#Elizabeth Docter

[in-love-with-movies]

Up (2009)

[abs0luteb4stard]

WATCHING

11 years and I've never seen this until now.

Better late than never.

😢😪😥😭😭

[lokilow-keystabbing]

It's season finale moon knight and MoM eve

Here is my mood board

[curiousgalacticsoul]

In a recent interview with Disney's D23 magazine, Doctor Strange 2 producer Richie Palmer said this:

"as we saw at the end of Doctor Strange, he chose to stay in the Sanctum, meaning he cant entertain his selfish desires."

First, how come truly wanting to be with someone who's very emotionally close to you a "selfish desire"? Also, between saving the world and being with Christine, Stephen doesn't necessarily have to choose any one, he can have both, like Tony Stark!

Yes, that comes with the fear of Stephen might having to see Christine getting hurt, or himself injured due to the constant threats, but that's the risk they'll have to take if they truly love each other (they do!) & want to be with each other. That's something Tony and Pepper did. And see, now they're the eternal favourite love story of MCU!

I always wonder why Stephen and Christine living together seems impossible to fans (& maybe MCU as well) as they explain "...that's why they can't be together.. because they can't live together"

I genuinely hope Doctor Strange 2 shows some positive improvement in our Stephen and Christine's lives, best if they end up together!

[run-mcd-90]

My Top 10 Films of 2020

1. Nomadland - dir. Chloe Zhao

2. Sound of Metal - Darius Marder

3. Saint Frances - dir. Alex Thompson

4. Soul - dir. Pete Docter

5. The Invisible Man - dir. Leigh Whannell

6. Da 5 Bloods - dir. Spike Lee

7. Palm Springs - dir. Max Barbakow

8. Never Rarely Sometimes Always- Eliza Hittman

9. The King of Staten Island- dir. Judd Apatow

10. The Trial of the Chicago 7 - dir. Aaron Sorkin

[cinemalerta]

93rd Academy Awards Nominees

BEST PICTURE

The Father – David Parfitt, Jean-Louis Livi, and Philippe Carcassonne

Judas and the Black Messiah – Shaka King, Charles D. King, and Ryan Coogler

Mank – Ceán Chaffin, Eric Roth, and Douglas Urbanski

Minari – Christina Oh

Nomadland – Frances McDormand, Peter Spears, Mollye Asher, Dan Javey, and Chloé Zhao

Promising Young Woman – Ben Browning, Ashley Fox, Emerald Fennell, and Josey McNamara

Sound of Metal – Bert Hamelinick and Sacha Ben Harroche

The Trial of the Chicago 7 – Marc Platt and Stuart Besser

BEST DIRECTOR

Lee Isaac Chung – Minari

Emerald Fennell – Promising Young Woman

David Fincher – Mank

Thomas Vinterberg – Another Round

Chloé Zhao – Nomadland

BEST ACTOR

Riz Ahmed – Sound of Metal as Ruben Stone

Chadwick Boseman (posthumous nominee) – Ma Rainey's Black Bottom as Levee Green

Anthony Hopkins – The Father as Anthony

Gary Oldman – Mank as Herman J. Mankiewicz

Steven Yeun – Minari as Jacob Yi

BEST ACTRESS

Viola Davis – Ma Rainey's Black Bottom as Ma Rainey

Andra Day – The United States vs. Billie Holiday as Billie Holiday

Vanessa Kirby – Pieces of a Woman as Martha Weiss

Frances McDormand – Nomadland as Fern

Carey Mulligan – Promising Young Woman as Cassandra “Cassie” Thomas

BEST SUPPORTING ACTOR

Sacha Baron Cohen – The Trial of the Chicago 7 as Abbie Hoffman

Daniel Kaluuya – Judas and the Black Messiah as Fred Hampton

Leslie Odom Jr. – One Night in Miami... as Sam Cooke

Paul Raci – Sound of Metal as Joe

Lakeith Stanfield – Judas and the Black Messiah as William "Bill" O'Neal

BEST SUPPORTING ACTRESS

Maria Bakalova – Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan as Tutar Sagdiyev

Glenn Close – Hillbilly Elegy as Bonnie "Mamaw" Vance

Olivia Colman – The Father as Anne

Amanda Seyfried – Mank as Marion Davies

Youn Yuh-jung – Minari as Soon-ja

BEST ORIGINAL SCREENPLAY

Judas and the Black Messiah – Screenplay by Will Berson and Shaka King; Story by Will Berson, Shaka King, Keith Lucas, and Kenny Lucas

Minari – Lee Isaac Chung

Promising Young Woman – Emerald Fennell

Sound of Metal – Screenplay by Darius Marder and Abraham Marder; Story by Darius Marder and Derek Cianfrance

The Trial of the Chicago 7 – Aaron Sorkin

BEST ADAPTED SCREENPLAY

Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan – Screenplay by Sacha Baron Cohen, Anthony Hines, Dan Swimer, Peter Baynham, Erica Rivinoja, Dan Mazer, Jena Friedman, and Lee Kern; Story by Baron Cohen, Hines, Swimer, and Nina Pedrad; Based on the character Borat Sagdiyev by Baron Cohen

The Father – Christopher Hampton & Florian Zeller, based on the play by Zeller

Nomadland – Chloé Zhao, based on the book by Jessica Bruder

One Night in Miami... – Kemp Powers, based on his play

The White Tiger – Ramin Bahrani, based on the novel by Aravind Adiga

BEST INTERNATIONAL FEATURE FILM

Another Round (Denmark) in Danish – directed by Thomas Vinterberg

Better Days (Hong Kong) in Mandarin – directed by Derek Tsang

Collective (Romania) in Romanian – directed by Alexander Nanau

The Man Who Sold His Skin (Tunisia) in Arabic – directed by Kaouther Ben Hania

Quo Vadis, Aida? (Bosnia and Herzegovina) in Bosnian – directed by Jasmila Žbanić

BEST ANIMATED FEATURE FILM

Onward – Dan Scanlon and Kori Rae

Over the Moon – Glen Keane, Gennie Rin, and Peilin Chou

A Shaun the Sheep Movie: Farmageddon – Richard Phelan, Will Becher, and Paul Kewley

Soul – Pete Docter and Dana Murray

Wolfwalkers – Tomm Moore, Ross Stewart, Paul Young, and Stéphan Roelants

BEST DOCUMENTARY FEATURE

Collective – Alexander Nanau and Bianca Oana

Crip Camp – Nicole Newnham, Jim LeBrecht and Sara Bolder

The Mole Agent – Maite Alberdi and Marcela Santibáñez

My Octopus Teacher – Pippa Ehrlich, James Reed, and Craig Foster

Time – Garrett Bradley, Lauren Domino, and Kellen Quinn

BEST CINEMATOGRAPHY

Judas and the Black Messiah – Sean Bobbitt

Mank – Erik Messerschmidt

News of the World – Dariusz Wolski

Nomadland – Joshua James Richards

The Trial of the Chicago 7 – Phedon Papamichael

BEST FILM EDITING

The Father – Yorgos Lamprinos

Nomadland – Chloé Zhao

Promising Young Woman – Frédéric Thoraval

Sound of Metal – Mikkel E.G. Nielsen

The Trial of the Chicago 7 – Alan Baumgarten

BEST PRODUCTION DESIGN

The Father – Production Design: Peter Francis; Set Decoration: Cathy Featherstone

Ma Rainey's Black Bottom – Production Design: Mark Ricker; Set Decoration: Karen O'Hara and Diana Sroughton

Mank – Production Design: Donald Graham Burt; Set Decoration: Jan Pascale

News of the World – Production Design: David Crank; Set Decoration: Elizabeth Keenan

Tenet – Production Design: Nathan Crowley; Set Decoration: Kathy Lucas

BEST COSTUME DESIGN

Emma – Alexandra Byrne

Ma Rainey’s Black Bottom – Ann Roth

Mank – Trish Summerville

Mulan – Bina Daigeler

Pinocchio – Massimo Cantini Parrini

BEST MAKEUP AND HAIRSTYLING

Emma – Marese Langan, Laura Allen, and Claudia Stolze

Hillbilly Elegy – Eryn Krueger Mekash, Patricia Dehaney, and Matthew Mungle

Ma Rainey's Black Bottom – Matiki Anoff, Mia Neal, and Larry M. Cherry

Mank – Kimberley Spiteri, Gigi Williams

Pinocchio – Dalia Colli, Mark Coulier, and Francesco Pegoretti

BEST VISUAL EFFECTS

Love and Monsters – Matt Sloan, Genevieve Camailleri, Matt Everitt, and Brian Cox

The Midnight Sky – Matthew Kasmir, Christopher Lawren, Max Solomon, and David Watkins

Mulan – Sean Faden, Anders Langlands, Seth Maury, and Steven Ingram

The One and Only Ivan – Nick Davis, Greg Fisher, Ben Jones, and Santiago Colomo Martinez

Tenet – Andrew Jackson, David Lee, Andrew Lockley and

BEST ORIGINAL SCORE

Da 5 Bloods – Terence Blanchard

Mank – Trent Reznor and Atticus Ross

Minari – Emile Mosseri

News of the World – James Newton Howard

Soul – Trent Reznor, Atticus Ross, and Jon Batiste

BEST ORIGINAL SONG

"Fight for You" from Judas and the Black Messiah – Music by H.E.R. and Dernst Emile II; Lyric by H.E.R. and Tiara Thomas

"Hear My Voice" from The Trial of the Chicago 7 – Music by Daniel Pemberton; Lyric by Daniel Pemberton and Celeste Waite

"Husavik" from Eurovision Song Contest: The Story of Fire Saga – Music and Lyric by Savan Kotecha, Fat Max Gsus, and Rickard Göransson

"Io Sì (Seen)" from The Life Ahead – Music by Diane Warren; Lyric by Diane Warren and Laura Pausini

"Speak Now" from One Night in Miami... – Music and Lyric by Leslie Odom Jr. and Sam Ashworth

BEST SOUND

Greyhound – Warren Shaw, Michael Minkler, Beau Borders, and David Wyman

Mank – Ren Klyce, Jeremy Molod, David Parker, Nathan Nance, and Drew Kunin

News of the World – Oliver Tarney, Mike Prestwood Smith, William Miller, and John Pritchett

Soul – Ren Klyce, Coya Elliot, and David Parker

Sound of Metal – Nicolas Becker, Jaime Baksht, Michelle Couttolenc, Carlos Cortes, and Philip Bladh

BEST LIVE ACTION SHORT FILM

Feeling Through – Doug Roland and Susan Ruzenski

The Letter Room – Elvira Lind and Sofia Sondervan

The Present – Farah Nabulsi

Two Distant Strangers – Travon Free and Martin Desmond Roe

White Eye – Tomer Shushan and Shira Hochman

BEST ANIMATED SHORT FILM

Burrow – Madeline Sharafian and Michael Capbarat

Genius Loci – Adrien Mérigeau and Amaury Ovise

If Anything Happens I Love You – Will McCormack and Michael Govier

Opera – Eric Oh

Yes-People – Gísli Darri Halldórsson and Arnar Gunnarsson

BEST DOCUMENTARY SHORT SUBJECT

Colette – Anthony Giacchino and Alice Doyard

A Concerto Is a Conversation – Ben Proudfoot and Kris Bowers

Do Not Split – Anders Hammer and Charlotte Cook

Hunger Ward – Skye Fitzgerald and Michael Shueuerman

A Love Song for Latasha – Sophia Nahali Allison and Janice Duncan

[coolchevistianofficialsite]

What are your thoughts on the Amphibia fandom who is attacking Disney TVA social media and the studio in general for True Colors delay?

Well it’s shit for many reasons but if you don’t know anything about bunisses and how in reality is The Walt Disney Company in general, this emotions are normal but let’s don’t forget that TVA is small studio on the whole Disney empire and let’s clear that again in studio.

The anger should be at Disney ABC Scheduling i don’t know nothing about the drama and speculations and in these case hoaxs that people are creating, Disney TVA as a studio has been one of the best with its lineup for Regular TV to Streaming but the way Disney ABC Television has been handling its shows is horrible it seems that there’s no communication between Disney as a company and Disney TVA as a studio if we compare it to Pixar and Walt Disney Animation Studios.

Disney asked Jennifer Lee and Pete Docter personal to put Soul, Luca and Raya and The Last Dragon on Disney+ but with TVA the only thing Disney has done is apologizing to Dan & Swampy for screwing Milo Murphy’s Law and that’s it, no renewal for that show or anything just a sorry, please make another Phineas And Ferb movie

No sorry for Craig McCracken (Well the only thing they did was let him keep the rights to Kid Cosmic when they passed on it), Aaron Springer or Tom Rugger nothing

This happens alot in animation from CH Greenblatt, Owen Dennis to  Elizabeth Ito with Netflix, CN & Nick 

EVERY COMPANY IS SHITTY and sadly this is still a practice that many companies do for animation

TLRD: The fault isn’t for TVA and it’s studio or its social media team (poor interns who handle the accounts) the fault should be directed at the scheduling department 

[mariacallous]

BAFTA Film Awards 2021 nominations

Best Film

"The Father"

"The Mauritanian"

"Nomadland"

"Promising Young Woman"

"The Trial of the Chicago 7"

Outstanding British Film

"Calm With Horses"

"The Dig"

"The Father"

"His House"

"Limbo"

"The Mauritanian"

"Mogul Mowgli"

"Promising Young Woman"

"Rocks"

"Saint Maud"

Director

Thomas Vinterberg ("Another Round")

Shannon Murphy ("Babyteeth")

Lee Isaac Chung ("Minari")

Chloé Zhao ("Nomadland")

Jasmila Žbanić ("Quo Vadis, Aida?")

Sarah Gavron ("Rocks")

Original Screenplay

"Another Round"

"Mank"

"Promising Young Woman"

"Rocks"

"The Trial of the Chicago 7"

Adapted Screenplay

Moira Buffini ("The Dig")

Christopher Hampton, Florian Zeller ("The Father")

Rory Haines, Sohrab Noshirvani, M.B. Traven ("The Mauritanian")

Chloé Zhao ("Nomadland")

Ramin Bahrani ("The White Tiger")

Leading Actress

Bukky Bakray ("Rocks")

Radha Blank ("The Forty-Year-Old Version")

Frances McDormand ("Nomadland")

Vanessa Kirby ("Pieces of a Woman")

Wunmi Mosaku ("His House")

Alfre Woodard ("Clemency")

Leading Actor

Riz Ahmed ("Sound of Metal")

Chadwick Boseman ("Ma Rainey's Black Bottom")

Adarsh Gourav ("The White Tiger")

Anthony Hopkins ("The Father")

Mads Mikkelsen ("Another Round")

Tahar Rahim ("The Mauritanian")

Supporting Actress

Niamh Algar ("Calm With Horses")

Kosar Ali ("Rocks")

Maria Bakalova ("Borat Subsequent Moviefilm")

Dominique Fishback ("Judas and the Black Messiah")

Ashley Madekwe ("County Lines")

Yuh-Jung Youn ("Minari")

Supporting Actor

Daniel Kaluuya ("Judas and the Black Messiah")

Barry Keoghan ("Calm With Horses")

Alan Kim ("Minari")

Leslie Odom Jr. ("One Night In Miami...")

Clarke Peters ("Da 5 Bloods")

Paul Raci ("Sound of Metal")

Outstanding Debut by a British Writer, Director or Producer

Remi Weekes ("His House")

Ben Sharrock, Irune Gurtubai ("Limbo")

Jack Sidey ("Moffie")

Theresa Ikoko, Claire Wilson ("Rocks")

Rose Glass, Oliver Kassman ("Saint Maud")

Film not in English Language

Thomas Vinterberg, Sisse Graum Jørgensen ("Another Round")

Andrei Konchalovsky, Alisher Usmanov ("Dear Comrades!")

Ladj Ly ("Les Misérables")

Lee Isaac Chung, Christina Oh ("Minari")

Jasmila Žbanić, Damir Ibrahimovich ("Quo Vadis, Aida?")

Documentary

Alexander Nanau ("Collective")

Alastair Fothergill, Jonnie Hughes, Keith Scholey ("David Attenborough: A Life on Our Planet")

Bryan Fogel, Thor Halvorssen ("The Dissident")

Pippa Ehrlich, James Reed, Craig Foster ("My Octopus Teacher")

Jeff Orlowski, Larissa Rhodes ("The Social Dilemma")

Animated Film

Dan Scanlon, Kori Rae ("Onward")

Pete Docter, Dana Murray ("Soul")

Tomm Moore, Ross Stewart, Paul Young ("Wolfwalkers")

Original Score

Trent Reznor, Atticus Ross ("Mank")

Emile Mosseri ("Minari")

James Newton Howard ("News of the World")

Anthony Willis ("Promising Young Woman")

Jon Batiste, Trent Reznor, Atticus Ross ("Soul")

Casting

Shaheen Baig ("Calm with Horses")

Alexa L. Fogel ("Judas and the Black Messiah")

Julia Kim ("Minari")

Lindsay Graham Ahanonu, Mary Vernieu ("Promising Young Woman")

Lucy Pardee ("Rocks")

Cinematography

Sean Bobbitt ("Judas and the Black Messiah")

Erik Messerschmidt ("Mank")

Alwin H. Küchler ("The Mauritanian")

Dariusz Wolski ("News of the World")

Joshua James Richards ("Nomadland")

Editing

Yorgos Lamprinos ("The Father")

Chloé Zhao ("Nomadland")

Frédéric Thoraval ("Prominsg Young Woman")

Mikkel E.G. Nielsen ("Sound of Metal")

Alan Baumgarten ("The Trial of the Chicago 7")

Production Design

Maria Djurkovic, Tatiana Macdonald ("The Dig")

Peter Francis, Cathy Featherstone ("The Father")

Donald Graham Burt, Jan Pascale ("Mank")

David Crank, Elizabeth Keenan ("News of the World")

Sarah Greenwood, Katie Spencer ("Rebecca")

Costume Design

Michael O'Connor ("Ammonite")

Alice Babidge ("The Dig")

Alexandra Byrne ("Emma")

Ann Roth ("Ma Rainey's Black Bottom")

Trish Summerville ("Mank")

Make up and Hair

Jenny Shircore ("The Dig")

Patricia Dehaney, Eryn Krueger Mekash, Matthew Mungle ("Hillbilly Elegy")

Matiki Anoff, Larry M. Cherry, Sergio Lopez-Rivera, Mia Neal ("Ma Rainey's Black Bottom")

Kimberley Spiteri, Gigi Williams ("Mank")

Mark Coulier ("Pinocchio")

Sound

Nominees TBC ("Greyhound")

Michael Fentum, William Miller, Mike Prestwood Smith, John Pritchett, Oliver Tarney ("News of the World")

Sergio Diaz, Zach Seivers, M. Wolf Snyder ("Nomadland")

Coya Elliott, Ren Klyce, David Parker("Soul")

Jaime Baksht, Nicolas Becker, Phillip Bladh, Carlos Cortés, Michelle Couttolenc ("Sound of Metal")

Special Visual Effects

Pete Bebb, Nathan McGuinness, Sebastian von Overheidt ("Greyhound")

Matt Kasmir, Chris Lawrence, David Watkins ("The Midnight Sky")

Sean Faden, Steve Ingram, Anders Langlands, Seth Maury ("Mulan")

Santiago Colomo Martinez, Nick Davis, Greg Fisher ("The One and Only Ivan")

Scott Fisher, Andrew Jackson, Andrew Lockley ("Tenet")

British Short Animation

Renaldho Pelle, Yanling Wang, Kerry Jade Kolbe ("The Fire Next Time")

Mole Hill, Laura Duncalf ("The Owl and the Pussycat")

Daniel Quirke, Jamie MacDonald, Brid Arnstein ("The Song of a Lost Boy")

British Short Film

Jesse Lewis Reece, Ike Newman ("Eyelash")

Akinola Davies, Rachel Dargavel, Wale Davies ("Lizard")

John Addis, Rami Sarras Pantoja ("Lucky Break")

Ghada Eldemellawy ("Miss Curvy")

Farah Nabulsi ("The Present")

EE Rising Star Award

Bukky Bakray

Conrad Khan

Kingsley Ben-Adir

Morfydd Clark

Sope Dìrísù

[extrabeurre]

MANK part en tête d’une course aux Oscars bien bizarre

Je me suis réveillé tantôt, j'ai parti la cafetière, puis en checkant Twitter, je me suis dit: "Ah oui, c'est vrai, les nominations des Oscars ont été dévoilées." 

 C’est la première année depuis une éternité où je ne suis pas au poste au moment où les nominations des Oscars sont annoncées. Je l’ai déjà dit, mais je suis assez désinteressé cette année par cette course aux remises de prix où sont honorés des films que presque personne n’a pu voir sur grand écran, pandémie oblige. 

Oui, il y a d’excellents films en lice, comme Nomadland, Sound of Metal et Promising Young Woman. Il y en a aussi que je vais essayer de voir prochainement, Minari notamment. Mais je n’ai pas l’impression qu’il y ait de gros titres qui ont enflammé la planète cinéma comme par exemple Parasite, Once Upon a Time... in Hollywood ou même le divisif Joker l’an dernier.

J’ai vu Mank de David Fincher sur Netflix, j’ai trouvé ça correct, mais c’est loin d’être un film marquant pour moi. Je reviens quand même sur Nomadland, un de mes préférés de 2020 (même s’il ne sortira techniquement pas en salle au Québec avant avril 2021) - ce sera un bon moment de voir Chloé Zhao probablement remporter l’Oscar de la Meilleure réalisation. Il y a plein d’actrices et d’acteurs talentueux qui sont en nomination. Je serais content que Trent Reznor & Atticus Ross soient récompensés pour la musique de Soul. Je trouve ça plate que TENET de Christopher Nolan ait presque été complètement ignoré.

Mais dans l’ensemble, je suis assez indifférent face à tout ça. Je vais sûrement regarder le gala quand même, en espérant que ce ne soit pas un désastre avec des fenêtres Zoom comme les Golden Globes...

Best motion picture of the year

“The Father” David Parfitt, Jean-Louis Livi and Philippe Carcassonne, Producers

“Judas and the Black Messiah” Shaka King, Charles D. King and Ryan Coogler, Producers

“Mank” Ceán Chaffin, Eric Roth and Douglas Urbanski, Producers

“Minari” Christina Oh, Producer

“Nomadland” Frances McDormand, Peter Spears, Mollye Asher, Dan Janvey and Chloé Zhao, Producers

“Promising Young Woman” Ben Browning, Ashley Fox, Emerald Fennell and Josey McNamara, Producers

“Sound of Metal” Bert Hamelinck and Sacha Ben Harroche, Producers

“The Trial of the Chicago 7” Marc Platt and Stuart Besser, Producers

Achievement in directing

“Another Round” Thomas Vinterberg

“Mank” David Fincher

“Minari” Lee Isaac Chung

“Nomadland” Chloé Zhao

“Promising Young Woman” Emerald Fennell

Performance by an actor in a leading role

Riz Ahmed in “Sound of Metal”

Chadwick Boseman in “Ma Rainey’s Black Bottom”

Anthony Hopkins in “The Father”

Gary Oldman in “Mank”

Steven Yeun in “Minari”

Performance by an actor in a supporting role

Sacha Baron Cohen in “The Trial of the Chicago 7”

Daniel Kaluuya in “Judas and the Black Messiah”

Leslie Odom, Jr. in “One Night in Miami…”

Paul Raci in “Sound of Metal”

Lakeith Stanfield in “Judas and the Black Messiah”

Performance by an actress in a leading role

Viola Davis in “Ma Rainey’s Black Bottom”

Andra Day in “The United States vs. Billie Holiday”

Vanessa Kirby in “Pieces of a Woman”

Frances McDormand in “Nomadland”

Carey Mulligan in “Promising Young Woman”

Performance by an actress in a supporting role

Maria Bakalova in “Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan”

Glenn Close in “Hillbilly Elegy”

Olivia Colman in “The Father”

Amanda Seyfried in “Mank”

Yuh-Jung Youn in “Minari”

Adapted screenplay

“Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan” Screenplay by Sacha Baron Cohen & Anthony Hines & Dan Swimer & Peter Baynham & Erica Rivinoja & Dan Mazer & Jena Friedman & Lee Kern; Story by Sacha Baron Cohen & Anthony Hines & Dan Swimer & Nina Pedrad

“The Father” Screenplay by Christopher Hampton and Florian Zeller

“Nomadland” Written for the screen by Chloé Zhao

“One Night in Miami…” Screenplay by Kemp Powers

“The White Tigers” Written for the screen by Ramin Bahrani

Original screenplay

“Judas and the Black Messiah” Screenplay by Will Berson & Shaka King; Story by Will Berson & Shaka King and Kenny Lucas & Keith Lucas

“Minari” Written by Lee Isaac Chung

“Promising Young Woman” Written by Emerald Fennell

“Sound of Metal” Screenplay by Darius Marder & Abraham Marder; Story by Darius Marder & Derek Cianfrance

“The Trial of the Chicago 7” Written by Aaron Sorkin

Best international feature film of the year

“Another Round” Denmark

“Better Days” Hong Kong

“Collective” Romania

“The Man Who Sold His Skin” Tunisia

“Quo Vadis, Aida?” Bosnia and Herzegovina

Best animated feature film of the year

“Onward” Dan Scanlon and Kori Rae

“Over the Moon” Glen Keane, Gennie Rim and Peilin Chou

“A Shaun the Sheep Movie: Farmageddon” Richard Phelan, Will Becher and Paul Kewley

“Soul” Pete Docter and Dana Murray

“Wolfwalkers” Tomm Moore, Ross Stewart, Paul Young and Stéphan Roelants

Best documentary feature

“Collective” Alexander Nanau and Bianca Oana

“Crip Camp” Nicole Newnham, Jim LeBrecht and Sara Bolder

“The Mole Agent” Maite Alberdi and Marcela Santibáñez

“My Octopus Teacher” Pippa Ehrlich, James Reed and Craig Foster

“Time” Garrett Bradley, Lauren Domino and Kellen Quinn

Achievement in cinematography

“Judas and the Black Messiah” Sean Bobbitt

“Mank” Erik Messerschmidt

“News of the World” Dariusz Wolski

“Nomadland” Joshua James Richards

“The Trial of the Chicago 7” Phedon Papamichael

Achievement in film editing

“The Father” Yorgos Lamprinos

“Nomadland” Chloé Zhao

“Promising Young Woman” Frédéric Thoraval

“Sound of Metal” Mikkel E. G. Nielsen

“The Trial of the Chicago 7” Alan Baumgarten

Achievement in music written for motion pictures (Original score)

“Da 5 Bloods” Terence Blanchard

“Mank” Trent Reznor and Atticus Ross

“Minari” Emile Mosseri

“News of the World” James Newton Howard

“Soul” Trent Reznor, Atticus Ross and Jon Batiste

Achievement in production design

“The Father” Production Design: Peter Francis; Set Decoration: Cathy Featherstone

“Ma Rainey’s Black Bottom” Production Design: Mark Ricker; Set Decoration: Karen O’Hara and Diana Stoughton

“Mank” Production Design: Donald Graham Burt; Set Decoration: Jan Pascale

“News of the World” Production Design: David Crank; Set Decoration: Elizabeth Keenan

“Tenet” Production Design: Nathan Crowley; Set Decoration: Kathy Lucas

Achievement in costume design

“Emma” Alexandra Byrne

“Ma Rainey’s Black Bottom” Ann Roth

“Mank” Trish Summerville

“Mulan” Bina Daigeler

“Pinocchio” Massimo Cantini Parrini

Achievement in sound

“Greyhound” Warren Shaw, Michael Minkler, Beau Borders and David Wyman

“Mank” Ren Klyce, Jeremy Molod, David Parker, Nathan Nance and Drew Kunin

“News of the World” Oliver Tarney, Mike Prestwood Smith, William Miller and John Pritchett

“Soul” Ren Klyce, Coya Elliott and David Parker

“Sound of Metal” Nicolas Becker, Jaime Baksht, Michelle Couttolenc, Carlos Cortés and Phillip Bladh

Achievement in makeup and hairstyling

“Emma” Marese Langan, Laura Allen and Claudia Stolze

“Hillbilly Elegy” Eryn Krueger Mekash, Matthew Mungle and Patricia Dehaney

“Ma Rainey’s Black Bottom” Sergio Lopez-Rivera, Mia Neal and Jamika Wilson

“Mank” Gigi Williams, Kimberley Spiteri and Colleen LaBaff

“Pinocchio” Mark Coulier, Dalia Colli and Francesco Pegoretti

Achievement in visual effects

“Love and Monsters” Matt Sloan, Genevieve Camilleri, Matt Everitt and Brian Cox

“The Midnight Sky” Matthew Kasmir, Christopher Lawrence, Max Solomon and David Watkins

“Mulan” Sean Faden, Anders Langlands, Seth Maury and Steve Ingram

“The One and Only Ivan” Nick Davis, Greg Fisher, Ben Jones and Santiago Colomo Martinez

“Tenet” Andrew Jackson, David Lee, Andrew Lockley and Scott Fisher

Best documentary short film

“Colette” Anthony Giacchino and Alice Doyard

“A Concerto Is a Conversation” Ben Proudfoot and Kris Bowers

“Do Not Split” Anders Hammer and Charlotte Cook

“Hunger Ward” Skye Fitzgerald and Michael Scheuerman

“A Love Song for Latasha” Sophia Nahli Allison and Janice Duncan

Best animated short film

“Burrow” Madeline Sharafian and Michael Capbarat

“Genius Loci” Adrien Mérigeau and Amaury Ovise

“If Anything Happens I Love You” Will McCormack and Michael Govier

“Opera” Erick Oh

“Yes-People” Gísli Darri Halldórsson and Arnar Gunnarsson

Best live action short film

“Feeling Through” Doug Roland and Susan Ruzenski

“The Letter Room” Elvira Lind and Sofia Sondervan

“The Present” Farah Nabulsi

“Two Distant Strangers” Travon Free and Martin Desmond Roe

“White Eye” Tomer Shushan and Shira Hochman

Achievement in music written for motion pictures (Original song)

“Fight For You” from “Judas and the Black Messiah” Music by H.E.R. and Dernst Emile II; Lyric by H.E.R. and Tiara Thomas

“Hear My Voice” from “The Trial of the Chicago 7” Music by Daniel Pemberton; Lyric by Daniel Pemberton and Celeste Waite

“Husavik” from “Eurovision Song Contest: The Story of Fire Saga” Music and Lyric by Savan Kotecha, Fat Max Gsus and Rickard Göransson

“Io Sì (Seen)” from “The Life Ahead (La Vita Davanti a Se)” Music by Diane Warren; Lyric by Diane Warren and Laura Pausini

“Speak Now” from “One Night in Miami…” Music and Lyric by Leslie Odom, Jr. and Sam Ashworth

[bongaboi]

93rd Academy Awards: The List.

Best Picture

· Nomadland – Mollye Asher, Dan Janvey, Frances McDormand, Peter Spears and Chloé Zhao

o The Father – Philippe Carcassonne, Jean-Louis Livi and David Parfitt

o Judas and the Black Messiah – Ryan Coogler, Charles D. King and Shaka King

o Mank – Ceán Chaffin, Eric Roth and Douglas Urbanski

o Minari – Christina Oh

o Promising Young Woman – Ben Browning, Emerald Fennell, Ashley Fox and Josey McNamara

o Sound of Metal – Bert Hamelinck and Sacha Ben Harroche

o The Trial of the Chicago 7 – Stuart M. Besser and Marc Platt

Best Director

· Chloé Zhao – Nomadland

o Thomas Vinterberg – Another Round

o David Fincher – Mank

o Lee Isaac Chung – Minari

o Emerald Fennell – Promising Young Woman

Best Actor

· Anthony Hopkins – The Father as Anthony

· Riz Ahmed – Sound of Metal as Ruben Stone

· Chadwick Boseman (posthumous) – Ma Rainey's Black Bottom as Levee Green

Gary Oldman – Mank as Herman J. Mankiewicz

· Steven Yeun – Minari as Jacob Yi

Best Actress

· Frances McDormand – Nomadland as Fern

o Viola Davis – Ma Rainey's Black Bottom as Ma Rainey

o Andra Day – The United States vs. Billie Holiday as Billie Holiday

o Vanessa Kirby – Pieces of a Woman as Martha Weiss

o Carey Mulligan – Promising Young Woman as Cassandra "Cassie" Thomas

Best Supporting Actor

· Daniel Kaluuya – Judas and the Black Messiah as Fred Hampton

o Sacha Baron Cohen – The Trial of the Chicago 7 as Abbie Hoffman

o Leslie Odom Jr. – One Night in Miami... as Sam Cooke

o Paul Raci – Sound of Metal as Joe

o Lakeith Stanfield – Judas and the Black Messiah as William "Bill" O'Neal

Best Supporting Actress

· Youn Yuh-jung – Minari as Soon-ja

o Maria Bakalova – Borat Subsequent Moviefilm as Tutar Sagdiyev

o Glenn Close – Hillbilly Elegy as Bonnie "Mamaw" Vance

o Olivia Colman – The Father as Anne

o Amanda Seyfried – Mank as Marion Davies

Best Original Screenplay

· Promising Young Woman – Emerald Fennell

o Judas and the Black Messiah – Screenplay by Will Berson and Shaka King; Story by Berson, King, Keith Lucas and Kenny Lucas

o Minari – Lee Isaac Chung

o Sound of Metal – Screenplay by Abraham Marder and Darius Marder; Story by Derek Cianfrance and D. Marder

o The Trial of the Chicago 7 – Aaron Sorkin

Best Adapted Screenplay

· The Father – Christopher Hampton and Florian Zeller, based on the play by Zeller

o Borat Subsequent Moviefilm – Screenplay by Sacha Baron Cohen, Peter Baynham, Jena Friedman, Anthony Hines, Lee Kern, Dan Mazer, Erica Rivinoja and Dan Swimer; Story by Baron Cohen, Hines, Nina Pedrad and Swimer; Based on the character by Baron Cohen

o Nomadland – Chloé Zhao, based on the book by Jessica Bruder

o One Night in Miami... – Kemp Powers, based on his play

o The White Tiger – Ramin Bahrani, based on the novel by Aravind Adiga

Best Animated Feature Film

· Soul – Pete Docter and Dana Murray

o Onward – Dan Scanlon and Kori Rae

o Over the Moon – Peilin Chou, Glen Keane, and Gennie Rin

o A Shaun the Sheep Movie: Farmageddon – Will Becher, Paul Kewley, and Richard Phelan

o Wolfwalkers – Tomm Moore, Stéphan Roelants, Ross Stewart and Paul Young

Best International Feature Film

· Another Round (Denmark) in Danish – directed by Thomas Vinterberg

o Better Days (Hong Kong) in Mandarin – directed by Derek Tsang

o Collective (Romania) in Romanian – directed by Alexander Nanau

o The Man Who Sold His Skin (Tunisia) in Arabic – directed by Kaouther Ben Hania

o Quo Vadis, Aida? (Bosnia and Herzegovina) in Bosnian – directed by Jasmila Žbanić

Best Documentary Feature

· My Octopus Teacher – Pippa Ehrlich, Craig Foster and James Reed

o Collective – Alexander Nanau and Bianca Oana

o Crip Camp – Sara Bolder, Jim LeBrecht and Nicole Newnham

o The Mole Agent – Maite Alberdi and Marcela Santibáñez

o Time – Garrett Bradley, Lauren Domino and Kellen Quinn

Best Documentary Short Subject

· Colette – Alice Doyard and Anthony Giacchino

o A Concerto Is a Conversation – Kris Bowers and Ben Proudfoot

o Do Not Split – Charlotte Cook and Anders Hammer

o Hunger Ward – Skye Fitzgerald and Michael Shueuerman

o A Love Song for Latasha – Sophia Nahali Allison and Janice Duncan

Best Live Action Short Film

· Two Distant Strangers – Travon Free and Martin Desmond Roe

o Feeling Through – Doug Roland and Susan Ruzenski

o The Letter Room – Elvira Lind and Sofia Sondervan

o The Present – Ossama Bawardi and Farah Nabulsi

o White Eye – Shira Hochman and Tomer Shushan

Best Animated Short Film

· If Anything Happens I Love You – Michael Govier and Will McCormack

o Burrow – Michael Capbarat and Madeline Sharafian

o Genius Loci – Adrien Mérigeau and Amaury Ovise

o Opera – Erick Oh

o Yes-People – Arnar Gunnarsson and Gísli Darri Halldórsson

Best Original Score

· Soul – Trent Reznor, Atticus Ross and Jon Batiste

o Da 5 Bloods – Terence Blanchard

o Mank – Trent Reznor and Atticus Ross

o Minari – Emile Mosseri

o News of the World – James Newton Howard

Best Original Song

· "Fight for You" from Judas and the Black Messiah – Music by D'Mile and H.E.R.; lyric by H.E.R. and Tiara Thomas

o "Hear My Voice" from The Trial of the Chicago 7 – Music by Daniel Pemberton; lyric by Celeste and Pemberton

o "Husavik" from Eurovision Song Contest: The Story of Fire Saga – Music and lyric by Rickard Göransson, Fat Max Gsus and Savan Kotecha

o "Io sì (Seen)" from The Life Ahead – Music by Diane Warren; lyric by Laura Pausini and Warren

o "Speak Now" from One Night in Miami... – Music and lyric by Sam Ashworth and Leslie Odom Jr.

Best Sound

· Sound of Metal – Jaime Baksht, Nicolas Becker, Philip Bladh, Carlos Cortés and Michelle Couttolenc

o Greyhound – Beau Borders, Michael Minkler, Warren Shaw and David Wyman

o Mank – Ren Klyce, Drew Kunin, Jeremy Molod, Nathan Nance and David Parker

o News of the World – William Miller, John Pritchett, Mike Prestwood Smith and Oliver Tarney

o Soul – Coya Elliot, Ren Klyce and David Parker

Best Production Design

· Mank – Production Design: Donald Graham Burt; Set Decoration: Jan Pascale

o The Father – Production Design: Peter Francis; Set Decoration: Cathy Featherstone

o Ma Rainey's Black Bottom – Production Design: Mark Ricker; Set Decoration: Karen O'Hara and Diana Stoughton

o News of the World – Production Design: David Crank; Set Decoration: Elizabeth Keenan

o Tenet – Production Design: Nathan Crowley; Set Decoration: Kathy Lucas

Best Cinematography

· Mank – Erik Messerschmidt

o Judas and the Black Messiah – Sean Bobbitt

o News of the World – Dariusz Wolski

o Nomadland – Joshua James Richards

o The Trial of the Chicago 7 – Phedon Papamichael

Best Makeup and Hairstyling

· Ma Rainey's Black Bottom – Sergio Lopez-Rivera, Mia Neal and Jamika Wilson

o Emma. – Laura Allen, Marese Langan and Claudia Stolze

o Hillbilly Elegy – Patricia Dehaney, Eryn Krueger Mekash and Matthew W. Mungle

o Mank – Colleen LaBaff, Kimberley Spiteri and Gigi Williams

o Pinocchio – Dalia Colli, Mark Coulier and Francesco Pegoretti

Best Costume Design

· Ma Rainey's Black Bottom – Ann Roth

o Emma. – Alexandra Byrne

o Mank – Trish Summerville

o Mulan – Bina Daigeler

o Pinocchio – Massimo Cantini Parrini

Best Film Editing

· Sound of Metal – Mikkel E.G. Nielsen

o The Father – Yorgos Lamprinos

o Nomadland – Chloé Zhao

o Promising Young Woman – Frédéric Thoraval

o The Trial of the Chicago 7 – Alan Baumgarten

Best Visual Effects

· Tenet – Scott R. Fisher, Andrew Jackson, David Lee and Andrew Lockley

o Love and Monsters – Genevieve Camailleri, Brian Cox, Matt Everitt and Matt Sloan

o The Midnight Sky – Matthew Kasmir, Chris Lawrence, Max Solomon and David Watkins

o Mulan – Sean Andrew Faden, Steve Ingram, Anders Langlands and Seth Maury

o The One and Only Ivan – Nick Davis, Greg Fisher, Ben Jones and Santiago Colomo Martinez

[deqpelis]

Oscars 2021: lista completa de nominados

Tarde pero seguro. El próximo 25 de abril se entregarán las estatuillas más esperadas del cine; entre estrenos cancelados y cines transformados en salas de living y streming, llegarán finalmente los premios más ansiados por los amantes del séptimo arte.

- OSCAR NOMINATIONS 2021 -

Best Picture

THE FATHER David Parfitt, Jean-Louis Livi and Philippe Carcassonne, Producers JUDAS AND THE BLACK MESSIAH Shaka King, Charles D. King and Ryan Coogler, Producers MANK Ceán Chaffin, Eric Roth and Douglas Urbanski, Producers MINARI Christina Oh, Producer NOMADLAND Frances McDormand, Peter Spears, Mollye Asher, Dan Janvey and Chloé Zhao, Producers PROMISING YOUNG WOMAN Ben Browning, Ashley Fox, Emerald Fennell and Josey McNamara, Producers SOUND OF METAL Bert Hamelinck and Sacha Ben Harroche, Producers THE TRIAL OF THE CHICAGO 7 Marc Platt and Stuart Besser, Producers

Actor in a Leading Role

Riz Ahmed in SOUND OF METAL Chadwick Boseman in MA RAINEY'S BLACK BOTTOM Anthony Hopkins in THE FATHER Gary Oldman in MANK Steven Yeun in MINARI

Actor in a Supporting Role

Sacha Baron Cohen in THE TRIAL OF THE CHICAGO 7 Daniel Kaluuya in JUDAS AND THE BLACK MESSIAH Leslie Odom, Jr. in ONE NIGHT IN MIAMI... Paul Raci in SOUND OF METAL Lakeith Stanfield in JUDAS AND THE BLACK MESSIAH

Actress in a Leading Role

Viola Davis in MA RAINEY'S BLACK BOTTOM Andra Day in THE UNITED STATES VS. BILLIE HOLIDAY Vanessa Kirby in PIECES OF A WOMAN Frances McDormand in NOMADLAND Carey Mulligan in PROMISING YOUNG WOMAN

Actress in a Supporting Role

Maria Bakalova in BORAT SUBSEQUENT MOVIEFILM: DELIVERY OF PRODIGIOUS BRIBE TO AMERICAN REGIME FOR MAKE BENEFIT ONCE GLORIOUS NATION OF KAZAKHSTAN Glenn Close in HILLBILLY ELEGY Olivia Colman in THE FATHER Amanda Seyfried in MANK Yuh-Jung Youn in MINARI

Animated Feature Film

ONWARD Dan Scanlon and Kori Rae OVER THE MOON Glen Keane, Gennie Rim and Peilin Chou A SHAUN THE SHEEP MOVIE: FARMAGEDDON Richard Phelan, Will Becher and Paul Kewley SOUL Pete Docter and Dana Murray WOLFWALKERS Tomm Moore, Ross Stewart, Paul Young and Stéphan Roelants

Cinematography

JUDAS AND THE BLACK MESSIAH Sean Bobbitt MANK Erik Messerschmidt NEWS OF THE WORLD Dariusz Wolski NOMADLAND Joshua James Richards THE TRIAL OF THE CHICAGO 7 Phedon Papamichael

Costume Design

EMMA Alexandra Byrne MA RAINEY'S BLACK BOTTOM Ann Roth MANK Trish Summerville MULAN Bina Daigeler PINOCCHIO Massimo Cantini Parrini

Directing

ANOTHER ROUND Thomas Vinterberg MANK David Fincher MINARI Lee Isaac Chung NOMADLAND Chloé Zhao PROMISING YOUNG WOMAN Emerald Fennell

Documentary (Feature)

COLLECTIVE Alexander Nanau and Bianca Oana CRIP CAMP Nicole Newnham, Jim LeBrecht and Sara Bolder THE MOLE AGENT Maite Alberdi and Marcela Santibáñez MY OCTOPUS TEACHER Pippa Ehrlich, James Reed and Craig Foster TIME Garrett Bradley, Lauren Domino and Kellen Quinn

Documentary (Short Subject)

COLETTE Anthony Giacchino and Alice Doyard A CONCERTO IS A CONVERSATION Ben Proudfoot and Kris Bowers DO NOT SPLIT Anders Hammer and Charlotte Cook HUNGER WARD Skye Fitzgerald and Michael Scheuerman A LOVE SONG FOR LATASHA Sophia Nahli Allison and Janice Duncan

Film Editing

THE FATHER Yorgos Lamprinos NOMADLAND Chloé Zhao PROMISING YOUNG WOMAN Frédéric Thoraval SOUND OF METAL Mikkel E. G. Nielsen THE TRIAL OF THE CHICAGO 7 Alan Baumgarten

International Feature Film

ANOTHER ROUND Denmark BETTER DAYS Hong Kong COLLECTIVE Romania THE MAN WHO SOLD HIS SKIN Tunisia QUO VADIS, AIDA? Bosnia and Herzegovina

Makeup and Hairstyling

EMMA Marese Langan, Laura Allen and Claudia Stolze HILLBILLY ELEGY Eryn Krueger Mekash, Matthew Mungle and Patricia Dehaney MA RAINEY'S BLACK BOTTOM Sergio Lopez-Rivera, Mia Neal and Jamika Wilson MANK Gigi Williams, Kimberley Spiteri and Colleen LaBaff PINOCCHIO Mark Coulier, Dalia Colli and Francesco Pegoretti

Music (Original Score)

DA 5 BLOODS Terence Blanchard MANK Trent Reznor and Atticus Ross MINARI Emile Mosseri NEWS OF THE WORLD James Newton Howard SOUL Trent Reznor, Atticus Ross and Jon Batiste

Music (Original Song)

"Fight For You" from JUDAS AND THE BLACK MESSIAH Music by H.E.R. and Dernst Emile II; Lyric by H.E.R. and Tiara Thomas "Hear My Voice" from THE TRIAL OF THE CHICAGO 7 Music by Daniel Pemberton; Lyric by Daniel Pemberton and Celeste Waite "Husavik" from EUROVISION SONG CONTEST: THE STORY OF FIRE SAGA Music and Lyric by Savan Kotecha, Fat Max Gsus and Rickard Göransson "Io Sì (Seen)" from THE LIFE AHEAD (LA VITA DAVANTI A SE) Music by Diane Warren; Lyric by Diane Warren and Laura Pausini "Speak Now" from ONE NIGHT IN MIAMI... Music and Lyric by Leslie Odom, Jr. and Sam Ashworth

Production Design

THE FATHER Production Design: Peter Francis; Set Decoration: Cathy Featherstone MA RAINEY'S BLACK BOTTOM Production Design: Mark Ricker; Set Decoration: Karen O'Hara and Diana Stoughton MANK Production Design: Donald Graham Burt; Set Decoration: Jan Pascale NEWS OF THE WORLD Production Design: David Crank; Set Decoration: Elizabeth Keenan TENET Production Design: Nathan Crowley; Set Decoration: Kathy Lucas

Short Film (Animated)

BURROW Madeline Sharafian and Michael Capbarat GENIUS LOCI Adrien Mérigeau and Amaury Ovise IF ANYTHING HAPPENS I LOVE YOU Will McCormack and Michael Govier OPERA Erick Oh YES-PEOPLE Gísli Darri Halldórsson and Arnar Gunnarsson

Short Film (Live Action)

FEELING THROUGH Doug Roland and Susan Ruzenski THE LETTER ROOM Elvira Lind and Sofia Sondervan THE PRESENT Farah Nabulsi TWO DISTANT STRANGERS Travon Free and Martin Desmond Roe WHITE EYE Tomer Shushan and Shira Hochman

Sound

GREYHOUND Warren Shaw, Michael Minkler, Beau Borders and David Wyman MANK Ren Klyce, Jeremy Molod, David Parker, Nathan Nance and Drew Kunin NEWS OF THE WORLD Oliver Tarney, Mike Prestwood Smith, William Miller and John Pritchett SOUL Ren Klyce, Coya Elliott and David Parker SOUND OF METAL Nicolas Becker, Jaime Baksht, Michelle Couttolenc, Carlos Cortés and Phillip Bladh

Visual Effects

LOVE AND MONSTERS Matt Sloan, Genevieve Camilleri, Matt Everitt and Brian Cox THE MIDNIGHT SKY Matthew Kasmir, Christopher Lawrence, Max Solomon and David Watkins MULAN Sean Faden, Anders Langlands, Seth Maury and Steve Ingram THE ONE AND ONLY IVAN Nick Davis, Greg Fisher, Ben Jones and Santiago Colomo Martinez TENET Andrew Jackson, David Lee, Andrew Lockley and Scott Fisher

Writing (Adapted Screenplay)

BORAT SUBSEQUENT MOVIEFILM: DELIVERY OF PRODIGIOUS BRIBE TO AMERICAN REGIME FOR MAKE BENEFIT ONCE GLORIOUS NATION OF KAZAKHSTAN Screenplay by Sacha Baron Cohen & Anthony Hines & Dan Swimer & Peter Baynham & Erica Rivinoja & Dan Mazer & Jena Friedman & Lee Kern; Story by Sacha Baron Cohen & Anthony Hines & Dan Swimer & Nina Pedrad THE FATHER Screenplay by Christopher Hampton and Florian Zeller NOMADLAND Written for the screen by Chloé Zhao ONE NIGHT IN MIAMI... Screenplay by Kemp Powers THE WHITE TIGER Written for the screen by Ramin Bahrani

Writing (Original Screenplay)

JUDAS AND THE BLACK MESSIAH Screenplay by Will Berson & Shaka King; Story by Will Berson & Shaka King and Kenny Lucas & Keith Lucas MINARI Written by Lee Isaac Chung PROMISING YOUNG WOMAN Written by Emerald Fennell SOUND OF METAL Screenplay by Darius Marder & Abraham Marder; Story by Darius Marder & Derek Cianfrance THE TRIAL OF THE CHICAGO 7 Written by Aaron Sorkin

[midiariodecine]

Tenet (2020)

Título original: Tenet

Dirección: Christopher Nolan

Guion: Christopher Nolan

Fotografía: Hoyte Van Hoytema

Música: Ludwig Göransson

Montaje: Jennifer Lame

Productora: Syncopy, Warner Bros.

Año: 2020

Elenco: John David Washington, Robert Pattinson, Elizabeth Debicki, Kenneth Branagh

País: Inglaterra, Estados Unidos

Las películas de Cirstopher Nolan no son de mis favoritas, pero siempre he estado atenta a sus estrenos debido a su reputación y sus muy notables primeros trabajos (Following 1998, Memento 2000). En esta oportunidad, el director nuevamente nos presenta conceptos e ideas muy interesantes, pero su desarrollo emocional parece descuidarse cada vez más.

La película trata sobre un agente secreto que es contratado por una organización llamada Tenet para investigar y prevenir el uso de una tecnología que invierte la entropía en los objetos, haciendo posible (hasta cierto punto) los viajes en el tiempo. Durante su misión se ve envuelto en una red de espionaje internacional para evitar una tercera guerra mundial y así salvar al mundo tal y como lo conocemos.

Las escenas de acción son probablemente las más interesantes en occidente. El empeño de Nolan por hacer posible en el set las secuencias más complejas o absurdas que plasma en el papel sin importar las condiciones es admirable. No solo el resultado es impresionante, cada vez supera sus ambiciones. A la par con los efectos especiales, estas razones constituyen su gran aporte a la industria.

La música es eficiente, junto con el diseño de sonido se crea muy bien la atmósfera de misterio y adrenalina. Pero hay que tener en cuenta lo difícil que resulta trabajar el guion, cosa que afectó muchos otros aspectos de la película.

Los problemas no radican en la idea como tal, ya que esta es bastante atrayente. El mayor error está en el bombardeo continuo de información: conceptos, contexto, relaciones, motivaciones, emociones, todo. Este descontrol de exposición exige una paciencia que llega a ser demasiado para cualquiera. Porque lo que enreda es, precisamente, el escuchar y procesar de manera racional constantemente en lugar de ver las experiencias de los personajes para desarrollar empatía hacia ellos.

Tanto diálogo inservible anuló toda posibilidad de desarrollo de personajes y consecuentemente cualquier impacto en las actuaciones. Solo destacan Robert Pattinson, gracias al carisma en su personaje y John David Washington, una vez que se aprecian sus habilidades físicas para las demandas del rodaje. En general, los personajes son apáticos y planos. Decepcionante el desperdicio que resultó Kenneth Branagh con un antagonista a lo villano de caricatura.

Probablemente Tenet no valga las dos horas y media de duración (aunque yo disfruté las escenas de acción). Hasta la fecha es lo más deficiente que ha presentado el director. Dependiendo de la persona puede provocar frustración o aburrimiento. Quizás en el futuro Nolan debería hacer equipo con Pete Docter (Inside Out 2015, Soul 2020) para que lo ayude con la adaptación de conceptos difíciles.

Imágen: lahiguera.net

[bjkdsiuiu45]

Lelki ismeretek (2020) teljes film magyarul videa

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Joe Gardner középiskolai tanár, aki szereti a jazz zenét. Egy balesetben a lelke elszakad a testétől és egy olyan központba kerül, ahol a lelkek fejlődnek és szenvedélyeket szereznek, mielőtt újjászületnek. Joe-nak segítséget kell szereznie a többi képzésben részt vevő lélektől, például 22-től, egy lélektől, aki örök időket töltött a Te szemináriumon, hogy visszatérjen a Földre. felszabadított: 2020–12–25 Runtime: 102 percek Műfaj: Animációs, Vígjáték, Kaland, Családi, Zenei, Fantasy Csillag: Jamie Foxx, Tina Fey, Ahmir-Khalib Thompson, Phylicia Rashād, Daveed Diggs Rendező: Trent Reznor, Bobby Podesta, Steve Pilcher, Pete Docter, Pete Docter Kulcsszavak : Lelki ismeretek előzetes magyarul, Lelki ismeretek ingyen letöltés, Lelki ismeretek netmozi, Lelki ismeretek magyar premier, Lelki ismeretek film online, Lelki ismeretek teljes film, Lelki ismeretek teljes film videa, Lelki ismeretek indavideo, Lelki ismeretek magyarul online, Lelki ismeretek teljes film magyarul indavideo, Lelki ismeretek online filmek ingyen Lelki ismeretek online 2020 filmek magyarul Lelki ismeretek filmek magyarul Lelki ismeretek online videa 720p 1080p Lelki ismeretek film letöltés Lelki ismeretek 2020 teljes filmek magyarul videa Lelki ismeretek online sorozatok Lelki ismeretek ingyen filmek Lelki ismeretek 2020 film letöltés ingyen Lelki ismeretek filmek online magyarul Lelki ismeretek magyar filmek online Image for post Its somewhat ironic that a movie about time travel can’t be reviewed properly until your future self rewatches the movie. It’s bold of Nolan to make such a thoroughly dense blockbuster. He assumes people will actually want to see ~Lelki ismeretek more than once so they can understand it properly, which some may not. This movie makes the chronology of Inception look as simplistic as tic-tac-toe. Ergo, it’s hard for me to give an accurate rating, without having seen it twice, as I’m still trying to figure out whether everything does indeed make sense. If it does, this movie is easily a 9 or 10. If it doesn’t, it’s a 6. It’s further not helped by the fact that the dialogue in the first 15 minutes of the movie is painfully hard to understand / hear. Either they were behind masks; they were practically mumbling; the sound effects were too loud; or all of the above. The exposition scenes are also waayyy too brief for something this complex — a problem also shared with Interstellar actually. (Interstellar had this minimalist exposition problem explaining Blight, where if you weren’t careful, you’d miss this one sentence / scene in the entire movie explaining that Blight was a viral bacteria: “Earth’s atmosphere is 80% nitrogen, we don’t even breathe nitrogen. Blight does, and as it thrives, our air gets less and less oxygen”). I guess it’s a Nolan quirk. Hopefully, a revision of the film audio sorts the sound mixing out. I do like the soundtrack, but it’s too loud initially. I liked all the actors. You think John Washington can’t act at first, but he can, and he grows on you as the film progresses. And Pattinson is his usual charming self. Elizabeth is a surprise treat. And so on. Its worth a watch either way. See it with subtitles if you can. And definitely don’t expect to fully understand whats going on the first time around. Its one hell of a complicated film. It will be very hard for an average viewer to gather all the information provided by this movie at the first watch. But the more you watch it, more hidden elements will come to light. And when you are able to put these hidden elements together. You will realize that this movie is just a “masterpiece” which takes the legacy of Christopher Nolan Forward If I talk about acting, Then I have to say that Robert Pattinson has really proved himself as a very good actor in these recent years. And I am sure his acting skills will increase with time. His performance is charming and very smooth. Whenever he is on the camera, he steals the focus John David Washington is also fantastic in this movie. His performance is electrifying, I hope to see more from him in the future. Other characters such as Kenneth Branagh, Elizabeth, Himesh Patel, Dimple Kapadia, Clémence Poésy have also done quite well. And I dont think there is a need to talk about Michael Caine Talking about Music, its awesome. I dont think you will miss Hans Zimmer’s score. Ludwig has done a sufficient job. There is no lack of good score in the movie Gotta love the editing and post production which has been put into this movie. I think its fair to say this Nolan film has focused more in its post production. The main problem in the movie is the sound mixing. Plot is already complex and some dialogues are very soft due to the high music score. It makes it harder to realize what is going on in the movie. Other Nolan movies had loud BGM too. But Audio and dialogues weren’t a problem My humble request to everyone is to please let the movie sink in your thoughts. Let your mind grasp all the elements of this movie. I am sure more people will find it better. Even those who think they got the plot. I can bet they are wrong. ~Lelki ismeretek is the long awaited new movie from Christopher Nolan. The movie that’s set to reboot the multiplexes post-Covid. It’s a manic, extremely loud, extremely baffling sci-fi cum spy rollercoaster that will please a lot of Nolan fan-boys but which left me with very mixed views. John David Washington (Denzel’s lad) plays “The Protagonist” — a crack-CIA field operative who is an unstoppable one-man army in the style of Hobbs or Shaw. Recruited into an even more shadowy organisation, he’s on the trail of an international arms dealer, Andrei Sator (Kenneth Branagh in full villain mode). Sator is bullying his estranged wife Kat (Elizabeth Debicki) over custody of their son (and the film unusually has a BBFC warning about “Domestic Abuse”). Our hero jets the world to try to prevent a very particular kind of Armageddon while also keeping the vulnerable and attractive Kat alive. This is cinema at its biggest and boldest. Nolan has taken a cinema ‘splurge’ gun, filled it with money, set it on rapid fire, removed the safety and let rip at the screen. Given that Nolan is famous for doing all of his ‘effects’ for real and ‘in camera’, some of what you see performed is almost unbelievable. You thought crashing a train through rush-hour traffic in “Inception” was crazy? You ain’t seen nothing yet with the airport scene! And for lovers of Chinooks (I must admit I am one and rush out of the house to see one if I hear it coming!) there is positively Chinook-p*rn on offer in the film’s ridiculously huge finale. The ‘inversion’ aspects of the story also lends itself to some fight scenes — one in particular in an airport ‘freeport’ — which are both bizarre to watch and, I imagine, technically extremely challenging to pull off. In this regard John David Washington is an acrobatic and talented stunt performer in his own right, and must have trained for months for this role. Nolan’s crew also certainly racked up their air miles pre-lockdown, since the locations range far and wide across the world. The locations encompassed Denmark, Estonia, India, Italy, Norway, the United Kingdom, and United States. Hoyte Van Hoytema’s cinematography is lush in introducing these, especially the beautiful Italian coast scenes. Although I did miss the David Arnold strings that would typically introduce these in a Bond movie: it felt like that was missing. The ‘timey-wimey’ aspects of the plot are also intriguing and very cleverly done. There are numerous points at which you think “Oh, that’s a sloppy continuity error” or “Shame the production design team missed that cracked wing mirror”. Then later in the movie, you get at least a dozen “Aha!” moments. Some of them (no spoilers) are jaw-droppingly spectacular. Perhaps the best twist is hidden in the final line of the movie. I only processed it on the way home. And so to the first of my significant gripes with ~Lelki ismeretek. The sound mix in the movie is all over the place. I’d go stronger than that… it’s truly awful (expletive deleted)! Nolan often implements Shakespeare’s trick of having characters in the play provide exposition of the plot to aid comprehension. But unfortunately, all of this exposition dialogue was largely incomprehensible. This was due to: the ear-splitting volume of the sound: 2020 movie audiences are going to be suffering from ‘~Lelki ismeretekis’! (LOL); the dialogue is poorly mixed with the thumping music by Ludwig Göransson (Wot? No Hans Zimmer?); a large proportion of the dialogue was through masks of varying description (#covid-appropriate). Aaron Taylor-Johnson was particularly unintelligible to my ears. Overall, watching this with subtitles at a special showing might be advisable! OK, so I only have a PhD in Physics… but at times I was completely lost as to the intricacies of the plot. It made “Inception” look like “The Tiger Who Came to Tea”. There was an obvious ‘McGuffin’ in “Inception” — — (“These ‘dream levels’… how exactly are they architected??”…. “Don’t worry… they’ll never notice”. And we didn’t!) In “~Lelki ismeretek” there are McGuffins nested in McGuffins. So much of this is casually waved away as “future stuff… you’re not qualified” that it feels vaguely condescending to the audience. At one point Sator says to Kat “You don’t know what’s going on, do you?” and she shakes her head blankly. We’re right with you there luv! There are also gaps in the storyline that jar. The word “~Lelki ismeretek”? What does it mean. Is it just a password? I’m none the wiser. The manic pace of ~Lelki ismeretek and the constant din means that the movie gallops along like a series of disconnected (albeit brilliant) action set pieces. For me, it has none of the emotional heart of the Cobb’s marriage problems from “Inception” or the father/daughter separation of “Interstellar”. In fact, you barely care for anyone in the movie, perhaps with the exception of Kat. It’s a talented cast. As mentioned above, John David Washington is muscular and athletic in the role. It’s a big load for the actor to carry in such a tent-pole movie, given his only significant starring role before was in the excellent BlacKkKlansman. But he carries it off well. A worthy successor to Gerard Butler and Jason Statham for action roles in the next 10 years. This is also a great performance by Robert Pattinson, in his most high-profile film in a long time, playing the vaguely alcoholic and Carré-esque support guy. Pattinson’s Potter co-star Clemence Poésy also pops up — rather more un-glam that usual — as the scientist plot-expositor early in the movie. Nolan’s regular Michael Caine also pops up. although the 87-year old legend is starting to show his age: His speech was obviously affected at the time of filming (though nice try Mr Nolan in trying to disguise that with a mouth full of food!). But in my book, any amount of Caine in a movie is a plus. He also gets to deliver the best killer line in the film about snobbery! However, it’s Kenneth Branagh and Elizabeth Debicki that really stand out. They were both fabulous, especially when they were bouncing off each other in their marital battle royale. So, given this was my most anticipated movie of the year, it’s a bit of a curate’s egg for me. A mixture of being awe-struck at times and slightly disappointed at others. It’s a movie which needs a second watch, so I’m heading back today to give my ear drums another bashing! And this is one where I reserve the right to revisit my rating after that second watch… it’s not likely to go down… but it might go up. (For the full graphical review, check out One Mann’s Movies on t’interweb and Facebook. Thanks.) As this will be non-spoiler, I can’t say too much about the story. However, what I can is this: ~Lelki ismeretek’s story is quite dynamic in the sense that you won’t understand it till it wants you to. So, for the first half, your brain is fighting for hints and pieces to puzzle together the story. It isn’t until halfway through the movie that ~Lelki ismeretek invites you to the fantastic storytelling by Christopher Nolan. Acting is beyond phenomenal, and I’d be genuinely surprised if neither Robert Pattinson nor John David Washington doesn’t receive an Oscar nomination for best actor. It’s also hard not to mention how good Elizabeth Debicki and Aaron Johnson both are. All around, great acting, and the dialogue amps up the quality of the movie. The idea of this movie is damn fascinating, and while there are films that explore time-travelling, there’s never been anything quite like this. It has such a beautiful charm and for the most part, explains everything thoroughly. It feels so much more complex than any form of time-travelling we’ve seen, and no less could’ve been expected from Nolan. Oh my lord, the score for this film fits so perfectly. Every scene that’s meant to feel intense was amped by a hundred because of how good the score was. Let me just say though, none of them will be found iconic, but they fit the story and scenes so well. In the end, I walked out, feeling very satisfied. Nevertheless, I do have issues with the film that I cannot really express without spoiling bits of the story. There are definitely little inconsistencies that I found myself uncovering as the story progressed. However, I only had one issue that I found impacted my enjoyment. That issue was understanding some of the dialogue. No, not in the sense that the movie is too complicated, but more that it was hard to make out was being said at times. It felt like the movie required subtitles, but that probably was because, at a time in the film, there was far too much exposition. Nevertheless, I loved this film, I’ll be watching it at least two more times, and I think most of you in this group will enjoy it. I definitely suggest watching it in theatres if possible, just so you can get that excitement. (4/5) & (8.5/10) for those that care about number scores. At first, I want to ask Christopher Nolan one question, HOW THE HELL YOU DID THIS? Seriously I want to have an answer, How did he write such as this masterpiece! How did he get this complicated, fabulous and creative idea? What is going on in his mind? The story is written and directed perfectly, the narration style was absolutely unique. I have no idea how can anyone direct such as this story, that was a huge challenge, and as usual Nolan gave us a masterpiece that we’ll put beside (Memento), (Inception) and (Interstellar) The movie is so fast-paced in a good way, there was no boring moment. The chemistry between John David Washington and Robert Pattinson was great and funny and both of their performance was really good. Elizabeth Debicki performance was the best in the movie because she had the chance to show her acting abilities and she cached up that chance and showed us an A level acting. The music wasn’t unique and distinct as the music of Interstellar for example and I think this movie needed the touch of Hans Zimmer, I’m not saying that Ludwig Göransson failed but Hans Zimmer in another level. If there was something I’d say that I didn’t like it in the movie would it be that Nolan discarded any set up or characters backgrounds except Elizabeth Debicki dramatic story but it wasn’t that bad for me, I didn’t care about that, the exciting story didn’t give me the chance to focus on it. But the actual problem was the third act, it was really complicated and I got lost and I convinced myself to discard the questions that were in my head and enjoy the well-made action sequences and Elizabeth Debicki performance. I think this kind of movie that gets better with a second and third watch. I honestly don’t quite know where to begin with ~Lelki ismeretek. I love Christopher Nolan’s work but I have never seen a more complicated film (and I understood Memento). ~After nearly three hours, I came away from ~Lelki ismeretek not knowing myself, my mind reduced to nothing more than piles of ash. Was there time travel involved? Hmm, there was definitely something about time inversion. I mean, does Nolan even understand what he wrote? Look, I give credit to the director because he’s one of the few directors left who knows how to create a compelling and intelligent blockbuster. ~Lelki ismeretek is full of Nolan trademarks — the gratuitous Michael Caine cameo, a loud, really loud score, complete with stunning cinematography and slickly inventive action set-pieces. This time around however, Nolan has finally managed to ‘out-Nolan’ himself: the palindromic plot, whilst creatively ambitious, is simply far too complicated for its own good. ~Lelki ismeretek is overlong, overstuffed, pretentious and too exhausting to comprehend in its entirety — it makes Inception and Interstellar look like Peppa Pig by comparison. I’m aware of the technical wizardry and creative mastery in this film and lord knows I’ll have to watch this again. For those who want a puzzle, ~Lelki ismeretek at least provides a unique cinematic experience. But to actually enjoy solving it Nolan wants you to work very very hard.

[dsferkj34]

Lelki ismeretek (2020) Online Filmek és teljes filmek magyarul

Lelki ismeretek teljes film magyarul videa, Lelki ismeretek film magyarul, Lelki ismeretek 2020 filmek, Lelki ismeretek magyar premier, Lelki ismeretek (2020) Teljes Film Magyarul, Lelki ismeretek teljes Indavideo film, Lelki ismeretek letöltése ingyen Nézze Lelki ismeretek film teljes epizódok nélkül felmérés. Lelki ismeretek a HD 1080p-ben, Nézzük meg, miután összeomlottunk a HD-ben, Nézzünk, miután online összeesettünk, Miután összeütköztünk a teljes filmet, Nézzük meg, Lelki ismeretek a teljes filmben, Ingyenes online streaming nézd meg itt >> https://t.co/BFIli9uxii?amp=1

Letöltés >> https://t.co/BFIli9uxii?amp=1

Joe Gardner középiskolai tanár, aki szereti a jazz zenét. Egy balesetben a lelke elszakad a testétől és egy olyan központba kerül, ahol a lelkek fejlődnek és szenvedélyeket szereznek, mielőtt újjászületnek. Joe-nak segítséget kell szereznie a többi képzésben részt vevő lélektől, például 22-től, egy lélektől, aki örök időket töltött a Te szemináriumon, hogy visszatérjen a Földre. felszabadított: 2020–12–25 Runtime: 102 percek Műfaj: Animációs, Vígjáték, Kaland, Családi, Zenei, Fantasy Csillag: Jamie Foxx, Tina Fey, Ahmir-Khalib Thompson, Phylicia Rashād, Daveed Diggs Rendező: Trent Reznor, Bobby Podesta, Steve Pilcher, Pete Docter, Pete Docter Kulcsszavak : Lelki ismeretek előzetes magyarul, Lelki ismeretek ingyen letöltés, Lelki ismeretek netmozi, Lelki ismeretek magyar premier, Lelki ismeretek film online, Lelki ismeretek teljes film, Lelki ismeretek teljes film videa, Lelki ismeretek indavideo, Lelki ismeretek magyarul online, Lelki ismeretek teljes film magyarul indavideo, Lelki ismeretek online filmek ingyen Lelki ismeretek online 2020 filmek magyarul Lelki ismeretek filmek magyarul Lelki ismeretek online videa 720p 1080p Lelki ismeretek film letöltés Lelki ismeretek 2020 teljes filmek magyarul videa Lelki ismeretek online sorozatok Lelki ismeretek ingyen filmek Lelki ismeretek 2020 film letöltés ingyen Lelki ismeretek filmek online magyarul Lelki ismeretek magyar filmek online Image for post Its somewhat ironic that a movie about time travel can’t be reviewed properly until your future self rewatches the movie. It’s bold of Nolan to make such a thoroughly dense blockbuster. He assumes people will actually want to see ~Lelki ismeretek more than once so they can understand it properly, which some may not. This movie makes the chronology of Inception look as simplistic as tic-tac-toe. Ergo, it’s hard for me to give an accurate rating, without having seen it twice, as I’m still trying to figure out whether everything does indeed make sense. If it does, this movie is easily a 9 or 10. If it doesn’t, it’s a 6. It’s further not helped by the fact that the dialogue in the first 15 minutes of the movie is painfully hard to understand / hear. Either they were behind masks; they were practically mumbling; the sound effects were too loud; or all of the above. The exposition scenes are also waayyy too brief for something this complex — a problem also shared with Interstellar actually. (Interstellar had this minimalist exposition problem explaining Blight, where if you weren’t careful, you’d miss this one sentence / scene in the entire movie explaining that Blight was a viral bacteria: “Earth’s atmosphere is 80% nitrogen, we don’t even breathe nitrogen. Blight does, and as it thrives, our air gets less and less oxygen”). I guess it’s a Nolan quirk. Hopefully, a revision of the film audio sorts the sound mixing out. I do like the soundtrack, but it’s too loud initially. I liked all the actors. You think John Washington can’t act at first, but he can, and he grows on you as the film progresses. And Pattinson is his usual charming self. Elizabeth is a surprise treat. And so on. Its worth a watch either way. See it with subtitles if you can. And definitely don’t expect to fully understand whats going on the first time around. Its one hell of a complicated film. It will be very hard for an average viewer to gather all the information provided by this movie at the first watch. But the more you watch it, more hidden elements will come to light. And when you are able to put these hidden elements together. You will realize that this movie is just a “masterpiece” which takes the legacy of Christopher Nolan Forward If I talk about acting, Then I have to say that Robert Pattinson has really proved himself as a very good actor in these recent years. And I am sure his acting skills will increase with time. His performance is charming and very smooth. Whenever he is on the camera, he steals the focus John David Washington is also fantastic in this movie. His performance is electrifying, I hope to see more from him in the future. Other characters such as Kenneth Branagh, Elizabeth, Himesh Patel, Dimple Kapadia, Clémence Poésy have also done quite well. And I dont think there is a need to talk about Michael Caine Talking about Music, its awesome. I dont think you will miss Hans Zimmer’s score. Ludwig has done a sufficient job. There is no lack of good score in the movie Gotta love the editing and post production which has been put into this movie. I think its fair to say this Nolan film has focused more in its post production. The main problem in the movie is the sound mixing. Plot is already complex and some dialogues are very soft due to the high music score. It makes it harder to realize what is going on in the movie. Other Nolan movies had loud BGM too. But Audio and dialogues weren’t a problem My humble request to everyone is to please let the movie sink in your thoughts. Let your mind grasp all the elements of this movie. I am sure more people will find it better. Even those who think they got the plot. I can bet they are wrong. ~Lelki ismeretek is the long awaited new movie from Christopher Nolan. The movie that’s set to reboot the multiplexes post-Covid. It’s a manic, extremely loud, extremely baffling sci-fi cum spy rollercoaster that will please a lot of Nolan fan-boys but which left me with very mixed views. John David Washington (Denzel’s lad) plays “The Protagonist” — a crack-CIA field operative who is an unstoppable one-man army in the style of Hobbs or Shaw. Recruited into an even more shadowy organisation, he’s on the trail of an international arms dealer, Andrei Sator (Kenneth Branagh in full villain mode). Sator is bullying his estranged wife Kat (Elizabeth Debicki) over custody of their son (and the film unusually has a BBFC warning about “Domestic Abuse”). Our hero jets the world to try to prevent a very particular kind of Armageddon while also keeping the vulnerable and attractive Kat alive. This is cinema at its biggest and boldest. Nolan has taken a cinema ‘splurge’ gun, filled it with money, set it on rapid fire, removed the safety and let rip at the screen. Given that Nolan is famous for doing all of his ‘effects’ for real and ‘in camera’, some of what you see performed is almost unbelievable. You thought crashing a train through rush-hour traffic in “Inception” was crazy? You ain’t seen nothing yet with the airport scene! And for lovers of Chinooks (I must admit I am one and rush out of the house to see one if I hear it coming!) there is positively Chinook-p*rn on offer in the film’s ridiculously huge finale. The ‘inversion’ aspects of the story also lends itself to some fight scenes — one in particular in an airport ‘freeport’ — which are both bizarre to watch and, I imagine, technically extremely challenging to pull off. In this regard John David Washington is an acrobatic and talented stunt performer in his own right, and must have trained for months for this role. Nolan’s crew also certainly racked up their air miles pre-lockdown, since the locations range far and wide across the world. The locations encompassed Denmark, Estonia, India, Italy, Norway, the United Kingdom, and United States. Hoyte Van Hoytema’s cinematography is lush in introducing these, especially the beautiful Italian coast scenes. Although I did miss the David Arnold strings that would typically introduce these in a Bond movie: it felt like that was missing. The ‘timey-wimey’ aspects of the plot are also intriguing and very cleverly done. There are numerous points at which you think “Oh, that’s a sloppy continuity error” or “Shame the production design team missed that cracked wing mirror”. Then later in the movie, you get at least a dozen “Aha!” moments. Some of them (no spoilers) are jaw-droppingly spectacular. Perhaps the best twist is hidden in the final line of the movie. I only processed it on the way home. And so to the first of my significant gripes with ~Lelki ismeretek. The sound mix in the movie is all over the place. I’d go stronger than that… it’s truly awful (expletive deleted)! Nolan often implements Shakespeare’s trick of having characters in the play provide exposition of the plot to aid comprehension. But unfortunately, all of this exposition dialogue was largely incomprehensible. This was due to: the ear-splitting volume of the sound: 2020 movie audiences are going to be suffering from ‘~Lelki ismeretekis’! (LOL); the dialogue is poorly mixed with the thumping music by Ludwig Göransson (Wot? No Hans Zimmer?); a large proportion of the dialogue was through masks of varying description (#covid-appropriate). Aaron Taylor-Johnson was particularly unintelligible to my ears. Overall, watching this with subtitles at a special showing might be advisable! OK, so I only have a PhD in Physics… but at times I was completely lost as to the intricacies of the plot. It made “Inception” look like “The Tiger Who Came to Tea”. There was an obvious ‘McGuffin’ in “Inception” — — (“These ‘dream levels’… how exactly are they architected??”…. “Don’t worry… they’ll never notice”. And we didn’t!) In “~Lelki ismeretek” there are McGuffins nested in McGuffins. So much of this is casually waved away as “future stuff… you’re not qualified” that it feels vaguely condescending to the audience. At one point Sator says to Kat “You don’t know what’s going on, do you?” and she shakes her head blankly. We’re right with you there luv! There are also gaps in the storyline that jar. The word “~Lelki ismeretek”? What does it mean. Is it just a password? I’m none the wiser. The manic pace of ~Lelki ismeretek and the constant din means that the movie gallops along like a series of disconnected (albeit brilliant) action set pieces. For me, it has none of the emotional heart of the Cobb’s marriage problems from “Inception” or the father/daughter separation of “Interstellar”. In fact, you barely care for anyone in the movie, perhaps with the exception of Kat. It’s a talented cast. As mentioned above, John David Washington is muscular and athletic in the role. It’s a big load for the actor to carry in such a tent-pole movie, given his only significant starring role before was in the excellent BlacKkKlansman. But he carries it off well. A worthy successor to Gerard Butler and Jason Statham for action roles in the next 10 years. This is also a great performance by Robert Pattinson, in his most high-profile film in a long time, playing the vaguely alcoholic and Carré-esque support guy. Pattinson’s Potter co-star Clemence Poésy also pops up — rather more un-glam that usual — as the scientist plot-expositor early in the movie. Nolan’s regular Michael Caine also pops up. although the 87-year old legend is starting to show his age: His speech was obviously affected at the time of filming (though nice try Mr Nolan in trying to disguise that with a mouth full of food!). But in my book, any amount of Caine in a movie is a plus. He also gets to deliver the best killer line in the film about snobbery! However, it’s Kenneth Branagh and Elizabeth Debicki that really stand out. They were both fabulous, especially when they were bouncing off each other in their marital battle royale. So, given this was my most anticipated movie of the year, it’s a bit of a curate’s egg for me. A mixture of being awe-struck at times and slightly disappointed at others. It’s a movie which needs a second watch, so I’m heading back today to give my ear drums another bashing! And this is one where I reserve the right to revisit my rating after that second watch… it’s not likely to go down… but it might go up. (For the full graphical review, check out One Mann’s Movies on t’interweb and Facebook. Thanks.) As this will be non-spoiler, I can’t say too much about the story. However, what I can is this: ~Lelki ismeretek’s story is quite dynamic in the sense that you won’t understand it till it wants you to. So, for the first half, your brain is fighting for hints and pieces to puzzle together the story. It isn’t until halfway through the movie that ~Lelki ismeretek invites you to the fantastic storytelling by Christopher Nolan. Acting is beyond phenomenal, and I’d be genuinely surprised if neither Robert Pattinson nor John David Washington doesn’t receive an Oscar nomination for best actor. It’s also hard not to mention how good Elizabeth Debicki and Aaron Johnson both are. All around, great acting, and the dialogue amps up the quality of the movie. The idea of this movie is damn fascinating, and while there are films that explore time-travelling, there’s never been anything quite like this. It has such a beautiful charm and for the most part, explains everything thoroughly. It feels so much more complex than any form of time-travelling we’ve seen, and no less could’ve been expected from Nolan. Oh my lord, the score for this film fits so perfectly. Every scene that’s meant to feel intense was amped by a hundred because of how good the score was. Let me just say though, none of them will be found iconic, but they fit the story and scenes so well. In the end, I walked out, feeling very satisfied. Nevertheless, I do have issues with the film that I cannot really express without spoiling bits of the story. There are definitely little inconsistencies that I found myself uncovering as the story progressed. However, I only had one issue that I found impacted my enjoyment. That issue was understanding some of the dialogue. No, not in the sense that the movie is too complicated, but more that it was hard to make out was being said at times. It felt like the movie required subtitles, but that probably was because, at a time in the film, there was far too much exposition. Nevertheless, I loved this film, I’ll be watching it at least two more times, and I think most of you in this group will enjoy it. I definitely suggest watching it in theatres if possible, just so you can get that excitement. (4/5) & (8.5/10) for those that care about number scores. At first, I want to ask Christopher Nolan one question, HOW THE HELL YOU DID THIS? Seriously I want to have an answer, How did he write such as this masterpiece! How did he get this complicated, fabulous and creative idea? What is going on in his mind? The story is written and directed perfectly, the narration style was absolutely unique. I have no idea how can anyone direct such as this story, that was a huge challenge, and as usual Nolan gave us a masterpiece that we’ll put beside (Memento), (Inception) and (Interstellar) The movie is so fast-paced in a good way, there was no boring moment. The chemistry between John David Washington and Robert Pattinson was great and funny and both of their performance was really good. Elizabeth Debicki performance was the best in the movie because she had the chance to show her acting abilities and she cached up that chance and showed us an A level acting. The music wasn’t unique and distinct as the music of Interstellar for example and I think this movie needed the touch of Hans Zimmer, I’m not saying that Ludwig Göransson failed but Hans Zimmer in another level. If there was something I’d say that I didn’t like it in the movie would it be that Nolan discarded any set up or characters backgrounds except Elizabeth Debicki dramatic story but it wasn’t that bad for me, I didn’t care about that, the exciting story didn’t give me the chance to focus on it. But the actual problem was the third act, it was really complicated and I got lost and I convinced myself to discard the questions that were in my head and enjoy the well-made action sequences and Elizabeth Debicki performance. I think this kind of movie that gets better with a second and third watch. I honestly don’t quite know where to begin with ~Lelki ismeretek. I love Christopher Nolan’s work but I have never seen a more complicated film (and I understood Memento). ~After nearly three hours, I came away from ~Lelki ismeretek not knowing myself, my mind reduced to nothing more than piles of ash. Was there time travel involved? Hmm, there was definitely something about time inversion. I mean, does Nolan even understand what he wrote? Look, I give credit to the director because he’s one of the few directors left who knows how to create a compelling and intelligent blockbuster. ~Lelki ismeretek is full of Nolan trademarks — the gratuitous Michael Caine cameo, a loud, really loud score, complete with stunning cinematography and slickly inventive action set-pieces. This time around however, Nolan has finally managed to ‘out-Nolan’ himself: the palindromic plot, whilst creatively ambitious, is simply far too complicated for its own good. ~Lelki ismeretek is overlong, overstuffed, pretentious and too exhausting to comprehend in its entirety — it makes Inception and Interstellar look like Peppa Pig by comparison. I’m aware of the technical wizardry and creative mastery in this film and lord knows I’ll have to watch this again. For those who want a puzzle, ~Lelki ismeretek at least provides a unique cinematic experience. But to actually enjoy solving it Nolan wants you to work very very hard.

[silkandrosebuds]

⋆⋅☆⋅⋆ summer films ⋆⋅☆⋅⋆

a complete list of films that are best enjoyed during summer (or throughout the year to relive summer memories). it’s in no particular order and includes a little bit of everything! the list is pulled straight from my letterboxd and goes with the photoset series i've been doing :)

ranked lists here and here

where to watch: netflix | prime video | crave | disney+

the great gatsby [2013] dir. baz luhrmann [ n | c ]

dazed and confused [1993] dir. richard linklater [ c ]

call me by your name [2017] dir. luca guadagnino

la la land [2016] dir. damien chazelle [ n ]

across the universe [2007] dir. julie taymor

princess cyd [2017] dir. stephen cone

moonrise kingdom [2012] dir. wes anderson [ pv | c ]

the nice guys [2016] dir. shane black

love, simon [2018] dir. greg berlanti

the florida project [2017] dir. sean baker

fast times at ridgemont high [1982] dir. amy heckerling [ c ]

the love witch [2016] dir. anne biller [ shudder ] 

mamma mia! here we go again [2018] dir. ol parker [ c ]

ocean’s 8 [2018] dir. gary ross [ n ]

thelma & louise [1991] dir. ridley scott [ ctv (free) ]

chicago [2002] dir. rob marshall [ pv ]

crazy rich asians [2018] dir. jon m. chu [ n | c ]

clueless [1995] dir. amy heckerling [ n ]

hairspray [2007] dir. adam shankman [ pv ]

mamma mia! [2008] dir. phyllida lloyd [ n | c ]

jennifer’s body [2009] dir. karyn kusama 

dirty dancing [1987] dir. emile ardolino [ n | c ]

grease [1978] dir. randal kleiser [ n | pv ]

ratatouille [2007] dir. brad bird [ d+ ]

the incredibles [2004] dir. brad bird [ d+ ]

jaws [1975] dir. steven spielberg [ pv ]

friday the 13th [1980] dir. sean s. cunningham 

a nightmare on elm street [1984] dir. wes craven

captain marvel [2019] dir. ryan fleck, anna boden [ d+ ]

wonder woman [2017] dir. patty jenkins 

aquamarine [2006] dir. elizabeth allen rosenbaum [ c ]

20th century women [2016] dir. mike mills 

the virgin suicides [1999] dir. sofia coppola

lilo & stitch [2002] dir. chris sanders, dean deblois [ d+ ]

once upon a time... in hollywood [2019] dir. quentin tarantino [ c ]

juno [2007] dir. jason reitman [ c ]

roman holiday [1953] dir. william wyler 

spider-man: into the spider-verse [2018] dir.  rodney rothman, peter ramsey, bob persichetti [ c ]

funny games [2007] dir. michael haneke [ pv ]

romeo + juliet [1996] dir. baz luhrmann [ c ]

a goofy movie [1995] dir. kevin lima, paul brizzi [ d+ ]

spider-man: far from home [2019] dir. jon watts [ c ]

moana [2016] dir. ron clements, john musker [ d+ ]

popstar: never stop never stopping [2016] dir. akiva schaffer, jorma taccone 

zootopia [2016] dir. byron howard, rich moore [ d+ ]

21 jump street [2012] dir. phil lord, christopher miller [ n ]

the muppets movie [1979] dir. james frawley [ d+ ]

boyhood [2014] dir. richard linklater [ pv | tubi (free) ]

men in black [1997] dir. barry sonnenfeld [ c | ctv (free) ]

rango [2011] dir. gore verbinski [ n ]

diary of a wimpy kid: dog days [2012] dir. david bowers [ d+ ]

up [2009] dir. pete docter [ d+ ]

the texas chainsaw massacre [1974] dir. tobe hooper [ pv | tubi (free) ]

set it up [2018] dir. claire scanlon [ n ]

ponyo [2008] dir. hayao miyazaki [ n ]

birds of prey (and the fantabulous emancipation of one harley quinn) [2020] dir. cathy yan 

e.t. the extra-terrestrial [1982] dir. steven spielberg [ n | pv ]

[elliesadventurebook]

Elizabeth Docter as Miss Frizzle