out like a bloody moron.
Much like Merlin would do.
“I’m The Blur.”, he says, and Lois smiles, she turns around, and she runs to him, and literally jumps him, until they both fall back together, and laugh and stutter out their words and yes… They end up snogging.
Now, I want you to imagine a wild Arthur standing on one of the towers or balconies in the Camelot castle, while Merlin is being the usual insecure, oblivious man Arthur’s known for over ten years, and he turns around at the confession, and he runs to Merlin, and he pulls him to him, and while in this version, Arthur gives Merlin a concussion, as he hits the stone floor (because they are romantic, but also more stupid than Lois and Clark, since they’re, you know, a bloody gay disaster), he snogs the shit out of him too, and they start working together, and getting rid of the enemies together, and form a bond that is even deeper than the one they had before already, and Arthur meets Hunith’s mother as someone else entirely, while the chaos ensue, and so do the messy feelings:
like it happened in Smallville, but did not, because Lord forbid the gays, happened in BBC Merlin.
The knights of The Round table are the other DC superheros, and Guinevere could either be a superhero of her own or the wise and smart counsellor, who would be the journalist in Smallville, and Morgana is still Arthur’ sister, good or evil, it does not matter (she could either be after Merlin or after him, the options are innumerable).
Morgana is basically the obnoxious sister Lois’ has always had, who even gets a fake crush on Clark/Merlin to manipulate the two (these TV shows are too similar, I swear).
But I’m not done.
Oh, no, I’m not.
Because imagine all of this, imagine Smallville, but as a literal crossover with Merlin:
a fanfic where Merlin is the apparent imbecile employee at the Daily Planet, who actually has so many super powers, and he’s invincible, and his boss is Arthur Prat Pendragon, who is sceptical of superheroes, and his father Uther haunts them down, and is the owner of said Daily Planet, and loathes Merlin, because he talks about superheroes in his newspapers, and about his dad, because sodding fucking hell, he could control dragons.
Imagine the mess as these two fall in love, even if Merlin thinks he hates the rich, twat boss, whose order he has to follow, while Arthur treats him like a servant, rather than a journalist; Gwen could be either Chloe or Lana Leng, the best friend or the past lover, and Lancelot becomes Guinevere’s Jimmy or Oliver Queen, and Pete Ross is Will for Merlin, and Uther, is still the mad man they have to defy.
Merlin could have had so much potential, and a plethora of ways to have the magic reveal happen, and yet it was not used, and yes, if you didn’t notice, I’m still so mad over it.
I cannot fathom the amount of happiness I would have felt if they actually merged two of my favourite TV shows ever together, a good crossover between Smallville and the Arthuriana, in this case, BBC Merlin in particular.
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kneworder · 1 year ago
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maxpadelchampion · 3 months ago
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there is really something to be said about how george russell now moves me in ways i cannot describe. I started off mildly disliking him and now i act like he’s some guy i see once every two years, hang out for three days and then disappear into the void again. highly endearing and also just some guy on the street.
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batunatu · 4 months ago
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au post..
guys, what would happen if a retired bounty hunter ready to start a life of luxury takes a young friend out of prison to travel to las vegas and end up meeting a g0re movie director and a gangster united against them because the ex-prisoner wanted to hit on a waitress?
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yeah... (drawing from last year)
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nonbinary-morro · 1 year ago
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ok so im currently rewatching nimona in the hindi dub (thank you @sir-ballister-boldheart-boldheart for the link! everyone should check out their great posts about it too btw)
and right of off the bat, im kinda obsessed with this line change:
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in the OG, Nimonas quip/joke is "The one armed club is about to get some new members"
but in the Hindi dub its changed to "Agar inmisay kisi ka basu pasand ai toh bata'dayna" (sorry if my hinglish isnt the best i dont do this kinda thing often XO)
(which translates to: "if you find a liking to any of these arms tell me")
which is not only equally as hilarious but also soso cute cause the implication shes ready to chop of any arm he wants as a fucked up kinda karma/compensation or as a replacement is just, so good. violent and in character but also establishes a side of care for him early on which is really cool.
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bitter69uk · 6 months ago
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Born on this day: genuinely outrageous maverick British auteur Ken Russell (3 July 1927 – 27 November 2011), whose best films pack a jolt of baroque bad taste and an eye for the grotesque. As critic Mark Kermode correctly assessed, Russell “proved that British cinema didn't have to be about kitchen-sink realism —it could be every bit as flamboyant Fellini.” Of course, I love Russell’s bona fide masterworks like Women in Love (1969) (I certainly appreciate Oliver Reed and Alan Bates’ nude wrestling scene) and The Devils (1971). But I also like his lesser regarded later works like Valentino (1977), Crimes of Passion (1984), Gothic (1986), The Lair of the White Worm (1988) and Whore (1991). And I'm eternally grateful to Russell for giving the opportunity for the glorious sex-kitten-gone-berserk Ann-Margret (pictured) and hot tamale Tina Turner to go full-tilt batshit crazy in Tommy (1975)!
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artfilmfan · 4 months ago
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Silver Haze (Sacha Polak, 2023)
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pintoras · 1 year ago
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Bridget Riley: Painting the Line (Sophie Deveson, 2021)
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