#PICTURE FARM FILM FESTIVAL

[dragonskxn]

Draconic Harvest Festival Starters

Send +reverse on [x] prompts to swap roles!

“There's so much food. How did she have time to make all this?”

“I'm stuffed. I can't eat another bite…”

“Race you to the food table!”

“Want to bet on how many apples we can get from apple bobbing?”

“I feel like a kid again; dressing up, eating caramel apples…”

“Ugh, this place smells like cows.”

“Want to go for a hayride?”

“Those horses are huge…”

“The woods are so pretty this time of year.”

“I got hay in my clothes…”

“This hayride’s so relaxing. I think I'm getting drowsy.”

“Wow, your costume looks amazing!!”

“You look gorgeous in your costume.”

“Have you seen ____’s costume yet?”

“What are you supposed to be dressed as?”

“I bet it took forever to do your makeup.”

“Look at the piglets! I'm half tempted to sneak one home with me.”

“It's too noisy here. Want to go someplace more quiet?”

“The hay’s making my nose itch…”

“I think I've had too much to drink.”

“Why's this Dragon’s Blood Wine so spicy?!”

“Let's carve some pumpkins!”

“Would it be weird if I started eating the goop inside the pumpkin while I'm carving it?"

“This is the perfect setting for a slasher film. I bet the killer’s hiding in the woods right now.”

“That bonfire looks cozy. Want to go have a seat?”

“S’mores! Let's go make some.”

“Cow tipping is a myth, you know.”

“I brought _____!”

“You can just pick up the chickens, they don't even care.”

“I mean, it won't hurt just to get one picture sitting on top of one of the cows, right?”

“Are those bone decorations real??”

“Mm, this apple cider makes me feel all nice and warm inside.”

“Hey, we can take these tankards home as souvenirs!”

“I don't think we can go back there…”

“Woah, that's a huge pig.”

“Did you know pigs will eat anything, even dead bodies?”

“Looks like the kids are having a ball.”

“Don't scare me like that!”

“Do you have a napkin? One of the cows slimed me.”

“Don't go into the bull’s pen! Do you have a death wish?!”

“I don't think anyone will notice if we sneak off into the woods a bit.”

“Look, a harvest moon!”

[HAYRIDE] Sender invites receiver to join them on a hayride.

[CARVE] Sender and receiver carve pumpkins.

[FEAST] Sender and receiver get food and drinks together from the tables.

[MOO] Sender and receiver visit the livestock area.

[GROVE] Sender and receiver visit the quiet autumnal grove near the farm.

[BOO] Sender spooks receiver.

[TIPSY] Sender finds receiver after they had a bit too much to drink.

[PHOTOSHOOT] Sender takes pictures of receiver's outfit or costume.

[CUDDLE] Sender and receiver cuddle by the bonfire.

[DANCE] Sender invites receiver to dance with them to the music.

[SMOOCH] Sender secretly kisses receiver in a secluded spot on the farm.

[EXPLORE] Sender and receiver explore the surrounding forest.

[jamiebamberdaily]

Jamie to return to Beyond Paradise

Archie Hughes is making his way back to Shipton Abbott for the upcoming third series of Beyond Paradise!!

The official S3 synopsis from the BBC reads

Set against the idyllic backdrops of Devon and Cornwall, there are plenty of cases to keep the team on their toes, including a body found in the river on the county border, a baffling chocolate box poisoning, a historic farming feud and a spiking incident on the water. Away from the police station, Martha and Humphrey must overcome unexpected hurdles as foster parents, while the reappearance of Martha’s old flame Archie presents an unexpected challenge. While Esther navigates a surprise encounter in her private life, a health scare for Anne stirs up painful memories, and Kelby embarks on a journey of personal growth.

Tim Key, Executive Producer, Red Planet Pictures says: “We are delighted to be back in the beautiful South West, filming what promises to be our strongest series yet, packed full of mysteries, surprises, challenges and lots of heart. We love making the show and the audience response to it is fantastic, and it’s especially exciting to welcome back Jamie Bamber to Shipton Abbott– we can’t wait for everyone to see what we’ve been up to.”

Filming has already started in Cornwall and the series is due to air sometime next year. There is a Christmas Special coming this year but it is unknown whether Archie will be reintroduced in the festive episode or whether we have to wait for the full new series.

[arqueete]

Spring Awakening Broadway: Where Are They Now? (Part 2)

It's been 18 years since Spring Awakening opened on Broadway. In part 1 I looked up what the original cast members are doing today, and here in part 2 I'll be looking at all of the actors who joined the cast after the show opened.

Kyle Riabko Melchior

Went straight from the Broadway production to the first national tour. Later starred in Hair on Broadway and Close To You: Bacharach Reimagined (pictured) in the West End. He is currently composing music for children's television through a production company called Can-Land Music that he founded with his wife.

Hunter Parrish Melchior

Appeared on Broadway again in Godspell but has otherwise largely stuck to TV roles, most recently in The Other Black Girl (pictured.)

Alexandra Socha Wendla, Ensemble (u/s Wendla, Anna, Martha, Thea)

Returned to Broadway in Brighton Beach Memoirs and Head Over Heels. Is currently starring in the Broadway production of Wicked (pictured.)

Blake Bashoff Moritz

Went straight from Broadway to the first national tour. After that, he moved away from acting and now lives on a farm.

Emma Hunton Ilse

Was in Next to Normal on Broadway and the national tour, as well as the national tour of Wicked. She is currently on TV in Good Trouble (pictured.)

Drew Tyler Bell Hanschen

Continued in his longtime role on The Bold and the Beautiful (pictured) until 2010. Since then, he doesn't appear to be acting and it's not clear what he's been doing since.

Matt Doyle Hanschen, Ensemble (u/s Melchior, Hanschen, Ernst, Otto, Georg)

Later briefly played Melchior in the first national tour. Has returned to Broadway several times in shows like War Horse and The Book of Mormon, and won the Tony Award for Best Featured Actor in a musical for his performance in Company in 2022 (pictured.) He has also released solo albums. He most recently starred in Sinatra: The Musical.

Blake Daniel Ernst

Has had a few acting roles since, most recently in the movie Dicks: The Musical.

Andrew Durand Georg (u/s Moritz)

Has appeared in several other Broadway shows including Head Over Heels and Shucked (pictured.) He is currently in Dead Outlaw off-Broadway.

Gabriel Violett Otto

Appeared as a contestant on The Voice in 2016 (pictured.)

Amanda Castanos Martha

Had a handful of appearances at theater festivals and on TV shows like Blue Bloods (pictured), but doesn't seem to be doing any acting in recent years.

Caitlin Kinnunen Thea

Returned to Broadway in The Bridges of Madison County and was nominated for Best Leading Actress in a Musical for her role in The Prom (pictured) in 2014. She recently appeared in The Magnificent Seven off-Broadway.

Emily Kinney Anna (u/s Wendla)

Appeared on stage again in the national tour of August: Osage County but since then has been doing a lot of TV, most notably on The Walking Dead (pictured.) She has also released several albums as a singer-songwriter.

Kate Burton Adult Women

She continues to have an extensive film and television career, with notable roles on shows like Grey's Anatomy and Scandal (pictured), for which she was nominated for an Emmy for Outstanding Guest Actress in a Drama Series. She returned to Broadway in 2017 in the play Present Laughter.

Kristine Nielsen Adult Women

Has since been nominated for the Best Lead Actress in a Play Tony in 2013 for Vanya and Sonia and Masha and Spike and Best Featured Actress in a Play in 2019 for Gary: A Sequel to Titus Andronicus. She most recently appeared in the TV show The Gilded Age (pictured.)

Ken Marks Adult Men

Has appeared again on Broadway in shows like Spider-man: Turn off the Dark and most recently in Take Me Out (pictured.) He is currently in Dead Outlaw off-Broadway.

Glenn Fleshler Adult Men

Has returned to Broadway in shows like Guys and Dolls and Death of a Salesman. He also has extensive credits in movies like Joker and TV shows like Billions (pictured.)

Tony Carlin (u/s Adult Men)

Returned to Broadway over a dozen times since, as well as off-Broadway in shows like The Trial of an American President (pictured.) He most recently appeared in Days of Wine and Roses.

Eryn Murman Anna, Ensemble (u/s Wendla, Ilse, Anna, Martha, Thea)

Has done some regional theater, including playing Wendla in San Jose Rep's production of Spring Awakening (pictured) before later marrying the actor playing Melchior, with whom she started the band 5j Barrow. She now also works as a massage therapist.

Jenna Ushkowitz Ensemble (u/s Anna, Martha, Thea)

Notably appeared on the TV show Glee. She returned to Broadway in Waitress (pictured) and has won two Tony Awards as a producer.

Alice Lee Ensemble (u/s Wendla, Ilse, Anna, Thea)

Notably appeared in the off-Broadway production of Heathers (pictured.) Competed in the reality singing competition Rising Star. She has had TV roles on shows like Zoey's Extraordinary Playlist and most recently did voice acting for My Adventures with Superman.

Jesse Swenson Ensemble (u/s Melchior, Hanschen, Otto, Georg)

Returned to Broadway in The Addams Family. He has now moved way from acting to become a writer and filmmaker.

Matt Shingledecker Ensemble (u/s Melchior, Hanschen, Ernst, Otto, Georg)

Went straight to the first national tour as Georg. Since then, he's appeared on Broadway again in West Side Story and on the national tours of shows like Wicked and Les Miserables (pictured.) He is currently performing in the musical The Wedding Banquet in Taiwain.

Morgan Karr Ensemble (u/s Moritz, Hanschen, Ernst, Otto, Georg)

Now a successful indie pop musician performing under the name Morgxn.

Zach Reiner-Harris Ensemble (u/s Moritz, Hanschen, Ernst, Otto, Georg)

Seems to have moved away from acting but still makes appearances as a musician.

[bitbc-incorrect-quotes-archive]

Spacetoon Pictures, an Arabic film distributor, has uploaded a trailer for the upcoming Strawberry Shortcake specials, which will premiere in theatres on January 25th. More below:

Spring Spectacular has Strawberry and friends once again preparing for a big event at the Berryworks, this time the Flower Festival. But when an outbreak of monstrous vines threatens to ruin the festival, the Berry Besties must work together to save the day.

We get a better look at Plum Pudding in the trailer, and it appears Pumpkin Spice from "Beast of Berry Bog" will be returning for this special!

Here's a better look at the monster vines.

For Summer Vacation, Strawberry and friends take a trip down to Strawberry's hometown of Berryville, where they team up with two local farmers to find the secrets of the Berry Guardians and save their farm!

We got a new berry in this special, and judging by the hair and the green/white striped shirt, I'm guessing that's Strawberry's mother!

The pineapple on the door also indicates at least one of the farmers is themed on pineapples.

There's also this berry, who I'm guessing is gonna be the villain of the special. Maybe a twist villain, since he was with the group in a prior shot?

There doesn't seem to be any signs of Bread, Raspberry, Huck, or Sour in Summer Vacation, which is disappointing, hopefully they do make an appearance.

[newsatsix1986]

Our beautiful director Emma Freeman, and a familiar News At Six office extra face! 🌟❤️

.

.

Today's story is called Lamb.

Yes, you are right to think of the slightly dropsical looking woolly farm creature, and this underpins today's story. I want you to imagine a dilapidated shack in the middle of a dry unspecified farming land. There lives a dishevelled man, his young blind son, the family dog, and a little lamb, tied at the end of a rope. Every day, the little boy follows the rope to spend loving hours stroking and cuddling his pet lamb. He is so very fond of it, and it brings him light.

But for the father, things aren't as rosy. He is struggling to put any food on the table at night for him and his son, and when that scarce amount of food they do have runs out, he must make an impossible decision. Does he sacrifice the lamb or the dog to be their next meal, and how can he ensure that his son doesn't lose the little amount of light and joy he does have in his life?

This is the plot of one of our Emma Freeman's earliest works - a six minute short film from 2002 that she directed and wrote for the famous short film festival Tropfest. This short film even won Tropfest that year! Now, our story is about to fast forward, to a high school drama class in 2014, when fourteen year old Erin, alongside her classmates, watched this sombre but powerful short film, as a part of her studies into short film making.

She had no idea at the time that the director of this six minute film would then go onto directing what would become her all-time favourite show a decade later; The Newsreader. But ten years on from that initial viewing of Lamb in her high school drama class, she would reflect on how lucky she was to receive an early viewing of Emma's work, and that the stories that Emma brings to life on screen would stick with her for years to come. She would even create a page dedicated to one of Emma's finest pieces of work. Who would have known. 💖🌟🎥

Please locate Lamb on either Emma's or the official Tropfest's YouTube channels to support this early piece of Emma's career. She has come so far! ❤️🌟🎥

(Top picture credit: Maria Angelico's rad 1980s film camera)

[maximumwobblerbanditdonut]

PETER MULLAN IS RED JACOB MACKENZIE

Peter Mullan is a Scottish actor and filmmaker, he was born in Peterhead, a town in Aberdeenshire, Scotland 🏴󠁧󠁢󠁳󠁣󠁴󠁿 UK. He was interested in directing films at the age of 19 and he made several shorts. He decided to dedicate himself to acting and made his debut in the theatre in 1988 before moving to cinema and television.

His feature film work over the last several decades stretches across every genre, including roles in Riff-Raff (1991), Braveheart (1995), Trainspotting (1996), Miss Julie (1999), Young Adam (2003), Children of Men (2006), The Red Riding Trilogy (2009), War Horse (2011) The Vanishing, the Harry Potter film series (2010–11) and The Vanishing (2018).

Although his part in Braveheart was a small recurring role as one of the Scottish army foot soldiers, Mullan was to go on to enjoy a breakthrough shortly after Gibson’s classic film hit cinemas.

He followed Braveheart with his part as the drug dealer Mother Superior in Trainspotting, then found himself being fêted by Martin Scorsese when he won the best actor award at Cannes for Ken Loach’s film, ‘My Name Is Joe’ (1998), filmed in Argyll and Glasgow.

Trainspotting 1996 ‧ Crime/Thriller

Mullan has a vast body of work but is probably best known for his portrayal of Joe in the 1988 Ken Loach film ‘My Name is Joe’. For this work, he won the highly prized Best Actor Award at the Cannes Film Festival.

Mullan in My Name is Joe, directed by Ken Loach. Photograph: Allstar Picture Library

A few years later, in 2011, the Sundance Film Festival awarded Mullan a World Dramatic Special Jury Prize for Breakout Performances for his role as Joseph in Paddy Considine’s Thriller/Drama ‧ ‘Tyrannosaur’ (2011) with Olivia Colman.

Since then, Mullan has gone on to work with directors like Steven Spielberg (War Horse 2011 ‧ War/Adventure ) alongside Jeremy Irvine and with Alfonso Cuarón popped up as a totalitarian crank in Alfonso Cuarón’s Children of Men, goading the dispossessed into parading their “refugee face”. On Mullan suggestion, Cuarón swapped his character’s weapon of choice for something less obvious, but more threatening, and has become one of the most respected modern film and TV actors.

War Horse 2011 ‧ War/Adventure ‧ Film of the Year 2012

He has also made his name as a director, with acclaimed movies such as Neds, Orphans and The Magdalene Sisters.

His other film credits include ‘Hercules’ 2014 ‧ Action/Fantasy alongside Dwayne Johnson as General Sitalces, Commander of the Thracian army. Lord Cotys's second-in-command right-hand man portrayed by the late John Hurt.

Sunset Song, 2015 ‧ Romance/Drama Terence Davies’s adaptation of Lewis Grassic Gibbons’s novel, stars Agyness Deyn as Chris, a Scottish farm worker who sees family trauma merge into global catastrophe as the First World War devastates her village.

Starring Peter Mullan, as Chris’s abusive dad. was filmed at various locations across Scotland in Aberdeenshire, including Fettercairn and the Glenmuick, Glen Tanar, Invercauld and Ballogie estates. Sunset Song is certainly a masterpiece of Scottish/ British literature and was voted Scotland's favourite book.

Scots Quair is actually three books, Sunset Song, Cloud Howe and Grey Granite, that tell the story of Chris Guthrie, a young woman in the North East of Scotland, moving from the hard, rural life of her adolescence to adulthood and marriage. A Scots Quair is one of the most important works of Scottish literature.

Tommy's Honour 2016 ‧ Sport/Romance is based on the powerfully moving true story (and novel of the same name by Kevin Cook) of the challenging relationship between “Old” Tom and “Young” Tommy Morris, the dynamic father-son team who ushered in the modern game of golf.

Tommy's Honour 2016

Peter Mullan stared as Tom with Jack Lowden playing his son. The film was filmed in the Edinburgh city region including Peebles and Musselburgh golf course.

He also played Yaxley in ‘Harry Potter and the Deathly Hallows’, parts 1 and 2. In TV, he’s played characters in ‘Westworld’, ‘Top Of The Lake’ and Netflix’s ‘Ozark’ as Jacob Snell. [Netflix]

In 2020 He was great in #Ozark portraying local crime lord Jacob Snell, The crime boss of Osage Beach until he died in season two of the Netflix hit.

Ozark 2017 ‧ Drama ‧ 4 seasons

The Lord of the Rings: The Rings of Power (TV Series 2022– ) - Peter Mullan played Durin III king of the dwarves and builder of the great halls of Moria.

Moria is introduced in Tolkien's novel The Hobbit and is a major scene of action in The Lord of the Rings. In the fictional world of J. R. R. Tolkien, Moria, also named Khazad-dûm, is an ancient subterranean complex in Middle-earth.

On the big and small screen, from sci-fi to action and comedy, there are plenty of Scots actors who have made a huge impact on the world of acting. Just take a look at the right place where you will find them in Scotland 🏴󠁧󠁢󠁳󠁣󠁴󠁿

#PeterMullan #Scotland #actor #filmmaker #Peterhead #RedJacobMackenzie #BOMB #Braveheart #Trainspotting #MartinScorsese #bestactor #CannesFilmFestival #KenLoach #MyNameIsJoe #Tyrannosaur #OliviaColman SundanceFilmFestival #ChildrenofMen #WorldDramaticSpecialJuryPriz #Hercules #DwayneJohnson #GeneralSitalces #book #SunsetSong #Scottishliterature #TerenceDavies #LewisGrassicGibbons #Tommy'sHonour #novel #Kevin Cook #TommyMorris #Musselburghgolf #Netflix #Ozark #JacobSnell #DurinIIIking #Moria #RingsofPower #Tolkien'snovel

Posted 5th April 2024

[sisstarloop]

Beyond Borders: DLHM’s 2023 Nou Akoma Nou Sinèrji Haitian Dominican Transnational Film Festival

By Amanda M. Ortiz

February 16, 2024

Making my way to the midtown Manhattan location where the inaugural Dominicans Love Haitians Movement (DLHM)’s film festival was being held, I was unsure of what to expect but brimming with anticipation. That October morning was the picture of quintessential autumn in New York: crisp, clear, and characteristic of the onset of a season synonymous with new beginnings, all strikingly reflective of my own mindset heading into the three-day event. A labor of love for the organization, the Nou Akoma Nou Sinèrji Haitian Dominican Transnational Film Festival was to showcase a medley of primarily Dominican- and Haitian-helmed films all speaking to DLHM’s mission of fostering dialogue, enlightenment, and healing with regard to racism, anti-Blackness, genocide, colonization, and statelessness in present-day Dominican Republic and Haiti. And in its consistent approach to doing so through participatory art, storytelling, and performance events that both challenge and engage long-held biases, Nou Akoma Nou Sinèrji was DLHM’s latest undertaking in those efforts. The festival was fittingly taking place just one week following the anniversary of Hispaniola's 1937 genocide that ultimately drove a defining wedge between the island's two nations. And as though to further cement the relevance of DLHM’s mission, purpose, and the event’s overarching message, it also grievously coincided with the blitz of Israel's latest aggression against Palestine.

The very idea of such an event was an utter novelty. Although prevalent Dominican anti-Haitianism is well-known in both communities, the history of its origins (particularly among Dominicans) is not, and the contrast in that knowledge is stark. While generations of Haitians are aware of that history and the genocide’s grave ongoing ripple effects, dominant Dominican perception continues to be largely rooted in downplaying, outright denial, and widespread ignorance. And so, it was unsurprising that I had yet to come across any event that openly addressed that head on, much less one spearheaded by an entity or people of a Dominican background.

Historically, there have likewise been very few Dominican-authored works in English or Spanish that even mention the ethnic cleansing. My own introduction to it happened at 13 when I stumbled upon a work of literature that quite literally changed my life: Edwidge Danticat’s The Farming of Bones. In contrast to present day, at that time, there were sparse Dominican- or Haitian-authored works in circulation in English, let alone by members of the diaspora. Seeing myself or any semblance of my culture or lived experiences in print was virtually unheard of. And yet, it somehow did little to deter my younger self from continuing in my largely fruitless search. Coming across The Farming of Bones the year of its 1998 release changed all that. I was astounded by what I encountered in its pages, a history directly pertaining to me that I’d never heard of or about. For me, it triggered a bevy of emotions: confusion, rage, disgust, heartbreak. Those 312 pages lit a fire in me that would forever color my perception of even those I held dear and what I thought I once knew of my own culture.

It’s with this personal history that I stepped into the festival space that first day. While I didn’t necessarily think the sole focus would be the events of 1937, I attempted to brace myself for the stories and emotions sure to arise from the featured films. Upon arrival, I checked in at the front desk and received a program with a list of the films to be shown over the course of the ensuing three days. As I didn't see much of anyone milling about, I headed to the lower level where I was greeted by a table trimmed in palm fronds displaying an array of cloth dolls ranging in color from cream to carob and adorned in an assortment of vibrant fabrics. The featured description relayed that they were the product of the DLHM Black Doll Project launched in 2017, sending Black dolls to children in the Caribbean in an effort to affirm and empower them in their Blackness and Negritude.

Another table nearby was set up with ballpoint pens, a legal pad of white paper, and a folding chair, modestly decorated with a vase of magenta flowers and a sign encouraging passersby to “Write Yourself a Love Letter.” As I had no clear destination, I decided to sit and take the sign up on its invitation. I had all but finished just as Clarivel (we/us/you) was passing by. I had long been a social media follower and supporter of DLHM founder Clarivel Ruiz’s work since happening upon the organization online shortly following its inception. And though I naturally counted Clarivel’s presence at the event as a given, it never occurred to me I'd have the opportunity to meet, let alone interact with Clarivel personally.

A decades’ withheld revelation of Haitian ancestry by Clarivel’s father and the familial response that followed became the impetus for establishing DLHM. Since then, Clarivel’s journey with the organization they founded has not been without its risks and challenges due to unabating resistance and hostility that often surfaces when assuming a mantle of truth-telling. This has included cyberattacks and threats from Dominican ultranationalists, who have gone so far as posting Clarivel’s photo and encouraging others both locally and abroad to locate and harm them. Over time, attempts at intimidation, violence, and defamation only heighten the exacting nature of such work and can understandably take a toll, which resulted in Clarivel taking a prior temporary hiatus from DLHM and its initiatives.

In addition to activism, Clarivel is also an artist, an educator, a filmmaker, and an overall creator. And with a vitality that transcends space, Clarivel is an iconoclast with an intrepid commitment to DLHM’s underrepresented and largely silenced but vital cause. And so, meeting Clarivel in the flesh after years of admiration from afar was nothing short of a fangirl moment for me, which I unabashedly expressed along with gratitude for their continued work. And in the face of that effusiveness, the warm reception I received from Clarivel only added to my anticipation for what was to come.

Back upstairs, the film festival officially kicked off with opening remarks as the lights dimmed and the handful of audience members in attendance settled in for the first films: the short Daughter of the Sea and the documentary film Stateless. With breaks in between, those were followed by Colours in the Dust and Haiti Is a Nation of Artists. All were immersive experiences and presented themes of artistry, the aftermath of Haiti’s 2010 earthquake, spirituality, human rights abuses, politics, race, discrimination, and ancestry, to name but a few. There was even a virtual Q&A with the main subject of Stateless: activist, community organizer, lawyer, and asylee Rosa Iris Diendomi. By afternoon’s end, it was difficult to imagine that the festival’s subsequent days could hold a candle to the first, but there was, in fact, much more in store.

Day two’s roster included the shorts Forever Twins, Please in Spanish, Id, The One in The Mirror, Cotton Candy, Espíritus en Marcha, and Sisters By Water, and the full-length documentaries Jean Gentil, Chèche Lavi, How (Not) to Build a School in Haiti, and Massacre River: The Woman Without a Country. While the films offered thematic echoes of day one, they also rendered new ones: migration, belonging, identity, and division. In contrast to the day prior, some of the shorts (Please in Spanish, Id, Cotton Candy) even managed to incorporate humor into their more weighted topics. The day’s more sizable audience had the opportunity to engage in a number of in-person and virtual Q&A panel discussions with many of the films’ directors and creators, including Rulx Noel (Forever Twins), Bechir Sylvain (Id), Shenny De Los Angeles (Sisters By Water), MarQuerite Hamden (Espíritus en Marcha), Karlina Veras (The One in The Mirror), and Jacquil Constant (Haiti Is a Nation of Artists).

The day also included sessions outside of the panels in which audience members were collectively encouraged to share thoughts and impressions with regard to the films and their themes. These sessions became vulnerable spaces of palpable reflection, as some tearfully spoke to personal correlations while others expressed warranted indignation and confusion upon learning of such history and circumstances for the first time. The crowd ran the gamut of representation, with many from the Haitian and Dominican communities (like me and my beloved friend Nathalie, a Port-au-Prince native who was my faithful companion for the second and third days of the festival) and others with no ties whatsoever. This lent to an environment that all at once facilitated release for the former and enlightenment for the latter—an impactful scene to watch organically unfold. There was also generational diversity within the audience, with elders sharing invaluable lived experiences, including upbringings on Dominican bateyes and participation in birthright advocacy protests outside of the UN. And though I largely absorbed more than I spoke, similar to the previous day, a number of the films’ stories left me in tears that carried over to my train ride and arrival home, as I ruminated over the ongoing hardship faced by those at the center of many of the films’ stories and at the thought of those devoid of the opportunity to have their stories told or heard. I also mourned being unable to viably share that grief and outrage with members of my own family.

Day three, a Friday, was bittersweet, as it marked the end of the festival and a space that had become equal parts familiar and sacred. I greeted a number of now familiar faces by name, often with a smile and some even with hugs. In that way, the festival had fostered a level of intimacy among attendees. With the room nearly at capacity, many of the the previous two days’ films were replayed, along with the debut of Michèle Stephenson’s Elena and the impromptu additions of Oscar Grullón Cruz’s No me Llames Extranjero and Retrato Kiskey'ART/Yon pòtre Kiskey'ART.

Owing to kismet, Retrato Kiskey'ART/Yon pòtre Kiskey'ART turned out to be the perfect film with which to conclude the festival on the strength of its message of hope and solidarity. It featured the music of The Azueï Movement, a binational artistic collective that actively aims to promote a culture of peace between Haiti and Dominican Republic in both nations and abroad. The film featured the collective performing at locations on both sides of the island and the hurdles they often confront logistically, bureaucratically, and societally. Yet, it also highlighted a dynamic often overshadowed and believed to be all but nonexistent in the face of the ongoing injustice taking place: a desire from both sides for kinship and unity, strengthened by very real seeds being conscientiously sown. In essence, the film spoke to another path for the island being actively pursued for present and future generations. And fittingly, DLHM is also proof of this living ideal. The jubilant aura and infectious music of the film was a palpable breath of fresh air, with many audience members (myself included) dancing in their seats. That energized ambiance spilled over into the celebration that followed with the festival’s closing ceremonies, replete with food, music, and accolades of recognition for contributing filmmakers.

The festival for me was nothing short of a homecoming. For decades, I had been ineffectively attempting to speak to and enlighten others (including family members) of the genocide’s detrimental effects and the documented lengths to which the Dominican government has gone to keep its own people complicit and ignorant—an uphill battle I’ve felt alone in. I’ve faced consistent rebuff for this, even in spaces that purport to center and underscore such atrocities for the sake of prevention and accountability. My international affairs masters program at The New School turned out to be one such space.

In my final year, I had resolved to write my graduate thesis on the genocide and its ensuing effects through the lens of Haitian- and Dominican-authored historical fiction, given the general lack of official documentation. In the thesis workshop course I was required to take prior to submitting my official proposal, I faced startling resistance from the course’s Chinese-American professor, who not only seemed to have no knowledge of the atrocity or the current climate in Hispaniola, but no interest in learning of it. She dismissively declared my chosen topic “irrelevant” and instructed me to change it. Resolute in not being strong-armed into abandoning my topic, she threatened to fail me, which not only would have prevented me from formally submitting my proposal to the department but from completing the program altogether. After a semester of anguish, uncertainty, and incessant back-and-forth, in the end, she begrudgingly issued me a passing grade, which was likely the result of sheer fatigue from verbal sparring and just wanting me out of her hair. I would be interested to hear that same professor’s thoughts on the extant legislation passed by the Dominican government (TC-168-13) retroactively stripping Dominicans of Haitian descent of their citizenship in 2013, just one year after I graduated and submitted my thesis. I wonder if, in light of such a blatant human rights violation, she would still deem it irrelevant.

Attending Nou Akoma Nou Sinèrji, I at long last felt seen and part of something bigger, a cohort with a concerted and pivotal mission. The birthed and directed films by my cultural brethren were ancestral echoes decrying the rampant injustice and affliction plaguing our island and the diaspora, especially ones that directly referenced the genocide and the disallowance of home (Stateless, Massacre River: The Woman Without a Country, and Elena).

My maternal grandmother’s line hails from Bánica, a hamlet on the Dominican-Haitian border that is a literal stone's throw between nations only separated by a river that many on either side still traverse daily for the purpose of commerce and livelihood. At the time of the genocide, my grandmother would have been nearly four years old and my great-grandmother (her mother) just 31. Their deaths in my earliest years have deprived me of their words and stories. I'll never know the inconceivable horrors they witnessed over the course of those six days and nights in October 1937, the neighbors, friends, and kin they saw cut down and violated around them. I’ll never know what they felt, how they feared for their own lives, how they managed to survive, or the ways they were no doubt haunted for the duration of their lives thereafter as a result of having lived. What I wouldn't give to be able to sit with and bring them my questions, to hear their firsthand accounts of that and so many other things. My younger self, so disturbed when first learning of the genocide on my own, would have found solace in their words by sheer virtue of the fact that they survived to tell of it. But lamentably, that defining part of my familial history and theirs is long buried with them. So, just as The Farming of Bones did for me all those years ago, the festival’s films provided me with pieces of that history directly linked to my own in the absence of my grandmothers’ actual voices.

The festival’s films vividly depicted a great deal of Dominican and Haitian existence, culture, and history, even history many wish remained and arduously work to keep buried. Each film is worthy of being seen and savored, not only in support of the artistry of the filmmaking and the teams that brought the stories to fruition, but also for the messages those stories impart. I walked away with many favorites, but most of all invigorated with a renewed resolve. And though the pool of people in my life truly capable of appreciating and understanding the depths of the festival’s indelible mark on me remains sadly limited, it hasn’t lessened its significance. Even this piece, written to celebrate much needed activism and the festival’s impact, I know will not be universally embraced or well received. Yet the very existence of such opposition is a testament to just how much that activism is truly needed.

What Clarivel and Dominicans Love Haitians Movement were able to achieve with the inaugural Nou Akoma Nou Sinèrji Haitian Dominican Transnational Film Festival is nothing short of remarkable. It’s a feat whose ultimate outcomes would have been impossible to forecast or orchestrate: a space of genuine vulnerability and healing; a celebration of Haitian and Dominican art, expression, and culture; a forum for candidly addressing injustice, genocide, and the resulting implications. I only anticipate the festival’s impact and reach to grow with each passing year, and I look forward to being in attendance to witness and celebrate that momentous achievement.

Amanda M. Ortiz is a NY-born-and-bred, first-generation Dominican writer. Pursuing degrees in international affairs and Latin American studies sparked a commitment to peacebuilding and remembrance initiatives in societies that have endured genocide (particularly Hispaniola) that has yet to diminish. Her writing is a space of candid cultural, ancestral, and personal reflection previously published by Dominican Writers Association and Spanglish Voces. In addition to Spanish, she is fluent in Portuguese with a deep love for Brasil. Her writing and creative journeys can be found and followed on Instagram: @amopalabras and Twitter: @amo_palabras

[littlequeenies]

Katie Geraldine Scarfe (b. April 17th, 1974) is an English stage, radio, TV & voice actress, the oldest daughter of actress Jane Asher and her husband cartoonist Gerald Scarfe. Katie has two younger brothers, artist Alex Scarfe and book editor Rory Christopher Scarfe. She also has two elder half-siblings, Rupert and Araminta Scarfe from her father's previous relationships.

She graduated from Bristol University in 1995. She trained at LAMDA (London Academy of Music & Dramatic Art; BA (Hons) Acting, 2007-2009). Credits whilst at LAMDA include Maria in "Twelfth Night (2008), Lady Bracknell in "The Importance of Being Earnest" (2009), Molly in "Passport to Pimlico" (2009), "The Girl in The Blue Room" (2009), u/s Pattie and Rachel in "Season's Greetings" (National Theatre, 2010/11).

Her theatre career includes "Just Whores" (New Venture Theatre, summer 2003), "Freakshow", as Eve (New Venture Theatre, fall 2003), her role of Constanze in "Amadeus" ( New Venture Theatre, Brighton, 2005), her role of Richmond in "Richard III" (Brighton Festival, 2007), her role of The Duchess in "Mercury Fur" (Old Red Lion, Trafalgar Studios, 2012) and her role of the Queen in "Beyond Beauty" (Rebel Theatre, fall 2012). In 2015 she acted on the stage along with her mother Jane Asher in "The Gathered Leaves" (Park Theatre).

Radio, television and film credits include her role of Brenda in "The Wistleblower" film, the part of Kerry Harrison in "The Real Kathy Haydn" (Channel 4, 2007), "The Long Walk Home" film (2007), "Nunc Demittis", part of the "Someone Like You" collection, for BBC Radio 4 (2009), her role of Emily Coulson in "Holby City" (BBC, 2010), Sophie in the 2010 film "The Engagement Party", the poet female in "The Cult" film (2010), the short "The Adbucted", as Dr. Murphy in ITV's "Emmerdale Farm" (Yorkshire television, 2012), "A Little Twist of Dahl" (BBC Radio 4) and the short "The Listener" (2014) and the part of Liz Wilde again in in "Holby City" (2015).

--

Pictured, Katie and her father Gerald Scarfe at the South Bank Show, at the Savoy Hotel, on the 22nd January 1998 in London.

*We don’t own any of the copyrights of these photos*

OUR KATIE SCARFE PHOTO COLLECTION HOSTED AT GOOGLE PHOTOS

[molsons112000]

When are movie theaters going to come out with holiday traditions?????

Just like TV has holiday traditions like the Christmas story, it's a wonderful life and another Christmas from Connecticut...

They run these every year!!!

So Coco can be annual Halloween tradition movie. Theaters have it available every halloween...

Nightmare Before Christmas, I love Tim Burton god rest his soul... they can run this related to Christmas during December. It's a little bit early, but it is Halloween-ish. But I think I went to this for the first time on Christmas Eve... I think I went to this with my brother John in Vernon Hills... still I saw this on christmas eve....

The film made its world premiere on the opening day celebration of the New York Film Festival on October 9, 1993, and was given a limited release on October 13, 1993, before its wide theatrical release on October 29, 1993.

https://en.wikipedia.org › wiki › T...

The Nightmare Before Christmas - Wikipedia

No, The Nightmare Before Christmas was released in October 1993, not on Christmas Eve: 

Release dates

The movie premiered at the New York Film Festival on October 9, 1993, had a limited release on October 13, and was released widely in theaters on October 29. 

Studio

The movie was released under Touchstone Pictures, Disney's more adult-oriented label. 

Inspiration

The movie was inspired by a satirical poem that Tim Burton wrote in 1981, which was a parody of "The Night Before Christmas". 

Setting

The movie is set in Halloween Town, but Jack Skellington visits Christmas Town early in the movie and becomes enamored with the holiday. 

Theme

Some say the movie is more of a Halloween movie because of its spooky theme and the amount of fright and disgust in the movie. Others say it's more of a Christmas movie because the title includes the word "Christmas" and Jack Skellington plans to take over Christmas. 

Wikipedia

The Nightmare Before Christmas - Wikipedia

The Nightmare Before Christmas premiered at the New York Film Festival on October 9, 1993, and was given a limited release on October 13, before its wide theatr...

It is never too late to start. Holiday traditions and the reason for them is to keep the family close and strong!!! Creating these shared memories over and over again.Bring the family closer and closer together!!!!

We used to go to the Christmas carol. Every year in Chicago..

We used to go pumpkin picking for Halloween pumpkins. You can do both and go to the pumpkin farm. Pick a pumpkin, experience it, and then you can buy additional in the store... but do you think stores would offer and promote this option? Selling tickets to go to pumpkin picking farms around the United States. Yes, grocery stores selling tickets to go pumpkin picking... So they can have haunted corn mazes... And grocery stores can sell tickets to go pumpkin patch, and picking, as well as to corn mazes.. they can also sell tickets to go cut down a Christmas tree. We used to go to the farm to cut down Christmas trees. As an annual Christmas event. This is how grocery stores can further promote farming and support farmers.....

And yes, corn mazes can have spooky corn mazes for halloween....

strawberryshortcake.com

https://www.strawberryshortcake.com › ...

The most popular pumpkin patches and corn mazes across ...

Linvilla Orchards, Lyman Orchards, Bishop's Pumpkin Farm, Washington Farms and Battleview Orchard are some of the most popular pumpkin farms in America ...

local Pumpkin Patches

https://www.pumpkinpatches.com

Find Pumpkin Patches Near You

... of the ... Check out our directory to easily find a local pumpkin patch nearest you and choose your ideal pumpkins to put to use this Fall and

Going back to building the family with family traditions...

Like mine was also going. To church for every good Friday. Going on Christmas Eve to feed my starving children... But I don't want any more starving people, but there are other things you can do...

Developing holiday traditions within a family is important because it creates a strong sense of connection, belonging, and shared memories, helping to keep the family close together by providing a consistent ritual that reinforces their bond across generations; essentially acting as an anchor that ties family members to one another through shared experiences and positive emotions. 

Key points about the importance of holiday traditions:

Building positive memories:

Traditions create lasting, positive memories that people can look back on fondly, drawing them closer to each other year after year. 

Sense of identity:

Family traditions contribute to a family's unique identity, allowing members to feel a sense of belonging and connection to their heritage. 

Passing down values:

Traditions can be used to pass down important values and cultural practices from older generations to younger ones. 

Quality time together:

Holiday traditions often involve activities that require family members to spend quality time together, fostering deeper connections. 

Stability and comfort:

In times of change, consistent traditions can provide a sense of stability and comfort. 

Creating anticipation:

Knowing that certain traditions will occur each year can build anticipation and excitement for the holidays. 

Examples of family holiday traditions: 

Decorating the Christmas tree together

Baking cookies for gifting

Watching a favorite holiday movie

Attending a religious service

Sharing family stories and anecdotes

Volunteering together

Creating a holiday-themed craft 

Youth First

The Importance of Family Traditions - Youth First

Nov 12, 2019 — In addition, family traditions enhance family and personal well-being and can also add to the family identity. ... It gives us all a chance to stay ...

We also used to always go to a movie after christmas day.Christmas night to a movie with all my nieces and nephews....

I added in a tradition that I was trying to start with my ex-girlfriend. Jennifer Kim Christmas eve with her family and Christmas with my family. You can alternate it every year. Since marriage, couples have two sides of the family. One year you spend Christmas Eve with one set and then Christmas with the other set, and then you reverse it.

Also, a tradition that I created was spending Christmas eve, whether we put a private party together or we went to a party. We went with friends...

And another tradition and my birthday, my friend Kosta used to take me to the cheesecake factory for dinner...

So you can create traditions between the family between your friends and with your church and community......

[dankusner]

MOVIES Director in town to discuss his trio of Dallas films

Stone captured city while he shot ‘Talk Radio,’ ‘Born on the Fourth,’ ‘JFK’ over 3 years

In the space of three years, Oliver Stone made three films in Dallas, an unusual number for any director but especially one not from Texas.

“I know, I’m from New York!” Stone said with a laugh, when I connected with him over Zoom.

The films are quite different, but each captures a facet of the city.

The late-night claustrophobia of Talk Radio (1988) is a maze of reflective glass with the neon skyline in the window.

Born on the Fourth of July (1989) uses the sun-dappled streets of Oak Cliff to tell a very American story of idealism curdling to betrayal.

And there’s JFK (1991), Stone’s feverish spin on that fateful day in 1963 and New Orleans District Attorney Jim Garrison’s doomed crusade to make sense of it.

Stone is coming to Texas Theatre to screen and discuss those movies — in addition to his warped serial-killers-in-love classic, Natural Born Killers , celebrating its 30th anniversary — for a mini-festival called “4 Days in Dallas with Oliver Stone” running Thursday-Sunday.

He’ll be talking with Dallas-based Vulture critic Matt Zoller Seitz, author of a collection of conversations and essays about the director called The Oliver Stone Experience .

It’s hard to imagine better movie programming than watching JFK with Oliver Stone in the theater where Lee Harvey Oswald was caught.

I spoke with the director about filming in Dallas, the lone-gunman theory and what Jerry Jones gave him.

Let’s start with your first Dallas film, Talk Radio . How did it wind up being shot here?

We were trying to make Born on the Fourth of July , but it was a big cookie to bite. It was too expensive, it was about a paraplegic and the studios considered it a downer. Tom Cruise and I came together to make that happen, but Tom was doing Rain Man , and we had to wait. [Producer] Ed Pressman saw this play in New York with Eric Bogosian called Talk Radio . The play was powerful. I said, maybe we should take a couple of months, and I’ll shoot it while we’re waiting for Tom.

It essentially gave you a chance to get to know Dallas.

That’s right. Because we had a limited amount of money for Born on the Fourth of July , which was a very big production, and Texas was very attractive. It’s a right-to-work state, and the Texas Film Commission came after us aggressively. Come to Dallas, see our beautiful new studio out in Las Colinas. And Dallas had so many talented extras.

So why had you wanted to film Born on the Fourth of July in Dallas in the first place? [Real-life Vietnam vet and film protagonist] Ron Kovic grew up in Massapequa, Long Island, but Long Island was being developed, so it didn’t have the kind of emptiness, the open-space skies I found in Dallas.

There was a neighborhood that really turned out well, [the Elmwood section of] Oak Cliff.

They gave us a whole street. Texas was good to us. I hated the hospital we shot in, though. We moved into an abandoned hospital, and that was probably the hardest two weeks I’ve ever shot. Those scenes based on the Veterans Hospital in the Bronx are very depressing, but it was necessary, because that’s the truth, of course.

You were reading Jim Garrison’s book On the Trail of the Assassins while you were shooting Born on the Fourth of July . So was it filming in Dallas that sparked the fascination that led to JFK ?

I never really made that connection, but I’m sure someone took me to see Dealey Plaza for the first time. When you see it, you realize what a jewel box it is. How small. You don’t realize that from pictures. It’s a perfect ambush site.

Dallas spent decades in denial about the Kennedy assassination. The Sixth Floor Museum didn’t open until 1989, shortly before you shot the film. And the movie JFK blows the doors off history, creating that feeling that something just isn’t right. How hard was it to get permission to shoot in Dealey Plaza?

There was a big fight. A lot of politicking behind the scenes. And Dealey Plaza was our first day of shooting. Can you imagine? With all those cars and the bang-bang echoing through the city. They closed off Stemmons Freeway and gave us the whole square. It turned into quite a circus. That movie was a nightmare in terms of work. I had to be totally focused and ignore distractions. The Washington Post ripped off a first draft of the script, and we were already on the [sixth] draft, and they came out with a Sunday piece months before the movie opened, ripping us to shreds. I didn’t realize the opposition to the film until I got into it, which is somewhat like what happened to [New Orleans DA and the film’s protagonist Jim] Garrison.

I haven’t gone down the rabbit hole on JFK’s assassination, but friends who have will tell me: The conspiracies are fun, but at the end of the day, it’s just a lone gunman. They often cite Vincent Bugliosi’s book. What are your thoughts on Reclaiming History ?

It’s ridiculous. It’s like citing Gerald Posner’s book [ Case Closed ]. The best refutation is from Jim DiEugenio, who went into Bugliosi’s book detail by detail [ Reclaiming Parkland ]. It’s sad that people don’t bother to read the rebuttals. I went back to all this material in 2021 with the documentary JFK Revisited . It’s very clear that Oswald was known to the CIA. I don’t want to get into all the arguments here, but that documentary is worth seeing.

For a non-Dallas filmmaker, you’ve tackled some very essential Dallas stories. You came back to make the football film Any Given Sunday .

We were having a huge fight with the NFL. We couldn’t get stadiums, and we couldn’t get the jerseys or uniforms. We had to create our own parallel world. Thank God, Jerry Jones was a real gentleman, and he said, you’re welcome to use my stadium. Or maybe he said the Dallas Cowboys stadium. No, it’s his. [Laughter.] So when you come to town, will you go to Dealey Plaza? Oh, well, sure.

4 Days in Dallas with Oliver Stone Thursday-Sunday at Texas Theatre, 231 W. Jefferson Blvd., Dallas. Movies are $17 each, $75 for weekend pass. thetexastheatre.com.

[techtired]

Meet The Iconic Couple From The Woodstock Album Co - Tymoff

Meet The Iconic Couple From The Woodstock Album Co - Tymoff, Nick, and Bobbi Ercoline attended Woodstock in 1969 without knowing they would become one of the most renowned hippie couples. The Woodstock Music and Art Fair defined American music history and cultural change in August 1969. Held on a Bethel, New York dairy farm, the festival attracted over 400,000 people. It became a symbol of 1960s counterculture and a peaceful protest against conventional norms and the Vietnam War. Among the iconic images from Woodstock is the album cover featuring Bobbi Kelly and Nick Ercoline, embracing amid the crowd, perfectly representing the themes of peace, love, and music that Woodstock stood for. Meet The Iconic Couple From The Woodstock Album Co - Tymoff Among the legendary pictures from Woodstock is the album cover with Bobbi Kelly and Nick Ercoline embracing the audience, precisely capturing the ideas of peace, love, and music that Woodstock stood for. Introducing Bobbi and Nick: From Ordinary People to Icons of Harmony Regular guests of Woodstock, Bobbi Kelly and Nick Ercoline, had their lives permanently altered upon their capture early one morning following an all-night concert. Photographer Burk Uzzle captured this honest view of the pair hugging, draped in a blanket, radiating a peace that matched the essence of the festival. They were immortalized by this picture, which also transformed them into timeless icons of optimism and youth. The Story of the Well-Known Couple on the Woodstock Album Cover The picture of Bobbi and Nick was taken without thinking. When freelancer Burk Uzzle ran into the couple at the party by chance, he captured the spirit of the party. The picture of peace and love in the middle of the event's chaos captured Woodstock's attention. The photo on the record cover was perfect for the festival, ensuring its place in cultural history. How does fame change Bobbi and Nick's Lives? They returned to their everyday lives after Woodstock and found their picture everywhere. They handled their new fame with style, kept loving each other, and eventually married. Their story gave the Woodstock tale a human touch by showing how ordinary events combine with historical events to make something unique. Through the Eyes of Bobbi and Nick: Woodstock's Enduring Legacy Bobbi and Nick have been to many cultural events honoring Woodstock many years after the event. They believe the event is essential for them and a whole generation. Through their talks and stories about Woodstock, they keep the ideas and memories of the event alive and pass them on to others. Bobbi and Nick: Icons in Culture and Pop Bobbi and Nick's picture has been in many types of media over the years, such as magazines, films, and stories. They have become an essential part of the bigger story because they represent the ideals and issues of the counterculture of the 1960s. The way they are portrayed in pop culture powerfully reminds us of Woodstock's impact and how important its message is still today. Reflections on Love and Life: A Couple's Perspective Bobbi and Nick often reflect on their time at Woodstock and the following years as they get older. They say their strong and straightforward bond, beautifully shown in the picture, keeps them together. If someone wants to understand what Woodstock stands for, their ideas about love, life, and peace will fit in. Meet the Famous Couple from the Woodstock Album Cover Not just about two festival-goers, Bobbi and Nick's story shows how strong love can be and how people can keep going even when things are hard. People today are still moved by the picture of them on the Woodstock record cover because it shows hope and the timeless lesson that love can get through anything. Their way keeps the spirit of Woodstock alive and reminds us how music, community, and social change can make the world a better place. Music at the Iconic Woodstock Festival Woodstock was a new music event that Nick Ercoline and his girlfriend Bobbi Kelly heard about a little over 50 years ago. Representing the American counterculture of the 1960s, this festival would become one of the most renowned musical events ever. Taking place from August 15th through the 18th, 1969, Woodstock was an outdoor music festival. Notable performers at the event included Jimi Hendrix, Janis Joplin, Joan Baez, Santana, Richie Havens, and The Who. An Audience of Music Enthusiasts Woodstock's organizers anticipated a crowd of around 150,000. However, Woodstock became one of the most renowned music festivals in pop culture history when around 400,000 anti-war youths attended. No one, not even the now-iconic Bobbi and Nick Ercoline, could have predicted the tremendous impact that Woodstock would have when it first convened on a farm in Bethel, New York. The young couple's relationship had just lasted ten weeks when this happened. Cathy Wells, Jim "Corky" Corcoran, and Mike Duco drove Corcoran's mother's 1965 Impala station wagon to the festival because they thought it would be a fun date idea. Still Going Strong Fifty Years Later Not long after emerging as "the Woodstock album couple," Nick and Bobbi married in 1971. Bobbi was a school nurse; Nick started his career as a union carpenter. They had two children. Until Life magazine approached them in 1989 for a feature on Woodstock's 20th anniversary, they virtually forgot about their well-known picture. The pair considered some admirers could be let down. "After learning our story, I believe some people are let down that we were not... " Bobbi added. " … full-fledged hippies," Nick said. "That we were not out-and-clear flower power and revolution," Bobbi stated. "I was merely a country girl. He was a two-job college student. A Mark Of Togetherness And Love Now retired, Nick and Bobbi guide part-time at the Bethel Woods Museum. Not far from the festival ground, Pine Bush, New York, is where they reside. Music history buffs value their picture greatly. "It represents that love and festival togetherness," said museum director Wade Lawrence. "We are quite lucky Nick and Bobbi are still here to tell us their tale." Though some false ideas about the picture hold particular meaning for their house and heart, a massive replica of Uzzle's picture is above their breakfast table. Bobbi added, "I check it every day." "I met Nick, we grew in love, and it marked the start of my best life." FAQs Who are Nick Ercoline and Bobbi Kelly? Couple Bobbi Kelly and Nick Ercoline gained notoriety for their appearance on the Woodstock album cover. Captured embracing at the 1969 Woodstock Music Festival, they became a legendary symbol of the peace and love of the event. Why is the cover for the Woodstock record important? Bobbi and Nick's Woodstock CD covers are among the most identifiable visuals in music history. Capturing ideas of love, peace, and community that distinguished the 1960s counterculture, it reflects the core of the 1969 celebration. What changes in Bobbi and Nick's life following Woodstock? Bobbi and Nick continued their lives until their picture gained notoriety, and they finally got married and preserved a close friendship. Their surprising popularity gave them chances to share their memories and ideas on the delight of Woodstock, thereby enhancing the cultural legacy of the 1960s. Are Bobbi and Nick part of events connected to Woodstock? Indeed, Bobbi and Nick regularly take part in films, memorial activities connected to Woodstock, and cultural gatherings. By sharing their tales and viewpoints on the festival, they assist in preserving Woodstock's legacy for the next generations. Why is the artwork for the Woodstock record still powerful? The Woodstock record cover still has great power since it catches a real human connection against the background of a significant cultural event. It speaks to viewers of the power of music and community in promoting social change and reflects hope and resiliency—qualities that still ring properly powerfully now. Read the full article

[culturesofresistancefilms]

10/16/2023

On October 16, join us in celebrating World Food Day! On this day, we are thinking about how agroecology can be the solution to the water crisis and food insecurity in many communities. The president of Slow Food International, Edward Mukiibi, puts it this way: "Water conservation is an intrinsic part of sustainable agriculture. Local forms of agriculture and food production put into practice from Slow Food communities around the world have conserved every drop of water like a precious gift. Not only do they produce safe food but also preserve clean water. These methods, which need strengthening and maintenance to overcome the severe crisis in global water resources, can be summarized with one word: agroecology."

Through support from our sister organization, the Cultures of Resistance Network, we’re honored to stand alongside grassroots Slow Food movements throughout the global South. As one example, take a look at these pictures of gardens created by our friends at Slow Food Somalia as part of a growing network of sustainable food production sites. From the distribution of local seeds in the Democratic Republic of Congo to agroecology workshops in Sierra Leone, we celebrate all the Slow Foods communities involved in reviving local food systems!

You too can join the global movement: There are over 1,600 local Slow Food chapters worldwide. You can learn about the Slow Food philosophy through events and activities in your community–including shared meals and tastings, visits to local producers and farms, conferences and discussions, film screenings/festivals, and much more:

https://www.slowfood.com/about-us/where-we-are/

Slow Food International

https://culturesofresistance.org/group.../slow-food-somalia/

Additionally, if you want to learn more about agroecology you can watch our latest documentary UNITE FOR BISSAU (Nô Kumpu Guiné): agroecology and feminism in Guinea-Bissau. This film follows brave local women in the West African nation of Guinea-Bissau that challenge patriarchy by building institutions that promote self-sufficiency through agroecology. In the process, they also defy social norms by standing up against female genital mutilation and rejecting forced marriage.

Watch the trailer here:

Check out upcoming screenings here:

[hellogrinbearfilms]

Deerwoods Deathtrap from James P. Gannon on Vimeo.

50 years ago Jack and Betty were hit by a train and survived. This is their story.

A short documentary by James P. Gannon

Starring - John W. Gannon, Elizabeth Gannon Editor - Jason Tippet Producers - James D. Cochran, April Gannon, Matt Ferrin, Joseph K. Gannon, Chris Cipriano Original score - Stephane Laporte (Domotic) (domotic.bandcamp.com/) Sound mix/editor - Patrick Janssen Cinematography - James P. Gannon Title Design/Vimeo Thumbnail - Matt Ferrin Graphics - Horatio Baltz

A Pocket Storms Production

Shot on Kodak Super 8mm 50D

FESTIVAL SELECTION Sundance Film Festival Aspen Shortfest - Winner Special Jury Award Oak Cliff film festival - Winner Special Jury Award NHDOCS - Winner Best Short Film Philadelphia Film Festival - Winner Best Local Short Holly Shorts - Winner Best Super 8 Short Digital 8 & Super 8 Film Festival - Winner Best short Fantastic Fest Palm Springs Shortfest Big Sky Documentary Film Festival Thin Line Film Festival Florida Film Festival Athens Int Film Festival Wisconsin Film Festival Atlanta Film Festival Arizona Internation Film Festival Milwaukee Film Festival Seattle INT Film Festival Calgary Underground Film Festival Rooftop Film Festival Brooklyn Film Festival The Norwegian Short Film Festival Georgetown Film Festival Lago Film Festival Southside Film festival Desertscape Film festival Hot Springs Film festival SideWalk Film Festival Drunken Film Festival Indie Street Film Festival Sydney Underground Film Festival Jacksonville Film Festival Montclair Film Festival Picture Farm Film Festival Chicago Critics Circle Vilnius Short Film Festival Prague International Indie Film Festival Saskatoon Fantastic Film Festival Virginia Film Festival

[haley-in-bloom]

Every Day Like the One Before || Solo

Timing: June 23rd

Location: Stardew Valley

Description: Just another perfect day in the life of Haley Bloom, right?

“And I’ll see you lovelies next week!” Haley said with her trademark smile and wave of her perfectly manicured nails. Shutting off the camera, she let out a sigh and glancing over at her computer. Audio, video, all of it had recorded which meant all she had to do was edit and add it to the end of the queue. Fun.

Her desk looked like a disaster, which is how it always looked after she recorded a video. No one ever saw the make up pallets, the used brushes, the bottles that piled up on her armoire as she filled the silence of her room with chatter or notes to herself to time-lapse a particular section. Switching off the ring lights behind her mirror, she set about cleaning up the clutter. It was her least favorite part of filming, but it had to be done.

Once all the pieces had returned to their respective places and her desk cleaned of stray flecks of setting powder, Haley stretched her arms before pulling out her phone.

Arrange the hair, tuck the chin, back straight but not too straight, a casual peace sign because everyone loves peace—perfect. Haley snapped a picture and regarded it with a critical eye. Good enough. If there were little flaws, it made her more relatable online and people loved relatable. She was just like them! Stuck in this stupid, boring little town filming videos until she could finally move to the city.

Just finished a new video! Hope you guys like it when it comes out 💕

And post.

Slipping her phone back into the pocket of her dress, Haley glanced at the clock. It was only 4 pm, which was honestly perfect timing. Emily wouldn’t be back from work until late tonight and Sam had finally developed the barest definition of a schedule, so at least he wasn’t blasting his stupid guitar now.

Haley popped her headphones in as she left the house, latching the door behind her. It was stupid—who would break into their parents’ house? Maybe the crusty old man who lived up in the mountains, but she hadn’t seen him in at least a month. But, she locked the door behind her all the same.

Flicking through her music, she put on a pop playlist before swiping to her messages.

Haley: just finished recording, what are u up to?

Alex: aw shoot babe

Alex: i just started lifting and im like, in the zone

Alex: wanna hang after?

Haley rolled her eyes. Of course he was working out. She knew it was like, his whole thing. Trying to be a pro grid ball player out of Stardew Valley of all places was almost as insane as trying to be a UTuber. But, Alex was dedicated to it. She couldn’t fault him for trying.

Haley: sounds good! tell your grandma I said hi

Alex: 😘

Wandering down the street, she glanced around the town square. The mayor was running around, probably going to poke his nose in at one of the shops to see how they were doing. Like the answer would be another other than “slow as hell.” He waved to her politely and Haley offered him a dazzling smile before turning away. No beach for her today, it seemed. The last thing she wanted to do was make awkward small talk with Mayor Lewis.

There were a few people in the town square, but Haley ignored them. The fountain was usually empty around this time and it was a nice enough place when the two little kids in town weren’t screeching on the monkey bars. But God. This town was such a dump. They didn’t even have a movie theater. Everyone had a movie theater. But no. When she and Alex had date night, it consisted of suffering through bar food at Gus’ and having to see her sister the entire time and then going back to her house to watch movies on her laptop. So romantic.

If Haley had her way, this whole town would be bulldozed down, she’d slap a mall down on the abandoned farm to the west and build a high rise with beach front property. The valley would make money, tourists would come for longer than just the stupid fish festivals, and everyone would be happy.

Maybe then her parents would decide “Oh, we fell in love with the Fern Islands and are selling that little house in the Valley. You’re off the hook! Emily can go back to the Calico Desert and Haley can get herself a condo in Zuzu City and we’ll all go back to seeing each other once a year.”

Haley let out a chuckle as she settled down by the fountain, leaning against one of the trees that shaded the area.  

No chance that would happen. The most exciting thing that ever happened in this town was the rockslide that cut off access to half of the lake. And they’d been able to fix that up quick, no one had even gotten hurt when it happened.

Haley sighed as she glanced up at evening light streaming through the leaves of the tree. When was something ever going to happen in this stupid town?

[carmenvicinanza]

Isabella Rossellini

Buon compleanno, Isabella Rossellini!

Isabella Rossellini è modella, attrice, scrittrice, produttrice, regista, etologa e fiera fondatrice della fattoria organica MAMA Farm.

Una vita intensa in cui ha saputo costruirsi e ricostruirsi seguendo le proprie attitudini.

Figlia d’arte di due figure iconiche del mondo del cinema, l’attrice svedese Ingrid Bergman e il regista italiano Roberto Rossellini, è nata il 18 giugno 1952 a Roma.

Fin da piccola ha frequentato i set cinematografici, anche se il suo più grande interesse era per i costumi, più che per la recitazione. Ha studiato all’Accademia di costume e di moda della capitale e iniziato a lavorare come assistente costumista per alcuni film del padre. Ha debuttato sul grande schermo nel 1976, nel cast di Nina, accanto a sua madre, diretta da Vincente Minnelli.

Ha recitato in cast internazionali con registi del calibro dei fratelli Taviani, David Lynch, Nikita Mikhalkov, Abel Ferrara, Peter Greenaway, per citarne alcuni.

Nel 1979 si è trasferita negli Stati Uniti dove ha iniziato a lavorare come modella. Fotografata da artisti come Bruce Weber, Richard Avedon, Helmut Newton, Annie Leibovitz e Robert Mapplethorpe, è comparsa sulle copertine delle maggiori riviste femminili come Vogue, Marie Claire, Harper’s Bazaar, Vanity Fair e Elle.

Nel marzo 1988 le è stata dedicata una mostra fotografica, chiamata Ritratto di donna, presso il Museo d’Arte Moderna di Parigi.

Anche la pop star Madonna ne ha celebrato la bellezza inserendola prima nel videoclip Erotica e nel libro fotografico Sex.

L’industria cinematografica statunitense, all’inizio, diffidava di lei, la sua fortuna è stata quella di aver lavorato per produzioni indipendenti o europee grazie alle quali non è stata etichettata in alcun modo.

Protagonista di diversi documentari, nel 2023 è stata diretta da Alice Rohrwacher in La chimera, presentato in concorso al Festival di Cannes. Nello stesso anno ha ricevuto il premio alla carriera ai David di Donatello e alla Festa del Cinema di Roma.

Insignita di altri prestigiosi premi, ha ricevuto un Independent Spirit Awards come migliore attrice protagonista per la sua parte in Velluto blu, una nomination ai Golden Globe come migliore attrice in una miniserie per la tv per il suo ruolo in Crime of the Century ed una nomination agli Emmy Award come guest star nella serie drammatica Chicago Hope.

È consigliera del Wildlife Conservation Network e direttrice della Howard Gilman Foundation, istituzione impegnata nella salvaguardia della natura e nella conservazione dell’arte, della fotografia e della danza. Ha anche collaborato con il Central Park Conservancy e sostiene varie associazioni per l’addestramento di cani-guida per persone cieche. È stata anche amministratrice della George Eastman House che le ha conferito un premio onorario per il sostegno alla conservazione dei film.

Ha scritto diversi libri tra cui l’autobiografia, Some of me, nel 1997; Looking at Me (on pictures and photographers) nel 2002 e In the name of the Father, the Daughter and the Holy Spirits: Remembering Roberto Rossellini, nel 2006, che è stato accompagnato dal cortometraggio di Guy Maddin Mio padre ha 100 anni in cui ha interpretato quasi tutti i ruoli, maschili e femminili. In My Chickens and I, del 2018, documenta la sua esperienza e ricerca sull’allevamento di galline di razze antiche.

Il coraggio di sperimentarsi l’ha portata a diventare regista a cinquant’anni e il grande amore per gli animali a conseguire una laurea in etologia a sessanta.

La prima parte della sua vita è stata definita dalla fama di altre persone, in primis i celebri genitori e poi i suoi celebri compagni come Martin Scorsese, Gary Oldman e David Linch.

Nella seconda è prevalsa la passione per gli animali e la natura.

Trascorre gran parte del suo tempo al MAMA Farm, azienda agricola incentrata sulla biodiversità che ha fondato nel 2013 sulla costa sud di Long Island, nello stato di New York.

Attenta alla sostenibilità e alla moda etica, per cui ha condotto numerose campagne, ha istituito un fondo che eroga borse di studio che premiano studenti e studentesse di moda che integrano la lana di pecore di razza antica e filiera certificata nelle loro collezioni.

Ha anche sviluppato una capsule collection utilizzando i filati provenienti dalla sua fattoria.

Regista di deliziosi film educativi sugli animali in cui si traveste da verme, mosca, lumaca.

Isabella Rossellini, libera, originale, ironica, intelligente, impegnata, sul suo profilo Instagram, in cui è molto attiva, si definisce: attrice, film maker e contadina.

Accetta con disinvoltura il passare degli anni, ama le sue rughe e continua a sfoggiare il suo bellissimo sorriso, lanciando messaggi di consapevolezza e libertà femminile, insistendo sulla cultura della cura dell’ambiente e di ogni specie animale.

Ritiene l’arte di invecchiare un oscillare tra ottimismo e incoscienza, tra inseguire i sogni e farsi sopraffare dai problemi, gettarsi in nuove sfide, come un corso di ornitologia, e non considerare mai di essere nell’ultimo atto della propria vita.

[thejoyofviolentmovement]

Currently split between Bath and Bristol, Night Swimming — Meg Jones (vocals), Sam Allen (guitar), Jesse Roache (guitar), Josh Nottle (bass) and Torin Moore (drums) — are a rising British dream pop quintet, whose remarkably cinematic sound draws from their collective love of film and scores, Cocteau Twins, The Cure, Radiohead, Wolf Alice, Just Mustard, Warpaint and a lengthy list of others. Meg Jones’ lyrics are often semi-veiled autobiography that draw from her own experiences and those close to her while also being influenced by Joni Mitchell, Laura Marling, Ben Howard, Daughter‘s Elena Tonra, The Cure‘s Robert Smith and Lana Del Rey. Unlike their contemporaries, the rising British outfit has patiently taken the necessary steps to hone both their sound and live show, while landing support slots with acts like Coach Party, L’Objectif, JOVM mainstays The Orielles, The Blinders, Sad Night Dynamite, Automotion, Home Counties and a list of others. Coming off the heels of their appearance at this year’s Dot To Dot Festival, opening the SXW Stage, on a bill that featured Picture Parlor, Mary in the Junkyard, Hovvdy and Wunderhouse, Night Swimming will be releasing their debut EP No Place To Land on September 27, 2024. Recorded at Devon, UK‘s Middle Farm Studios last year, the Peter Miles-produced EP was recorded live to tape and features industrial rhythms set against an atmospheric soundscape, deeply influenced by Beach House‘s and Slowdive’s live shows, which the band noted combined sensory elements and a deep emotional response. “Let That Be Enough” features propulsive and thumping percussion, shimmering and reverb soaked guitars and a rousingly cathartic and anthemic chorus serving as a lush and cinematic bed for Meg Jones’ bewitchingly ethereal delivery. Sonically bringing Thank Your Lucky Stars and Depression Cherry-era Beach House, “Let That Be Enough” thematically touches on perfectionism and obsessive thoughts with the sort of novelistic attention to psychological detail of either someone who has lived it — or has personally seen it in others. Throughout there’s a sense of aching and vacillating doubt, confusion, bargaining and then a gradually begrudging acceptance and even a sort of trust. “‘Let That Be Enough’ is about moving on from past experiences,” Night Swimming’s Meg Jones explains, ” as well as learning to trust yourself and accepting the choices that you’ve made.”