#both from a filmmaking perspective and from a in universe perspective

[souplups]

in john wick: chapter 3 - parabellum, john wick stores his precious items inside a copy of a fake alexander afanasyev’s book called “the russian folktale”.

however, this is a stupid idea because afavasyev is one of the most notable russian folklorists and his very real books of russian fairytales would be one of the first places you would look if you went looking for literally any info on the baba yaga. not to mention, he has a book called “russian folk-tales”. oh, i hear you say, maybe they went with just a slightly different name but noooo, afavasyev doesn’t even have a book released in 1864. the real book wasn’t even translated till 1916 and you can find at the new york public library.

john should have at least gone with someone who can’t be found on the baba yaga wikipedia page, like come on, man. i think mr. jardani jovonovich could probably come up with a pytor polevoy’s skazki or maybe even take it out of a library context and it could be ivan snegiryov with a lubok?!?? hell, if he doesn't mind going a bit british with it then edith hodgett’s is credited with an early english translation of “vaselesa the beautiful” the very story which john wick hides his items behind.

anyway, it was cool when he killed that dude with that book in that one scene.

[tobiasdrake]

And then Steve's ending sucks and is bad.

Steve's ending infuriated a lot of Stucky shippers for obvious reasons. But. Like. Here's the thing: From a filmmaking standpoint, the Stuckies are right. Sending Steve back in time just doesn't work for multiple reasons, both in and out of universe.

This is going to be a longie.

#1 - Time Travel Doesn't Work That Way

The first problem is the in-universe one. This ending is so busted that the directors and writers actually have separate interpretations of what happened, and they're both wrong.

According to the directors, Steve created a parallel timeline where he's lived with his Peggy. He used the time machine to return to this timeline and go to that bench, but only once he was super old for, uh, some reason?

Problem is, according to this movie, you can't do that. You can't make a new timeline without removing an Infinity Gem from it, and also making new timelines is bad, remember? Further, the film gives no indication that Steve time traveled here. He doesn't appear on the Quantum platform. He's not wearing his time suit. He's just chilling on a bench, staring at the horizon.

The reason the film gives no indication for how Steve arrived here is because of the writers' interpretation: Steve arrived in the past of this, the main timeline. Steve himself was Peggy's mystery husband back in Winter Soldier. Old Steve has always been here, waiting for this moment.

That's actually worse than the directors' explanation. The movie has been very clear on the point that you can't directly change the past. Even after they prune the timelines, Loki didn't actually escape in 2012. That never happened. The events of the Time Heist never happened, from a historical perspective.

The internal logic of Steve's jaunt doesn't work out, no matter which way you slice it.

#2 - The Future is Scary and You Should Run Away

The second problem is what it does to Steve as a Man Out of Time. The white-hot core of this character direction is that he is an old man living in a world he doesn't recognize, and having to adapt to changing times. That's something we all have to deal with eventually.

So what is Endgame's final statement on Steve's efforts to fit into society? It's that he can't. Trying to live in this world he doesn't know is a futile gesture. In the end, Steve gives up, sinks his head in the sand, and rejects modernity. He embraces the shallow image of a woman he once loved was attracted to and lives out the rest of his days in a reactionary fantasy world.

I guess there is no value in changing and growing to adapt to the new world around you. What a shitty ending.

#3 - To the End of the Line

And finally... yeah. I'm sorry to tell you this, but the Stucky shippers were right. Not necessarily about Steve and Bucky's relationship being canonically romantic. But about Steve and Bucky's relationship being the driving emotional throughline of the entire Captain America trilogy.

In the end, this ending is the epitome of the problem with the way writers write platonic relationships versus romantic ones. Throughout the trilogy, Bucky is the most valuable and important person in Steve's life.

Steve defied orders and officially joined World War II, venturing deep into enemy territory alone, for Bucky. He was ready to die for this man. He laid down his shield and accepted the Winter Soldier's violence out of love for the man behind his eyes, and that sheer unrelenting loyalty brought him back from the monster he was programmed to be. Steve went to war with the Avengers out of love for Bucky.

And whether you take that love to be romantic or platonic, it doesn't change the fact that this is what drives the films. Not Peggy. Never Peggy. The films occasionally pay some attention to Peggy and Sharon, but they aren't actually interested in using these characters as characters.

(In fact, they're so disinterested in Sharon that she drops off the face of the universe in Infinity War and Endgame. Not even a namedrop. The moment the filmmakers decided to send Steve back to Peggy, Sharon ceased to have any value as a character and was consequently erased. They do not care about these women and their stories. The Carters are just the obligatory love interests.)

Instead, Peggy is merely the symbol of what could have been. She represents the life Steve lost, but is barely treated as a person in her own right. She's just a picture in his wallet that he can pine after. She doesn't move the story along, and his feelings for her rarely amount to more than Steve being sad for a little bit and then continuing along with what he was doing.

And this is how it always is. The best friend is the diehard series-defining relationship that moves mountains and saves the universe. And the girlfriend is just there, getting little focus or development. Steve and Bucky prove their importance to each other again and again, but no attention is paid to why Peggy is important. "She's a woman. He's a man. What more do you need?"

I'm not, personally, a Stucky shipper. But "I'm with you to the end of the line," still meant so much to me. This was the emotional core of the Captain America trilogy, right up there with "I can do this all day." Steve suddenly quitting on the future, quitting on Bucky, and running off to bury his face in Peggy's bosom felt like a betrayal of everything the films have ever told us about these characters. Peggy just wins. Because we need to marry him off somehow if we're going to tie up his journey!

It is neither a joke nor an exaggeration to say that the trajectory of Captain America throughout the MCU was ruined at the very last possible second by the straight agenda.

[tenebrius-excellium]

It leaves me very confused and a little sad that there isn’t a richer, larger, more united and more enthusiastic fanbase for the Avatar movies. I’ve been waiting for commentaries on the second movie, both indulging and critical, and there’s a mere trickle of content appearing in the tags. So far, they all fall in weirdly isolated columns of character x reader, Kiri stans, ‘I loved the movie!’ one liners, ‘boycott Avatar’, Na’vi learners and people being horny over clone!Quaritch on main. 

There isn’t much meta despite the universe being huge, fairly consistent, and ever-expanding. The like-to-reblog ratio on posts is catastrophic. There’s not much art. I miss people being excited. I miss discourse, headcanons and AUs! I miss people giving detailed reasons for the way they respond to the movie, no matter whether they liked it or not. Nothing seems to stick despite so many refined details, e.g. the Metkayina using sign language underwater and having inner eyelids like amphibians! Or the fact that the explanations for the use of English, Kiri’s and Spider’s existence etc. were quite thought-out and satisfying. 

Sure, there’s the epic Pandoran world on one hand, and then there’s of course the “Cameronism”: The two-pronged personal fantasy of the director who is playfully exploring colonialism as negative while reaffirming it in the same breath, combined with a bland, overly conservative story. If the plot really reflects Cameron’s thinking, it is dangerously outdated by 15-20 years and cannot stay relevant. But the point to me is: It was to be expected. 

Avatar and Avatar The Way Of Water are US-American Hollywood stories based on military culture. Once you know that, it is my firm belief that it’s possible to detach yourself from that lense. But perhaps I really am arguing from a merely European perspective that is so used to mediocre language dubs, the strange obsession with heroism, patriotism, weapons and violence, and other US-specific phenomenons that just feel generally outlandish to non-US viewers. We don’t have the same problems, so being constantly faced with yours through entertainment media causes us to... kinda tune those out and enjoy what’s left, tbh. Because some of them are really painfully cringe up to completely unthinkable to the rest of the world. Even the first Avatar was never intended as a global story; - although the RDA is supposedly composed of international players, the representation on Pandora is purely US-American, even more, it’s not even covering all of your own ethnic variety. So if we can’t even expect European, Asian, African and South-American scientists in the space mission, what are we supposed to expect about indigenous voices of smaller civilizations? 

What I’m trying to say is, US media currently have a certain range of messages they convey even here in Europe, because, well, you still have the monopoly on filmmaking and we watch all of your stuff. However, we are very aware that your POV is narrow and limited since it rarely actually applies to us. And sooo, what do we do with the reality of our own exclusion that we are inevitably constantly reflecting? We ignore it, we roll our eyes and don’t think too deeply on it, we leave you guys to solve your own problems and enjoy what’s given. Perhaps we are able to separate a fantastic narrative from the cultural/ political clashes that come with it a little better, because most of the time, we don’t identify with the latter. I’m not saying the differences are in any way good or that they should stay that way. I’m saying that from where I’m at, Batman, Spiderman and Avatar don’t look too different to me when it comes to elaborate escapist fantasies about good vs. evil, and media might not quite be as relevant to conflicts as they seem in the US. Education is much more important, and to act in real life rather than in fiction. As for me, I’ll appreciate Avatar like any other fandom space, because the concept is extraordinary, its future potential still enormous, and I would love for more positive interaction. I harbor the sliiiight hope that Cameron might grow out of his current spree and redeem himself in one of the later sequels. Since there are going to be 3 more of them, you know. There you go :)

[katefathers]

dissecting companion exits: a doctor who rant in the year 2024

So it's been over a month since I did that Doctor Who podcast, which has miraculously got me back on my Doctor Who bullshit, and after "The Giggle", I've been thinking a lot about companion exits, and how they worked for me and how they worked both inside and out of the narrative. And because what else is social media for than ranting about fiction, here I am.

I find it really interesting how in both Moffat and RTD Who, many of the exits work more successfully outside of the narrative than inside of it, yet for completely different reasons.

Like, "The Giggle" really emphasised how ridiculously tragic the Moffat companion exits were. And while I can't speak for Bill as I haven't watched her series, for both Amy and Clara, those exits didn't make much sense inside the narrative. Amy and Clara could have had non-tragic exits. Amy's run in particular seemed to be working towards her and Rory choosing to stop travelling with the Doctor. They weren't doing it full time, they were getting older (it was highlighted how Amy needed reading glasses now), and it would have made solid character and thematic sense to have them choose to end this chapter in their lives. To focus on their careers, and maybe have kids, and find the joy in the slow path. A slow wind down--a bittersweet yet poignant departure--would not have been untoward.

Clara could have left that way too. She could have either walked off into the sunset with Danny Pink (if he hadn't been killed off. Because he was killed off, right?) or found some other calling. Embracing teaching at Coal Hill. Teaching on another planet. Anything! But I think in both cases, Moffat wanted his "Doomsday", and so what made logical narrative sense took a backseat. These exits worked more outside of the story--"because the showrunner wanted tragedy"--than inside.

Donna, I think, could have also had a non-tragic exit. I know her tragic ending has been reversed, but if Donna had two series instead of one, I think an ending where she chose to leave the Doctor would have been possible. I mean, she loved travelling, but it's clear that she also wanted to do things like get married and have a family, and I think if she had one more series (or was in all four specials), she could have had a Jo Grant exit. But they couldn't get Catherine Tate for another series/all four specials, and RTD was set on leaving before Series 5, so Donna doesn't.

And the constraints of TV filmmaking are what I believe hampered the RTD companion exits. And there are two major ones: actor availability and the time the BBC allowed him to tell his stories.

Granted, while having two tragic exits that weigh on the Tenth Doctor and contribute to him going all "Time Lord Victorious" could have been the plan all along, assuming it wasn't, both Donna and Rose's exits make the most sense when read from an outside perspective: neither Catherine Tate or Billie Piper had signed on for more full episodes.

Rose's second exit, in particular, is the poster child for "outside the narrative" storytelling. I mean, when the Doctor says "But you've got to [stay in the parallel universe]", you nearly expect him to end that with "because your actress didn't sign on for more episodes". Outside the narrative, leaving Rose with TenToo wraps up the Doctor/Rose romance, keeps them mostly safe from the whims of future showrunners, and yet leaves Rose's story a little open-ended for the audience so they imagine whatever they want to happen in Rose's--and future Doctor's--future. Inside the narrative, however, I didn't find it particularly satisfying. The Doctor has been pining for Rose for two series. Rose has worked incredibly had to get back to him. As a character, she's crafted as someone who would stay with the Doctor forever. They have this sweeping, incredibly romantic reunion! Inside the narrative, her staying makes the most sense. It's the most satisfying ending. Especially if you don't have the space to make an ending with Rose's permanent exit gratifying.

Because like Donna and the bigeneration in "The Giggle", Rose ending up back in the parallel world could have been more satisfying if RTD had more time to build up to that exit. In general, much of "Journey's End" feels rushed, and the end of the episode is particularly bad, leaving a number of holes that never get filled. Mickey gives a very brief reason why he's staying in his home universe, but we don't see him say goodbye to Rose and Jackie. We never get a proper reunion between Rose and Jack, or resolution to Rose making Jack immortal, which she is clearly unaware of, nor do we get a goodbye between them. I remember wondering when "Journey's End" first aired, do Mickey and Jack even know that they won't see Rose again? Do they walk off with a quick "see ya later", thinking they'll meet up occasionally? Because Rose sure as hell didn't think she was leaving her home universe. And while we got TenToo on his own to establish that he is (mostly) the Doctor, we don't get much between him and Rose prior to being left on Bad Wolf Bay to build any kind of connection between them. We don't see Ten come to the decision to leave the two of them; we never really know how he feels about it. Yeah, Doctor Who is a very plot-forward show, but "Journey's End" was juggling a lot of plot and a lot of characters, and it should have been longer--or the Series 4 finale should have been a three-parter--to give both the story and characters time to breathe. The audience is left to infer A LOT, and for me it was unsatisfying at the time, and now with over a decade of distance, it's actually even more unsatisfying.

While it might seem like I have more of a problem with RTD's companion exits, I think they're more successful from a technical and audience standpoint than Moffat's. RTD has the incredible ability to write backwards, making you feel like an ending was always something that he was working towards, even when he wasn't. Although both Donna and Rose's stories could have been different given more time, and if they played out in a different medium like a novel, they still, mostly, work. Donna forgets, but gets a family and a mother who values her a little more. Rose gets both the Doctor and her parents--she doesn't have to sacrifice one for the other anymore. Moffat's, on the other hand, feel very slapdash, and I don't recall feeling like we'd been working towards them. Because, as I said, it always seemed like he was working towards a totally different ending.

I'm not entirely sure where I'm going with this, but I find the difference between Moffat and RTD's approach to companion exits really fascinating. One wanted a specific style of ending, but didn't seem to know how to foreshadow it--how to make it work as part of a cohesive narrative. The other had a strong handle on narrative and character arcs, but their ability to craft something satisfying--to give his audience all the information--was hindered by episode length. Going forward, I hope RTD can manage his time better so that the companion exit is more satisfying, like Martha's. But I also hope he takes a leaf out of Moffat's book and plans a non-tragic ending. Because Moffat did set up two fairly sold, amicable partings, and Doctor Who needs more of those again.

[opqrstuv04]

Israelism is a good documentary and you should watch it

Israelism is a film that covers Zionism in Jewish education, specifically within American Jewish communities. Here's the official summary:

When two young American Jews raised to unconditionally love Israel witness the brutal way Israel treats Palestinians, their lives take sharp left turns. They join a movement of young American Jews battling the old guard to redefine Judaism’s relationship with Israel, revealing a deepening generational divide over modern Jewish identity.

This documentary presents a compassionate and comprehensive window into Zionism from the Jewish perspective, and how many Jews, specifically American Jews, are beginning to deconstruct what they've been taught and come alongside Palestinians in their struggle against the occupation. One of the primary people they interview is Simone Zimmerman, who founded the pro-Palestinian advocacy and alliance group If Not Now. It's a really good film that uplifts the idea of solidarity in the face of oppression.

This film also does a very good job dissolving the "bond" between Israeli and Jewish identity by showing how Israel, as a political entity, strives in America to maintain a good public image above all else, often to the detriment of American Jews. It discusses anti-Zionism while condemning anti-semitism, but also makes the link between Israel's need to ingratiate itself with powerful politicians, who are often bigoted themselves, and rising anti-semitism. These politicians then inspire bigotry in their followers in a way that negatively affects Jews. The film argues that the only way to truly eradicate anti-semitism and make a safe place for all Jews is not by creating another system of oppression, but by calling out all forms of injustice, and participating in radical allyship, which includes both communal action and self-education.

This is a great movie for those who aren't well-versed in the history of the occupation and don't know where to start, or have maybe grown up hearing a lot of the same Zionist talking points as the people interviewed! The filmmakers are currently holding online screenings, as well as in-person screenings at universities across the United States.

[pritishsblog]

BEST DIRECTORS IN CINEMA-5

Hi everyone! This blog is going to be the 5th part of my 8 part series of who I think is the Best Director Cinema has ever seen

And today I will be talking about

CHRISTOPHER NOLAN

Christopher Nolan (born July 30, 1970, London, England) is a British film director and writer acclaimed for his noirish visual aesthetic and unconventional, often highly conceptual narratives. His notable films include Inception (2010), Interstellar (2014), Dunkirk (2017), and several Batman movies. In 2024 Nolan won an Academy Award for best director for Oppenheimer (2023), which was also named best picture.

(Early Life)

Nolan was raised by an American mother and a British father, and his family spent time in both Chicago and London. As a child, he attended Haileybury, a boarding school just outside London. From a young age Nolan was interested in moviemaking and would use his father’s Super-8 camera to make shorts. He was influenced by George Lucas’s Star Wars trilogy and by the immersive dystopian films of Ridley Scott.After attending University College London, where he studied English literature, Nolan began directing corporate and industrial training videos. At the same time he was working on his first full-length release, Following (1998). The film centers on a writer going to dangerous lengths to find inspiration; it took Nolan 14 months to complete. On the strength of its success on the festival circuit, he and his producer wife, Emma Thomas, moved to Hollywood.

(His Famous Works)

Nolan gained international recognition with his second film, Memento (2000), and transitioned into studio filmmaking with Insomnia (2002). He became a high-profile director with The Dark Knight trilogy (2005–2012), and found further success with The Prestige (2006), Inception (2010), Interstellar (2014), and Dunkirk (2017). After the release of Tenet (2020), Nolan parted ways with longtime distributor Warner Bros. Pictures, and signed with Universal Pictures for the biographical thriller Oppenheimer (2023), which won him Academy Awards for Best Director and Best Picture.

(Filmmaking Style)

His Filmmaking Style

Nolan's films are largely centred in metaphysical themes, exploring the concepts of time, memory and personal identity. His work is characterised by mathematically inspired ideas and images, unconventional narrative structures, materialistic perspectives, and evocative use of music and sound.Joseph Bevan wrote, "His films allow arthouse regulars to enjoy superhero flicks and multiplex crowds to engage with labyrinthine plot conceits. Nolan views himself as "an indie filmmaker working inside the studio system"

(His Filmography)

Nolan made his directorial debut in 1998 with a movie named Following (1998). He made many other films such as Memento in 2000,Insomnia in 2002. He also made the Batman Trilogy which included Bataman Begins (2005),The Dark Knight (2008) and The Dark Knight Rises (2012). In between the Batman Trilogy he directed movies like Prestige (2006) and Inception (2010). After this Nolan directed movies such as Interstellar (2014),Dunkirk (2017),Tenet (2020) and Oppenheimer (2023).

Nolan's hand and shoe prints in front of the Grauman's Chinese Theatre

(Awards & Honors)

Nolan has won 2 Academy Awards out of the 8 nominations, 2 BAFTA's out of the 8 nominations and he has 1 Golden Globe Award out of 6 nominations.

(Sources)

And that's it for this part folks, I'll meet you with another blog about some of the Greatest Directors Cinema has ever seen. Until then

CIAO

[waheelawhisperer]

I wish you weren't still hidden by tumblr both for yourself and so I knew when you reblogged my posts XD

Anyway, I get what you meant in the tags visa V Cinder's backstory coming too late. I confess I feel otherwise, I feel Atlas was the best time for her backstory to be revealed.

Maybe, maybe V6 could work to help set up "Hey Atlas is a horrible place". But there's something about seeing more and more layers of terriblness in real time as the city comes crashing down that works for me.

FFS tumblr free me from this hell I love not being able to reply to things and not having my reblogs show up in notifications

Anyway I think my dissatisfaction with the placement of Cinder's backstory is more a function of RWBY's real-world runtime and release schedule than the in-universe pacing, and by this I mean Cinder's backstory coming out in Volume 8 would bug me far less if I knew nothing of RWBY, began watching it today, and binged it over the next week or whatever instead of waiting 8 real-life years to find out what was going on with the most prominent villain in the series (yes, Salem is the Big Bad, but Cinder has been the antagonist most directly involved with the plot. Until Volume 8, Salem just parked her ass on her throne).

Unfortunately, that's not what happened. We did have to wait 8-ish years for Cinder's backstory, and, as a result, it is demonstrably true that a significant subset of the fanbase simply isn't invested in Cinder anymore. They dislike her, they think she's boring, they're not invested in her anymore, they think it took too long to give her any meaningful depth, they're tired of seeing her on-screen... and honestly, I get it. I like Cinder personally, but I can certainly understand why people would be dissatisfied with her portrayal.

From a narrative perspective, considering what Cinder's backstory is, it makes sense to reveal it when the story travels to Atlas. Your post does a good job of illustrating why, so I won't go over it again. I think personally I'd have partitioned out a few more tidbits in Volumes 4/5/6 just to keep the audience invested, but I'm not sure how to squeeze the bulk of it in earlier without significantly restructuring the post-Beacon aspects of the show.

I think my issues here ultimately stem from RWBY's broader difficulties with matching the scope and complexity of its story to its available resources. RWBY is a very ambitious show and tries to tell a big, spectacular story, but it just doesn't have the runtime to do it effectively. I love the ambition, I really do, but I wish RWBY's showrunners would do a better job of aligning the story they're telling with the resources they have to tell it.

Of course, it's easy for me to say that when I don't have to write under the same constraints they do. I'm not pretending to be an expert on filmmaking or screenwriting, and I don't think what they're doing is as easy as some of the loudest critics seem to think. That said, I really think the show would've been better served by introducing Salem later, given that her presence kind of warps everything around her, but I definitely think the show would've been better served by either cutting out some of the less important characters and storylines (from what I know of what the crew has actually decided to cut, some of the things they chose to prioritize were... interesting) or by hiring more people, paying and treating them properly, and improving the production process so that they could actually tell a story that had the scope they want.

[astrallouis]

Question for Miles is a moron, what do you think the throat spray actually was? Do you think he actually thought it was covid protection? Do you think he knew it was nothing and just used his image to lie to his friends to get what he wanted?

GREAT fuckin question. i havent thought on it too much since id mostly seen it from the filmmaking perspective of acknowledging covid in-universe without the everything that came with early covid and no vaccines yet but now u have me thinking.

(this got so long so im gonna put it under the cut oops)

first i wanna say im really mostly talking out of my ass since that scene was the last concrete point abt covid we really have outside of mentions like why miles has the mona lisa lmaooo anyway:

like i said miles really is a moron. everything he takes credit for he either hires someone for, steals their work, or lets them interpret his bullshit (like lionel w the faxes). so i think theres a couple possibilities.

he almost definitely went to someone to develop the throat spray, and its possible he actually asked or expected it to be Real and actually protective. but it being so early in the pandemic and over a year before the irl vaccine wld come out they probably told him its not possible. and theres the point where he could have done a couple things.

he could have 1) pushed whoever to just make it work like we see so many bosses and rich assholes like to do and it IS actually protective [very unlikely but we REALLY dont know much about what happens after the movie covid wise and how far rian johnson changes reality here]

b) done the above and whoever he hired lies to him and says it works when it doesnt, and he believes it works like you mentioned [more likely, but thats putting a moral decision on a person i made up two paragraphs ago lol]

iii) they told him it wasnt possible and he just told them to make a placebo instead and knows its fake like you said, using his image as a genius to manipulate his friends [most likely in my opinion, given everything else he does]

i really do think the last one is what happened. the efficient man doesnt answer blanc's question about what the spray is. all he does is say “youre good,” put the little slap bracelet on blanc, and move on. and we dont know much of miles' actual opinions on masks and covid iirc, besides being friends with both ppl like lionel who properly masks up and asks for elbows instead of a hug from birdie, and with duke who doesnt wear one at all and is. ukno. him. so theres that

all of this to say. miles bron really is just an entitled asshole who thinks he makes change when he doesnt and doesnt care abt consequences. i personally think he actively knows the spray didnt do shit but couldnt stand the idea of going a year without getting his ego stroked by those shitheads and would do anything he “could” to make it happen. this is also the same guy who just sent the 50 people it takes to run the island “home” in the middle of the pandemic which has implications about commuting and pods i dont even want to go NEAR since this is already too long.

tldr: hes a moron AND a manipulating and gaslighting bitch. the spray was probably just saline or whatever and he knew it. shithead

[inapat16]

Soviet union films that you should check out

Sayat Nova (The Color of Pomegranates) 

The title refers to the Armenian 18th century poet named "Sayat Nova". The film was directed by the Georgian filmmaker Sergeï Parajanov in 1968. Parajanov started working on this film due to the complications on another project called Kiev Frescos — from which remain only fourteen minutes left today. Sayat Nova was shot in Armenia, which was Parajanov’s ancestors homeland. Parajanov started working on this film because he was a great lover of religious icons. This passion came directly from his father, who was himself an antique dealer. This film is therefore in a way a tribute from a son to his father, in the way he shows that it is necessary to  save art.

The film is divided into eight chapters : "Childhood", "Youth", "Prince's Court", "The Monastery", "The Dream", "Old Age", "The Angel of Death" and "Death". The film follows the course of the life of the poet, from the cradle to the grave. What is interesting about this film is that it tells the story of a poet's life, in the manner of a poem. Rarely quoting Sayat Nova's poems, Parajanov manages to shape a visual language that tends to recreate the experience of reading poetry. The visual universe of the film is very singular because it borrows a lot from theater.  Indeed, all the shots are still, and organized as tableaux. Moreover,  the main actress, Sofiko Chiaureli plays 6 roles, both male and female. So that you have the feeling of seeing the same face during the entirety of the film. As a funny parallel, Sergeï Parajanov writes, directs, edits, choreographs, and designs both sets and costumes of the film. All these parallels are indeed a way to produce visual rhymes, to remind us that this film is about Sayat Nova's poetic work

Beyond the symbols and idiosyncrasies, the film is striking for its intense aesthetic beauty and its sense of detail, particularly through its collage of materials and textures. The idea behind this project is to revive the power of a primitive cinema that focuses above all on the image, and that questions the viewer's relationship to images. Sayat Nova revives an idea of the image that one might have had in the Middle Ages: this flatness of perspective and relief; this palette of colors without artifice; these strange, unrealistic choices to play out action, symbolism and time on the same immobile plane, embodied in an old-fashioned plasticity. And yet, Parajanov does not make a picture-film: he plays with sounds, with cyclical, and almost atemporal gestures.

"In the temple of cinema there are images, light and reality. Sergeï Parajanov was the master of that temple." - Jean-Luc Godard. 

Obviously, when the film was presented to the Soviet authorities, it was immediately attacked since it showed no class struggle or critical awareness of social reality and that it was instead, steeped in a suspicious fascination with a past feudal era. Most of the critics said that film was "completely unintelligible" and harmful to working-class art because it showed a bourgeois formalism. Paradjanov was then forced to accept that a purified version of his film be made. It was this shortened version, under the title Sayat-Nova - The Colour of Pomegranates, which was shown in cinemas.

Link to watch the film : https://youtu.be/KLZ4GSxP9eo 

J.A. Lenourichel

[hypercognitionyoutube]

Unveiling the Cinematic Tapestry: The Profound Impact of Film on the World

In the vast realm of artistic expression, few mediums possess the ability to captivate and transcend boundaries like the world of cinema. Film, a masterful amalgamation of visual storytelling, soundscapes, and compelling narratives, has woven itself into the very fabric of human existence. From the silent classics of the early 20th century to the awe-inspiring blockbusters of today, cinema has emerged as a powerful vehicle for both entertainment and reflection, profoundly impacting our lives and shaping the world we inhabit.

The Magic of Escapism:

Film, at its core, offers a respite from the complexities and mundanities of everyday life. It transports audiences to alternate realities, inviting them to suspend disbelief and immerse themselves in a myriad of emotions. Whether through tales of epic adventures, heart-wrenching dramas, or uproarious comedies, cinema allows us to escape the confines of our existence and experience moments of joy, sorrow, and everything in between. In this capacity, films serve as a refuge, providing solace and inspiration during challenging times.

The Mirror of Social Commentary:

Beyond its enchanting escapism, cinema functions as a potent mirror, reflecting the collective consciousness of society. Movies have the remarkable ability to shed light on social issues, expose injustices, and challenge prevailing norms. Through thought-provoking narratives and vivid character portrayals, films become a catalyst for discussions on topics ranging from politics and culture to gender and identity. They give voice to the marginalized, expose the flaws of our systems, and compel us to introspect, ultimately inspiring positive change.

The Universal Language:

One of the most remarkable aspects of film is its universal language, transcending barriers of nationality, culture, and language. Stories unfold on the silver screen, devoid of linguistic constraints, relying instead on the power of visual and auditory cues to communicate and connect with viewers across the globe. The emotions evoked, the messages conveyed, and the human experiences portrayed resonate with audiences irrespective of their background, forging a profound sense of shared humanity.

The Cultural Zeitgeist:

Films, like time capsules, encapsulate the spirit of their era, preserving and immortalizing the cultural landscape of a particular time. They become touchstones for future generations, offering glimpses into the beliefs, values, and aspirations of bygone eras. From the rebellious counterculture of the 1960s to the technological marvels of the 21st century, movies stand as cultural artifacts that help us comprehend the essence of different epochs, fostering a sense of historical continuity and contextual understanding.

The Power to Inspire:

Film possesses an inherent power to inspire individuals and shape their perspectives. It has the ability to ignite imagination, foster empathy, and kindle a sense of wonder within us. Countless filmmakers and actors have become beacons of creativity, inspiring generations with their visionary storytelling and indelible performances. The impact of a single film can ripple through society, sparking movements, influencing popular culture, and leaving an indelible mark on the world.

Conclusion:

The meaning of film in the world transcends entertainment; it extends to our very core as human beings. It serves as a vessel for our dreams, fears, and aspirations, giving them life and bringing them to the forefront of collective consciousness. Film both reflects and shapes society, providing a mirror through which we examine ourselves and a window through which we glimpse other worlds. In its profound ability to inspire, educate, and unite, cinema stands as a testament to the boundless power of human creativity and the enduring impact of storytelling.

[themovieblogonline]

Sambala – The Cost of Freedom: A Gripping Tale of Resilience

African cinema continues to rise, and with the upcoming movie Sambala – The Cost of Freedom, Nigerian director Kole Akintujoye is set to make a powerful statement. At its core, this film brings to life the harsh realities of an oppressed people seeking liberation, but it’s not just another “fight the system” movie. No, this one hits differently. The story revolves around a young girl who, in a desperate situation, is sold into an arranged marriage by her parents. You might think, "Not another arranged marriage tale?"—but hold up! This isn’t your typical meet-the-parents drama. These parents were essentially forced into the decision, driven by financial desperation and the harsh environment they live in. The film goes on to depict her life under the rule of a warlord, and the larger fight for freedom against an oppressive force that holds the community in a stranglehold. Sambala doesn’t shy away from showing you the gritty cost of liberation. A Story Rooted in Culture and Struggle From the opening scene, Sambala – The Cost of Freedom draws you into the tension of a community on the brink of collapse. But this film promises to be more than just another film about resistance. It’s a layered exploration of African culture, history, and the complex struggles for independence. Think of it as a raw reminder of the world many Africans live in, facing extreme circumstances where hope feels like a distant luxury. It feels like Kole Akintujoye, the visionary behind this film, knows how to tap into the audience’s emotions. The cinematography is striking—capturing the beauty and intensity of rural Africa in a way that’s both raw and visually captivating. You can tell the filmmakers worked hard to bring an authentic feel to the storytelling, not shying away from the grim reality but also celebrating the resilience and courage of the characters. Authentic African Storytelling with a Universal Theme In a world saturated with cookie-cutter blockbusters, it’s refreshing to see African films, like Sambala, gaining traction on a global scale. This film taps into the universal theme of the human spirit fighting for freedom, but it does so through an African lens. We often hear about stories of resistance and justice from Western perspectives, but Sambala brings that struggle home in a distinctly African voice. Even though the characters and setting are specific to Nigeria, the fight for freedom, the cost of resistance, and the sacrifices made along the way are universal. It’s the kind of story that will resonate with audiences from all backgrounds—because who hasn’t, at one point or another, felt like they were trapped in a hopeless situation? A Sobering Reminder of Real-World Struggles While Sambala is a work of fiction, it’s also a reflection of the harsh realities many Africans continue to face. The film explores themes like forced marriage, servitude, and oppression—not exactly the lightest of subjects. But in doing so, it serves as a reminder of the world beyond the safety of our screens. You might find yourself both in awe of the story’s intensity and feeling a little uncomfortable at the same time. And that’s the point. This film doesn’t sugarcoat the struggles; it forces you to confront the cost of freedom—sometimes it’s life, sometimes it’s dignity, and other times it’s your entire future. The fact that this is still a reality in many parts of the world makes Sambala all the more powerful.

[kalakrutimedia]

Bollywood Tadka: How Latest Marathi Movies Are Shaping Indian Cinema.

Indian cinema is renowned for its vibrant diversity, encompassing various regional film industries that contribute to its rich tapestry. Among these, the Marathi film industry has been making significant strides, with the latest Marathi movies adding a unique flavor to the cinematic landscape. The phrase "Bollywood tadka," often used to describe the fusion of Bollywood's flair with regional cinema, captures the essence of how Marathi films are influencing and reshaping Indian cinema. This article explores how the latest Marathi movies are making their mark and contributing to the broader spectrum of Indian filmmaking.

A New Wave in Marathi Cinema

The Marathi film industry, traditionally known for its focus on regional stories and cultural heritage, has recently seen a transformative shift. The latest Marathi movies are pushing boundaries, embracing innovative storytelling techniques, and exploring diverse genres that go beyond conventional narratives. This evolution is not only revitalizing Marathi cinema but also contributing to the broader Indian film industry.

Innovative Storytelling

Recent Marathi films have demonstrated a penchant for experimenting with storytelling formats and themes. Filmmakers are incorporating contemporary issues, exploring complex characters, and presenting narratives that resonate with modern audiences. For example, movies like Swaas and The Disciple have garnered critical acclaim for their unique storytelling approaches, blending traditional Marathi elements with universal themes.

High Production Values

The production quality of latest Marathi movies has seen significant improvements. Enhanced cinematography, sophisticated editing, and high-quality sound design are becoming the norm. This elevation in production values is contributing to the films’ appeal and their ability to compete with Bollywood releases. The attention to detail in technical aspects reflects the industry’s commitment to producing films that are both visually and emotionally engaging.

Diverse Genres and Themes

Gone are the days when Marathi cinema was confined to a specific genre. The latest Marathi movies span a range of genres, including drama, comedy, thriller, and even science fiction. This diversification is expanding the audience base and challenging the traditional perceptions of Marathi cinema. Films like Hawaizaada and Mumbai Pune Mumbai showcase the industry’s ability to blend entertainment with thought-provoking content.

Influence on Indian Cinema

The impact of the latest Marathi movies extends beyond regional boundaries, influencing Indian cinema as a whole. The infusion of innovative ideas and fresh narratives from Marathi filmmakers is inspiring Bollywood and other regional industries to experiment with their own storytelling techniques.

Cultural Exchange

The Bollywood industry often draws inspiration from successful regional films. The latest Marathi movies, with their rich storytelling and unique cultural perspectives, are providing Bollywood with fresh content ideas and innovative approaches. This cultural exchange enriches the overall cinematic experience for audiences across India.

Collaboration and Fusion

The concept of "Bollywood tadka" represents the blending of Bollywood’s glamour with the authenticity of regional cinema. Recent collaborations between Marathi filmmakers and Bollywood actors or producers are bringing new energy to Indian cinema. This fusion allows for the merging of diverse cinematic styles and storytelling techniques, creating a more dynamic and varied film landscape.

Global Recognition

Marathi cinema’s growing reputation is also earning it a place on the international stage. Films that gain recognition at international film festivals or receive global awards bring attention to the quality and diversity of Indian cinema as a whole. The international acclaim of films like Court and The Disciple highlights the global appeal of the latest Marathi movies and their role in shaping the perception of Indian cinema worldwide.

Challenges and Opportunities

While the latest Marathi movies are making significant strides, the industry still faces challenges. Limited budgets and distribution constraints can impact the reach of Marathi films compared to their Bollywood counterparts. However, these challenges also present opportunities for growth and innovation. By leveraging digital platforms and engaging with global audiences, Marathi cinema can continue to expand its influence and contribute to the evolving landscape of Indian cinema.

Conclusion

The latest Marathi movies are playing a pivotal role in shaping Indian cinema, infusing it with fresh ideas, high production values, and diverse genres. The blend of traditional Marathi storytelling with modern filmmaking techniques reflects the evolving nature of regional cinema and its impact on the broader film industry. As Bollywood embraces the "Bollywood tadka" and regional cinemas like Marathi continue to innovate, Indian cinema as a whole is becoming more vibrant and multifaceted. The fusion of regional and mainstream cinema not only enriches the viewing experience but also highlights the dynamic and ever-evolving nature of Indian filmmaking.

[kvibe-test]

<img src="https://cdn.discordapp.com/attachments/1046530452657279067/1260263573905735690/kvibestudios_Create_a_cinematic_style_scene_of_Journal_Square_v_708b43cc-6fd9-44e5-bdba-5b7f891dbce4.png?ex=668eaf6a&is=668d5dea&hm=68eee50d0e77b8b9be6906d8541ba6e1310b51eafea85e6a720c94b1c3291267&"> Filmmaker's Guide to Vibrant Journal Square

Journal Square, located in the heart of Jersey City, New Jersey, is more than just a transit hub; it's a dynamic and storied locale offering an unparalleled backdrop for filmmakers. The neighborhood pulses with energy derived from its diverse population and historical roots, creating a setting filled with storytelling potential. This blog post delves into how filmmakers can tap into the essence of Journal Square to craft captivating, dynamic scenes that resonate strongly with audiences.

Bustling Neighborhood Dynamics

The very streets and infrastructure of Journal Square breathe life into any film scene. With its eclectic mix of people and constant movement, it represents an ideal setting for scenes brimming with action and interaction. The constant flow of commuters, paired with the neighborhood buzz, captures the essence of urban existence, making it perfect for scenarios that require a lively urban environment. Filmmakers can harness this energetic atmosphere to heighten the realism and relatability of their narratives.

Radiant Architectural Canvas

Journal Square's landscape is studded with architectural treasures ranging from the historic Loew's Jersey Theatre to the modern PATH station. Each structure tells a story not just of architectural evolution but also of the eras and people that have moved through these spaces. This architectural diversity offers filmmakers a scenic palette that can suit various feature and short films, especially period pieces where authenticity in setting is crucial. Integrating these buildings into film can significantly enhance the narrative depth, providing historical context that enriches the visual and storytelling quality of the production.

Techniques to Capture the Square's Vibrancy

To effectively depict the vibrancy of Journal Square, filmmakers can employ several creative techniques:

Time-Lapse Photography: To showcase the rapid pace and change in Journal Square, time-lapse photography can be particularly powerful. It condenses hours into seconds, presenting the frenetic activity of the area.

Capture Candid Interactions: Focusing on spontaneous interactions among residents and visitors can help convey the genuine essence of Journal Square, reflecting its lively social tapestry.

Feature Iconic Landmarks: Including recognizable landmarks like the Loew's Jersey Theatre not only situates the story but also adds a layer of authenticity and aesthetic appeal.

Night Filming: The transformation of Journal Square from day to night opens up a realm of dramatic lighting and shadows, offering a different mood and perspective. Utilizing innovative lighting techniques can dramatize scenes and add visual depth.

This setting serves as more than just a backdrop; it acts as a living, breathing character contributing to the narrative's emotional and aesthetic impact. Whether you’re a seasoned filmmaker or a novice director, understanding and utilizing the energy and aesthetics of Journal Square can significantly enhance your cinematic project.

Filmmakers based in New Jersey particularly cherish Journal Square for its charismatic vibe and logistical convenience. The neighborhood not only offers engaging scenery but also access to local talent and resources that can support a range of film production needs. Leveraging these aspects, filmmakers can produce works that resonate with both local and global audiences, tapping into the universal themes of diversity, history, and human interaction woven through the urban fabric of Journal Square.

In conclusion, Journal Square is a treasure trove of scenes and stories waiting to be captured and told through the cinematic lens. By embracing its bustling environment, rich architectural backdrop, and vibrant cultural scene, filmmakers can craft engaging, meaningful films that mirror the rhythm and spirit of this unique urban setting.

#JournalSquare #Filmmaking #UrbanCinema #HistoricLocations

[sam-vargas]

Winter Park, FL

(Written in 2018)

Clear skies, hot summers and cool winters with sporadic days of extreme chill (from a Floridian’s perspective), a lively population of college kids year round, and snowbirds in the winter, Winter Park, Florida is a treasure trove of culture and life located in the outer suburbs of the greater Orlando area. Within 20 minutes of Orlando’s epicenter, Winter Park puts residents within reasonable driving distance of the city and its parks, as well as hosting its own attractions for tourists and natives. Two of Winter Park’s biggest colleges sit on the same, aptly named road of university a mere 11 minutes away from one another: Full Sail University and University of Central Florida.

Apartment complexes in the immediate area surrounding and between the two welcome students from both schools with signs before the gates at the beginning of the traditional school year. Full Sail students attend year round, with new classes starting and graduating each month. This makes for a steady cycle of new and old. UCF brings students in on a more traditional basis, but houses students in dorms during their first year. This makes for a culture known to many college towns, one of busy weekends spent partying at night, and weekdays spent cramming for assignments and projects, exams and lectures. 

Winter Park has adapted well to its combined populus of snowbirds and college students by creating beautiful parks with vibrant gardens and river views. There are museums of art, movie theaters (the Enzian in particular home to the Florida Film Festival). An excellent opportunity for any local filmmakers: student or otherwise, and an array of shopping centers, malls, and restaurants. Park Avenue is a thriving line of shops and restaurants operating next to a park housing both gardens, fountains, and the amtrak station. Foot traffic, as well as car traffic, here during the weekends is brutal, but certainly worth the wait. 

Up a ways and over from Park Avenue is Winter Park Village. Another epicenter of shops, restaurants, and a movie theater, with just as much foot traffic, but much more parking. Here one can find a wide selection of both chain restaurants such as Cheesecake Factory, and independently owned restaurants such as the Firefly Kitchen & Bar. 

The Regal Cinema is a hotspot on weekends, especially with new arrivals and openings. It provides a comfortable viewing experience with plush leather recliners, and a generous concessions counter at the front of the theater. The Village is also home to a grocery store, a music store, and salons. 

Just outside of Winter Park is Maitland. This is where visitors can find the Art & History Museum, the Enzian, and Lake Lily Park. The Art & History Museum offers tours of the facility which includes an indoor gallery, and outdoor structures that have been restored. The work displayed on the campus belongs to residents of the museum who spend their days experimenting and producing work on behalf of the museum. 

The Enzian is a small theater with a very unique atmosphere. It resembles a dinner theater with its own bar and restaurant situated just outside. Menus are offered at the start of each showing, placed before patrons on tables. This theater is popular for its seasonal special features. Last year, I attended a Halloween special feature of The Devil’s Rejects, and greatly enjoyed myself. Later, I wanted to attend the theater’s showing of Idiocracy during the elections, but ultimately missed the event. I heard stories from friends of mine about one particular showing of The Room (for those unaware, the movie The Disaster Artist was based on, and widely viewed as the worst movie ever) was the most lively of its kind, with people laughing at the worst parts and quoting lines out loud before they were spoken. Overall, drinks and a good time were had by all. 

Finally, Lake Lily Park. Not only is this park beautiful with white painted pavilions, a bridge over the lake, and its population of water birds, but the park is also home to a farmers market. Taking place on the weekends, the market hosts a wide variety of local vendors selling products ranging from organic coffee beans to soaps made with essential oils. This event is wildly popular, which can make finding a parking space in the confined space a challenge. Still, people cycle in and out pretty quickly, so finding a parking space is merely a matter of planning your time wisely. 

Now, as mentioned earlier, the heart of Orlando is located a mere 20 minutes away from Winter Park. This makes downtown Orlando a popular spot for those interested in any of the numerous events taking place in the city. In downtown Orlando, you can find any number of events and festivals taking place throughout the year. From art festivals to concerts, plays and musicals, Orlando has you covered. 

Orlando is also home to a number of resorts and parks, property of Disney, Sea World, and more. For those looking to get out for a day free of charge, Disney Springs, known as Downtown Disney before its renovation, is the place to be. The park is home to a large number of Disney property shops such as the Marvel, Star Wars, and Disney stores. Restaurants are also in high supply, ranging anywhere from a casual sit in and dine, to a fancy meal on the water in a riverboat. Last but not least, you can’t throw a rock without hitting a pub, and, because the park is privately owned property, your drinks can travel with you (so long as you remain within the park while your glass is filled). 

For more seasonal visitors or locals, the parks are a popular attraction. Most tourists are known to make trips on long holidays, which gives local or nearby season pass holders an opportunity to visit the parks during lower traffic seasons. All Disney parks are located within a near immediate vicinity to one another, with buses carrying patrons from one park gate to another at their discretion. Epcot, Magic Kingdom, Hollywood Studios, and more are just a short ride away. 

But Disney, while a more popular option amongst park goers, is not the only attraction Orlando has to offer. Both SeaWorld and Universal Studios are well within driving distance of Winter Park. SeaWorld, for those with more aquatic, and possibly even scientific and educational tastes, and Universal for thrill seekers. 

Universal is probably most popular for its Halloween Horror Nights events. However, popular can be a bit of an understatement. The park can sometimes become so crowded with people that some will give up entering lines and instead wander the streets with the hired actors, gnawing on a turkey leg. I attended Halloween Horror Nights the first year of The Walking Dead attraction. At the time, I didn’t know this, but I was soon to discover it as we came upon the advertised house. The line was long and winding, leaking past even the gates delineating the beginning of the line. I had spent anywhere from 20 minutes to an hour waiting in line for some of the other attractions. However, I spent close to 2 hours and 30 minutes in the line for The Walking Dead. Needless to say, that house, I only visited once. 

Beyond Halloween Horror Nights, the park is well managed, and lines are nowhere near as long at a 2 hour wait. The rollercoasters are fast, and get the blood pumping. However, Universal also has shows, shopping, and experiences. Perhaps one of the most famous experiences the park has to offer is the Harry Potter World attraction (now with Diagon Alley!). Here, you yourself can become a wizard, with shops where you can prepare for your trip to Hogwarts. Buy yourself a wand and robe, and grab yourself a cup of butterbeer to immerse yourself in the experience. 

In the end, there are few cons to living in Winter Park. You’re far enough from Orlando that you avoid the heavy tourism during summer months, but close enough to visit on the off season. Due to the city’s mismatched population of snowbirds and college students, recreation is plenty, and of relatively reasonable cost. The area is well maintained, and home value is high in areas close to or by the lakes and rivers. Residential areas are home to families as well as snowbirds, who will rent out on the off season. Apartments are friendly to college students, and amenities are convenient. 

The cons that do exist come from the college students. Weekend nights are common for noise disturbances, DUIs, and rowdy crowds. Traffic during weekdays taking place at odd hours is the fault of the Full Sail campus, with classes that could start anywhere from 4:30 in the afternoon, to 5:00AM. However, if you’re a Florida native, you should already know of the infamous offensive driving that becomes more aggressive the further south you travel. I-4 within Orlando city limits is always a nightmare, but I-4 can be avoided by using toll roads. Ez-passes and Sunpasses are worth the investment if you’re a resident who does a lot of traveling in and out of the city.

[beaverhallgallery]

'Landsapes in Parallel' A solo art show by Dominique Hui

June 22 - July 5, 2024 Gallery Hours : 11am - 8pm (Closed on Mondays) Soft opening – Saturday June 22, 2-8pm Official Opening -  Thursday June 27, 4-8pm

Bio: Dominique Hui was born in Singapore and moved to Canada in 1990. She received her BA (Hons) from the University of Guelph and Diploma from OCAD (Double major in Filmmaking and Drawing and Painting). Hui worked in film production companies in Singapore and Hong Kong after her graduation and relocated back to Toronto in 1998. Hui has exhibited in Japan, Singapore, Italy, Germany and Canada. Her work has been collected by the National Gallery Singapore and private collectors. 

Description: Dominique Hui presents a new series of landscape paintings that showcase Western and Eastern aesthetics side-by-side. These parallel perspectives are uniquely emphasized by the physical characteristics of oil and water mediums. Hui explores a painting language that interweaved both Eastern and Western parts of Canada and Eastern and Western philosophies through water-based and oil-based mediums. Hui presents a ‘disturbed’ composition; the paintings reveal contradictory experiences of diasporic subjects who exist in parallel worlds. Hui’s landscapes illustrate the both/and of existing simultaneously in the East and West. These contemporary subjects are often invisible in Canadian history, and Hui subtlety displaces them in Canadian landscapes even as they enjoy the pleasures of simplicity. Hui’s paintings invite us to question Eastern vs. Western assumptions as we witness the uneven dynamics of cultural entanglement.