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lucidpantone · 4 years

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For me personally, I can't get over the fact that Italia committed the cardinal sin of casting a white non muslim actress to play the role of Sana. Sorry for bringing back the same old debate but please hear me out. It's an undeniable fact that, representation does not count without opportunity. She was played by a wonderfully talented actress, but she gets to take that hijab off at the end of the day and go back to living a life where she or her family have never had to face the ostracism of living as muslims in the western world. The other Sana actresses intrinsically understand this nuance of their lives because they have lived it, which is why they are able to contribute to the writing and give story suggestions for their seasons regardless of the real tptb.

I'm not saying talent and authenticity can't exist without trauma and suffering. But the casting of Sana is a political act in itself. It is meant to break barriers for the unheard and the neglected voices within the industry, thereby bringing their struggles and their shame to the forefront, and also to give them a place at the table. As an equal. It's an attempt at leveling the playing field.

What Julie Andem did in casting an actual hijabi non-actress to play Sana in a country like Norway was imo, revolutionary. It gave Iman a platform. Even if Skam had not become an international phenomenon, Iman still received her due recognition within Norway, and now she's out and about doing her own revolutionary stuff. The other remakes understood this aspect and rightfully cast a muslim actress, while Italia simply stole that opportunity from muslim talent in the country. Right now, we could be celebrating a never known Italian muslim actress just the way we celebrate the rest of the Sanas who achieved international acclaim for their performances alongside the Evas and the Noras and the Isaks of the world. But we'll never ever have that now. It's honestly unforgivable. Think of the stolen opportunity from a young muslim teenager who might have been a fan of the og and wanted to play Sana, and what message she received with this casting.

Ironically, Italia is also one of my favourite remakes, I actually love the focus on relationships and the beautiful cinematography, an overall chilled out pacing, and the touch of originality within each season. Giovanni is an absolute legend, and besse is a brilliant director. But they did their Sana dirty. It's irreversible damage. It's important to note that it was only after the massive backlash that they found actual brown/muslim actors to play Sana's friends and family in S4 and the story was with consultation of a Muslim journo/writer. She wasn't a writer on the show, she was a consultant. Which is great, but not the same thing. Who is to say that without the backlash they'd have taken all of these steps? Besse spent time with muslims and studied the culture and tried to create an authentic story for his Sana, but his casting of Sana is his Achilles heel. It also had like zero black actors except for the temporary boyf of Filippo in s3. Someone who knows nothing about the contemporary Italians may think there are no black people in Italy.

Italia S4 is only marginally better in that it didn't completely annihilate their Sana the way skamfr and skames did. Let's not start with Druck because that's a whole bunch of missed opportunities and laziness. Wtfock... Well let's see if they can surprise me. Keeping my expectations six feet under the ground.

Its long after the cut

Ohhh trust me I get it. I feel a lot like this right now concerning casting a MOC as a main. Like most fans of color set the bar super fucking low already concerning mains that aren’t white. People will literally make all types of allowances just to simply get one main who isn’t white in a remake. Speaking for me personally, I will over look using stereotypical tropes, I will overlook them being model/influencers, I will look the obvious lack of effort from the writers to attack meaningful storylines that actually highlight the experiences of people of color simply to get some representation. This is why I am still angry about the Moyo thing because literally all wtfock had to do was main him and they would have got a pat on the back for doing the bare ass minimum and they wouldn't even do that because they didn’t think maining a black boy would be profitable so in many ways am happy that shit blew up in their face. You deserved it for being stupid but the person that pays that price ultimately is Noa and that hurts. Concerning Italia I think thats the thing that stings the most that if Ludo would have just made minimal effort like the bare minimum and just found an actress who was muslim people would have applauded him for getting a half decent script out that finally gave a muslim actress meaningful plot that felt honest to her experiences. So its like damn can any of Sana’s just get a fucking win bruh. Like people are literally willing to take the bare minimum here. Like if wtfock does even a half decent job people will praise them and in many ways they didnt deserve the praise because all they did was do the bare minimum for Nora. I mean if its written well of course I will acknowledge a well written script but it does feel sorta of like is this even a win when we are on our 6 Sana remake. It takes fuck up after fuck up to get a half decent season that doesnt undercut the muslim girls narrative for once. Like people aint even asking for much either. Also I agree about the actress being muslim because Nora herself has said that a muslim protagonist who isn’t shown in some harsh oppressive light hasn't really been seen in belgium. I also appreciate that she has experience some of the issues Yasmina will depict. Nora’s conflict between wearing a hijab and not wearing one. Nora’s conflict between really trying to identify if Islam really was for her and ultimately researching and studying and accepting Islam into her heart because it felt like it was the right path for her and I agree that they took those experiences away from a muslim italian actress and her opportunity to depict them. I still want to recognize its definitely one of the most solid script of out of the remakes but I am also well aware that I have made a shit ton of personal allowances when coming to that conclusion because I am comparing it to a bunch of mediocre efforts.

#lucidpantone anons #its long #anon has fantastic points

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scrapsofsky · 5 years

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I have once more (and a very long time ago) been challenged by Ian Sales to join him in our un-named war to come up with the best arbitrary list of films within an equally arbitrarily selected category. You can find previous iterations of this absurdity here, here, here, here, and here. We have, alas, not done this in a long while, which we can both blame on being busy with many other things.

But in the interest of rekindling silliness, I have been loosely challenged by Ian to come up with a list of 10 underrated SF/F films from the last 20 years, which is a direct response to this ScreenRant list. Since this list is in response to a link with a remarkably open prompt, I’ve opted to stick to the 10 item list format. Future challenges will go back to our favorite number: 5.

Ian, of course, has already dropped his list. Go check it out!

With that in mind, the following list of 10 films represent my attempt to put together films that I consider to be overrated. My criteria is fairly simple:

It must be a SF/F film released since 1999.

It must be underrated in the sense that it is underappreciated by the SF/F community or has largely been forgotten. Box office numbers may be part of the equation, but mostly I will go on my own interactions with the SF/F community and sadly arbitrary interpretations of what has been “lost” to everyday discourse.

I literally don’t care if the movies I pick are considered “good” by other people, and so I’ve picked films that I think are interesting for some reason or another. This inevitably means that you will hate my list and wish me to fall into a pit of endless fire.

So, without further adieu, here’s my list:

The Place Promised in Our Early Days (2004)(dir. Makoto Shinkai)

One of my first academic essay publications focused on this film, which should tell you how much I enjoy it. Kumo no Mukō, Yakusoku no Basho is, in my opinion, Makoto Shinkai’s magnum opus. A story of friendship, betrayal, and love. A story of the Cold War, imperial control, and out of control technology. Shinkai’s method of storytelling is remarkable: low key and vibrant, emotionally tense and freeing. In a world where Hayao Miyazaki is considered the King of Japanese Animation, Shinkai’s work has sadly not received the appreciation it deserves — Kumo no Mukō, Yakusoku no Basho especially.

The Chronicles of Riddick (2004)(dir. David Twohy)

I strongly considered putting 2000’s Pitch Black here instead, but I think that film, while perhaps a bit underrated today, has received considerable praise. Its sequel, The Chronicles of Riddick, however, has often been derided for one reason or another. Unfairly, in my opinion. From its Gothic (with a side of emo) aesthetic to its expansion of the Riddick universe into a sprawling space opera to its total commitment to the gritty, morally ambiguous treasure trove of dirty, grungy themes, places, and characters, The Chronicles of Riddick is easily one of my favorite science fiction films of the last 20-ish years. Plus, the cast is fantastic. This is a hill I’m willing to die on. (Also: I look forward to checking out Furya and Merc City in the near future!)

Night Watch and Day Watch (2004 and 2006)(dir. Timur Bekmambetov)

I’m counting these as one because it’s my list and I can do what I want. This Russian duology is based on Sergey Lukyanenko urban fantasy novels about the conflict between two supernatural factions who monitor the actions of one another as part of an uneasy truce. Part detective thriller and part dark fantasy, the films pack quite a punch. However, outside of the circuit of foreign film lovers within SF/F, they’ve largely flown under the radar, this despite starring well known Russian actor Konstantin Khabensky. If you’ve never seen these films, you owe it to yourself to watch them, even if for no other reason than to watch someone drive a sports car across the face of an apartment complex!

Sunshine (2007)(dir. Danny Boyle)

I considered putting Danny Boyle’s 28 Days Later here instead, but I don’t think that film is actually all that underrated even if it doesn’t get as much play today as it did a decade ago. Sunshine, however, has spent most of its existence floating between general praise for its visuals and premise and general dislike for its second act. And, yes, it is a spectacularly gorgeous film, but that second act is, in my opinion, far more interesting than most people are willing to admit. Turning a space thriller into a horror film as a commentary on the paradoxical frailty and strength of the human spirit is, in my opinion, a gutsy move. For me, that move pays off, and it’s one of the reasons I think this film has remained underrated. It doesn’t follow the pattern these stories usually follow. It’s basically Armageddon if that film took itself seriously and Rockhound actually went insane. And that makes it an infinitely more interesting film.

Upgrade (2018)(dir. Leigh Whannell)

If you didn’t get a chance to see Upgrade, you’re missing out. This sleeper scifi action thriller had some of the most compelling fight choreography and shot compositions of 2018, and yet it flew under the radar. I had the good fortune to see the film in theaters; the experience did not disappoint. Much of the fight choreography relied on some impressive camera trickery to follow the lead actor’s movements, giving the entire film a robotic and wonky feel. It’s truly exciting to watch, and I wish more people had had the opportunity to do so in an actual theater. Because it’s gorgeous on the big screen!

Push (2009)(dir. Paul McGuigan)

I will watch almost anything with Djimon Hounsou in it. Push is one of those forgotten little films that takes a less in-your-face approach to the whole super powers concept. In this world, people with powers are test subjects or hidden in plain sight, monitored by a nefarious organization with equally nefarious intents. By comparison to the typical superhero film we have today, Push is quite restrained, relishing in the quirks and trickery of its list of powers and giving actors like Dakota Fanning the space to place (watching her drunkenly stumble around is kinda fun). It’s an imperfect film to be sure, but one that I still love.

Hulk (2003)(dir. Ang Lee)

I’m going to catch hell for this, but Ang Lee’s Hulk is one of my favorite superhero movies to date. I even prefer it to that other Hulk film by a long mile. Lee does give us some of the stuff you expect from a superhero film (big fight scenes and visual spectacle), but I particularly love the softer focus on Banner and his mental state. It feels more like a film that is trying to say something about human nature than a film stuck in an endless action sequence or caught up in villainy for the sake of villainy. For me, that means the film takes more chances with its performance and themes. And I’m always more compelled by the film that tries to do something interesting and failed than I am by the alternative.

Another Earth (2011)(dir. Mike Cahill)

Independent cinema has a tendency to produce some truly introspective and powerful films. Another Earth is no exception. A film about loss, guilty, love, and second chances, Another Earth‘s science fiction premise (a mirror Earth) is really just background, offering an opportunity in the conclusion and lending weight to the central thematic of loss and guilt as the romance between the protagonists comes head-to-head with a secret that threatens to tear them apart. The narrative is at times quite haunting, but it also commands us to think more deeply about what it means to seek forgiveness, to seek second chances, to live with loss, and so on. And if you like this one, Sound of My Voice (2011) is a far creepier film about cults that also stars Brit Marling!

Dredd (2012)(dir. Pete Travis)

We will never get an adaptation of Judge Dredd that is as good as 2012’s Dredd. A vicious, unrelenting and dark film, Dredd is one of those films that desperately deserves more credit than it has thus far received. Karl Urban’s performance is textbook perfection, and Travis’ direction gives this a brutally honest tone. And unlike its predecessor adaptation, Dredd isn’t endlessly mockable; instead, it is a visually arresting satire that makes most action thrillers look tame. There are few films on this list that I would say are perfect. Dredd is one of them.

The Cat Returns (2002)(dir. Hiroyuki Morita)

Studio Ghibli gets a lot of well-deserved love for its many Hayao Miyazaki films (my favorite Miyazaki is actually Mononoke Hime / Princess Mononoke). But one film the studio doesn’t get enough credit for is the utterly delightful Neko no Ongaeshi / The Cat Returns (or The Cat’s Repayment). It’s an Alice in Wonderland type tale (or tail, heh) about a young girl who gets sucked into the secret world of cats. Calling this film delightful is an understatement. It is downright adorable, and it has been sadly overshadowed by Ghibli’s many other exceptional productions. But if you’re looking for a cute (and sometimes hilarious) fantasy adventure involving talking cats, The Cat Returns is the film for you.

And that’s it. That’s my list. I could add many other films here, but I’ve limited myself to ten.

Now for a challenge to Ian and anyone else who wants to take it: pick your five favorite films featuring talking animals! Go!

It's time for another #FilmChallenge. @ian_sales challenged me to come up with 10 underrated SF/F films released between 1999 and 2019. So here's my list! :D I have once more (and a very long time ago) been challenged by Ian Sales to join him in our un-named war to come up with the best arbitrary list of films within an equally arbitrarily selected category.

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