#jihad hojeily

[cinema-winding]

Kefernahum

Ağlamaya utanır mı insan ? Utanır.

Bir mahkeme çocukluğunu unutmak zorunda kalan bir çocuk ile ailesinin sarkacın ucunda yitip giden hayatlarına bir çok sorunu iç içe geçirerek harmanlayan bir yapım .

EBEVEYNLERİNE DAVA AÇAN BİR ÇOCUK MU?Hırpalanarak büyüyen insanların ödediği bedeller mi?

Vatan mı zordur , vatansızlık mı ?

Yoksa bilinmezliğin ortasında aile olmak mı ?

Zemheri bir gecede, demir bir yumruk yemiş ve insanın göğsünde izi kalmış gibi sanki bu film. Ağır ve sarsıcı.

Hakim çocuğa sorar: “Neden annene- babana dava açtın?” 12 yaşındaki Zain’in cevabı; “Beni dünyaya getirdikleri için” olur. Yoksulluğun, çaresizliğin, hayatta kalma içgüdüsünün , savaşın, göçmenliğin, çocuk olmanın ama büyük gibi yaşamak zorunda kalmanın, sevgisizlik ve sevgi kavramlarını ele alan ‘Kefernahum’, evrensel bir konuyu işleyerek yüreklere hitap ediyor.

Zain’in bu cehennem yolculuğundaki acılara basarak ayakta kalma savaşı , ancak bu kadar çarpıcı olabilirdi. Nadine Labaki’nin dördüncü uzun metraj filmi olan Kefernahum, (Capernaum) “Mülteci çocuk olmak nedir?” sorusunu bir çok soru ile birleştirip. Baş kaldırmanın , insanlığın bildiği tek çıkış noktasına bir çocuk bakışı ile selam veriyor.

Fransa – Lübnan ortak yapımı olan film, Cannes Film Festivali’nde Jüri Özel Ödülü , ayrıca Altın Portakal En İyi Erkek Oyuncu ve Gençlik Jürisi Ödülünü aldı.

[moviesallday5]

#542 #Capharnaüm

[rrrespicefinem]

Nem az a legrosszabb ebben a filmben, hogy látod, hanem az, hogy elfelejted. 

[randomrichards]

Capernaum

[metromediaandphotography]

Capernaum

Forget the Academy Awards and the films that were hailed as the so-called best of the last year, because this Lebanese production about a young boy trying to eke out an existence on the streets of Beirut is a remarkable piece of filmmaking that is better than any of those that contended for Best Picture at the annual Hollywood backslapping bash. I mean, don’t get me wrong, good luck to all of…

[ealinglibraries]

Saab’s Film Reviews: Capernaum (2018)

A film so vivid in its depiction of reality it often feels like a documentary, Capernaum is a complex study on the morality of childbirth set among the poverty ridden streets of Lebanon, and a study on the price that children pay for their parent’s mistakes.

A review by Saab Sehmi.

Directed by Nadine Labaki Written by Nadine Labaki, Jihad Hojeily, Michelle Keserwany Available on: Prime Video Certificate: 15

The film opens on a boy named Zain, suing his parents for giving birth to him.

This provocative opening leads into a detailed portrait of life in poverty for children, showcasing both the hardships and the small moments of joy that they carve out for themselves. Labaki’s initial concept for the film was to present what children in these situations would say if they were given the chance. In this case, it’s a boy who cares deeply for his siblings, but resents his parents for bringing them into a world where their wellbeing is neglected.

The narrative delves even further into questions regarding the sanctity of life when Zain cares for the undocumented child Yonas, the son of Ethiopian migrant worker Rahil, who keeps her son hidden to prevent separation from him. Labaki demonstrates a great deal of empathy for all perspectives in these difficult living conditions, as all characters are victims of misfortune. However, Zain acts as the voice for children in these real life circumstances, to say, despite any good intentions, the adult efforts to care for them are not good enough.

Zain is played by Zain Al Rafeea, a real Syrian refugee who grew up in the slums depicted in the film. Only he, with such a background, could have given the mature performance of this soulful character. There's a ferocity to his performance that commands the screen, yet he is able to delicately balance this with a tenderness as he fulfills his duty as the eldest sibling of the household and the eventual carer for the baby Yonas. It’s one of the most powerful child performances to have ever graced the screen and the entire message of the film stands on the shoulders of this talented young performer.

Labaki’s direction further captures life in poverty in a way that blurs the line between fiction and reality. She managed to capture realism from all child actors and many beautiful moments between Zain and Yonas. These moments are impossible to script in advance between children. These emotions must be captured when they organically emerge and the first rough cut of the film was 12 hours long, showing how much work went into distilling the film’s core in the editing process. The final 2 hour runtime is rich with tender moments and a testament to Labaki’s cautiously observant directing.

These moments are accompanied by a stunning musical score by Khaled Mouzanar, that effectively immerses the viewer among the rough nature of these streets, yet evokes feelings of hope within this unjust world.

My Verdict

This film has drawn my attention to an issue that often goes unaddressed.

It argues that children being born into circumstances where they cannot be cared for is inherently immoral and that future generations are the ones who pay for our mistakes.

It’s a phenomenal addition to realist cinema and a film that will capture your mind as much as it will your heart.

[mrmichaelchadler]

Capernaum

The portrayal of extreme poverty in cinema presents a minefield of double-edged challenges around ethics. How can filmmakers attain and maintain a respectfully realistic, emotional tone without indulging in miserablism or condescending to their subjects less fortunate than they? Lebanese filmmaker Nadine Labaki (“Caramel,” “Where Do We Go Now?”) successfully walks that tightrope with her soberly told tale in “Capernaum,” co-written by Labaki, Jihad Hojeily and Michelle Keserwany. 

In “Capernaum,” the heartache of the underprivileged is on such interminable display that you feel the physical hurt in your bones. But the manner in which the filmmaker renders these pains somehow doesn’t feel exploitative or gratuitous—there is a nuanced matter-of-factness even in Labaki’s empathy that prevents it to ever become pity. If anything, the co-writer/director seems to know and care about the exact kind of kid she follows in “Capernaum,” a fighter who has no option but to remain independent, resourceful and tireless at the end of each exhausting day the sun sets on, with no promise of a brighter tomorrow.

The miracle child in question here is Zain, played by the first-time actor Zain Al Rafeea with shocking conviction and level of emotional maturity. An unregistered twelve-year-old living in the deprived slums of Lebanon with his uneducated parents and crowded group of brothers and sisters, Zain is both a competent problem-solver and a perceptive observer. While these grown-up traits don’t necessarily sound tragic, they are heartbreaking assets to survey in action, as they get shaped against unique hardships no kid should ever have to experience. But the scrappy and intelligent Zain, with an old man’s toughened face and gestures sheltering his young eyes and exterior, is so buried within setbacks beyond his years that he doesn’t even recognize for a while that the innocence of childhood is something valuable he should be afforded. 

We come to understand just how capable and sharp this unique boy is early on, when he instinctively grasps that his beloved sister, a pre-teen who just gets her period, would be sold to a suitor in exchange for some chickens. So he helps her sister clean up, steals sanitary pads for her from their local grocer and teaches her how to hide the traces of her blooming body. Despite all his efforts, he unfortunately loses his sister. So Zain runs away from home and one day, faces his desperate parents in court—a plotline that gets used as a structuring device while a part of the story gets told in flashbacks.

The lengthy speeches and on-the-nose explanations in courtroom scenes play didactically, going against the more honest “show, don’t tell” feature of Labaki’s film. They also interrupt the expressive narrative slightly; I found myself wondering why the filmmaker didn’t favor a chronological telling of the story and just resolve the final act into the court sequence. That hindrance aside, “Capernaum” is a relentless powerhouse when Labaki follows the misadventures of Zain as he finds a temporary safe haven under the protective wings of Rahil (Yordanos Shiferaw), an Ethiopian refugee who illegally works at a fair and mothers the impossibly sweet toddler Yonas (Boluwatife Treasure Bankole). Working on his exit plan out of the country while looking after baby Yonas after Rahil disappears (these are the film’s most soul-crushing scenes), Zain eventually falls back into the claws of his former clan.

There is an undeniable neorealist quality to Labaki’s work, bringing to mind not only the first half of Garth Davis’ "Lion," but also the likes of Vittorio De Sica’s "Shoeshine" and Sean Baker’s "The Florida Project" (even though it falls short of the artistic command of these titles). Labaki builds the dead-end life Zain dwells in with watchfully measured details: every dried tear, every piece of hand-me-down clothing, all the mud and dust underscore the daily harshness of a world where babies wear chains (not only metaphorically) so that they can’t get themselves into danger or trouble while unattended. And thankfully, the filmmaker affirms to have no interest in misery porn by the end. In a final scene that will put a lump in your throat, she rewards Zain for his good heart, loyalty and unparalleled street-smart inventiveness. She also allows us to see this extraordinary survivor become a kid again. Or in all likelihood, for the very first time. 

from All Content https://ift.tt/2QtJyLA

[35milimetross]

Crítica – ‘Cafarnaúm’

Póster de ‘Cafarnaúm’

Título original: Capharnaüm

Año: 2018

Duración: 120 min.

País: Líbano

Dirección: Nadine Labaki

Guión: Nadine Labaki (Historia: Labaki Jihad Hojeily)

Música: Khaled Mouzanar

Fotografía: Christopher Aoun

Reparto: Zain Al Rafeea, Yordanos Shiferaw, Boluwatife Treasure Bankole,Kawthar Al Haddad, Fadi Kamel Youssef, Cedra Izam, Alaa Chouchnieh,Nour el Husseini, Elias Khoury, Nadine Labaki

Productora: Coproducción Líbano-Estados Unidos-Francia; Les Films des Tournelles

Género: Drama 

  Cafarnaúm es la historia de Zain (Zain Al Rafeea), un chico libanés de 12 años que decide denunciar a sus padres. ¿Por qué? Aunque en el argumento se explica, recomendamos no saber mucho más de la película y entrar más en ella. Ésta premisa abre distintos debates sobre la pobreza que se vive en Líbano, los niños y niñas de la miseria que maduran a golpe de necesidad, la dejadez del Gobierno en ayudar a éstas familias y sobre los padres y madres que tienen hijos sin poder permitírselo.

Cafarnaúm es una de las nominadas a Mejor Película Extranjera en los Premios Óscar 2019 – sí, ésa categoría en la que Mejor Película tiene mucho que envidiar – y, además, alza a su directora, Nadine Labaki, en el rango de ser “la primera…” en algo. En éste caso, Labaki es la primera mujer libanesa (ni más ni menos) en estar nominada en los conocidos premios de Hollywood.

No es para menos: Labaki construye toda una narrativa asfixiante. Una narrativa que muestra que ser pobre, niño/a y vivir en Líbano es una muerte prematura en vida. Labaki no escatima en mostrar continuamente la desdicha del protagonista. Ésto le ha valido numerosas críticas, ya que ese tipo de vida se muestra con crudeza. Parece ser que, o te ponen a niños y niñas bailando en los créditos como en Slumdog Millionaire (Danny Boyle, 2008), o te enfadas porque es demasiado duro. Bueno, quizás en ambos casos las vidas de muchas personas son así, molesta mucho verlo y es fácil vivir en la ignorancia. Pese a todo, bien es cierto que el guión contempla un pequeño rayo de luz entre tantas desgracias, por lo que dicho efecto se puede trasladar aquí.

Fotograma de ‘Cafarnaúm’

Sea como fuere, Cafarnaúm rezuma verdad por todos los poros. La dirección de Labaki se muestra segura y aprovecha la cámara en mano para crear ese ambiente tosco. En el guión, también trata lo que es ser niña gracias al personaje de la hermana de Zain, brillantemente interpretada por Cedra Izam. 

Como pasara en la ya nombrada Slumdog Millionaire, los protagonistas destacan sobre cualquier aspecto. En éste caso, reconocemos que Zain Al Rafeea supera con creces cualquier actuación infantil/adolescente que hayamos visto en mucho tiempo. Pero no sólo él: el bebé que le acompaña (en realidad es una niña llamada Boluwatife Treasure Bankol) consigue una dinámica brutal entre ambos. Hablamos de que en dos horas y cuarto son capaces de llevar una película ellos solos. Las circunstancias, la ira de Zain, los llantos, la complicidad… Es digno de ver lo bien que están ambos. 

También van bien cubiertos con la magnífica actuación de Yordanos Shiferaw, una etíope que fue descubierta por casualidad igual que sus compañeros. Él, un refugiado sirio que gracias a la película fue trasladado a Noruega con su familia; ella, una refugiada etíope que fue arrestada durante el rodaje; y una bebé cuyas últimas noticias son que, finalmente, fue devuelta junto a su madre a Etiopía. 

Fotograma de ‘Cafarnaúm’

¿Quiénes mejor que ellos pueden contar una historia así?

Esperamos de corazón que historias así visibilicen y ayuden al menos a aquellos que han formado parte de la película a tener una vida mejor. No queremos que hagan como en Slumdog… y abandonen a los niños y niñas a su suerte tras pasearlos por galas.

  Lo mejor: Lo bien que se desenvuelven en la cámara los dos pequeños protagonistas, quienes nunca habían actuado previamente. El ambiente sobrecargado te adentra por completo a ese “mundo”.

Lo peor: Que niños y niñas tengan que vivir situaciones así.

Nota: 8,5/10

    La entrada Crítica – ‘Cafarnaúm’ aparece primero en 35 Milímetros.

from WordPress https://35milimetros.es/critica-cafarnaum/

[glenngaylord]

A SENSE OF URCHIN-CY - My Review of CAPERNAUM (4 Stars)

We’ve had so many films about impoverished children, from BICYCLE THIEVES to SALAAM BOMBAY! to SLUMDOG MILLIONAIRE to LION, that it’s a genre unto itself.  Call it the Street Urchin Film.  The latest entry, CAPERNAUM, which roughly translates to CHAOS, comes from Lebanese director Nadine Labecki, along with her co-writers Jihad Hojeily and Michelle Keserwany and it follows Zain (Zain Al Rafeea), a 12-year-old child whose struggles as a homeless child on the streets of Beirut leads him to sue his parents for the crime of bringing him into this terrible world.  

Labecki borrows from the Italian neo-realism of Vittorio De Sica yet employs a more active camera and adds a lush score such as that heard in LION.  Although imperfect in its storytelling, this winner of the Cannes Film Festival Jury Prize, packs an emotional wallop, reducing me to loud sobs at times.  

CAPERNAUM uses a trial as a framing device where a singularly focused, self-possessed Zain faces off against his parents (searing, passionate performances from Kawsar Al Haddad and Fadi Yousef), whose neglect and abuse of Zain and their large brood of children proves almost unbearable to witness.  Labecki herself very capably plays Zain’s prosecuting attorney.  We know that Zain has stabbed someone, which has led to a prison sentence for the child, but we don’t yet know the particulars.  Having children affords the parents many social services they would not have otherwise, but they have no means to care for these children in the first place.  Desperate for money, they resort to such actions sending Zain to various pharmacies to amass opiates, which they grind up and soak into clothing to be sold at a local prison.  They also plan on marrying off their 11-year-old daughter Sahar (an incredible performance by Haita ‘Cedra Izzaim) to their landlord’s lecherous son.  

It’s this particular event which sends Zain over the edge in a gut punch of a sequence in which he tries to escape with his sister.  The filmmakers carefully set up their special relationship so well that their separation hurts.  Zain retreats to the streets, landing at an amusement park where he meets an undocumented Ethiopian bathroom attendant named Rahil (Yordanos Shiferaw). Hiding from her employers the fact that she stows her infant son in a stall at work, Rahil sees in Zain an opportunity to have him babysit while she’s at work in exchange for room and board.  Naturally, tragedy intervenes, forcing Zain back onto the streets, but this time literally carrying a hungry infant in his little hands.  

Needless to say, CAPERNAUM takes you to hell on earth, but through it all, Zain maintains a ferocious stance.  He bravely stands up to anyone who would try to harm him or the baby with an intense gaze or a string of expletives.  It’s simultaneously remarkable and devastating to witness.  Shiferaw also gives a tremendous performance as an immigrant at the mercy of everyone she encounters.  What happens to her while Zain and her child try to survive on the streets will also break your heart.  

Labecki has great storytelling abilities and a unique directorial style.  Using non-actors whose lives closely resembled those of their characters, she had a script but allowed the actors to deviate from it and send her production off on many tangents.  Shiferaw, an undocumented immigrant herself, was arrested while they were filming.  Labecki shot a huge amount of footage to assemble the story here.  Sometimes it feels like a documentary, but her instincts for shooting action sequences, birds-eye establishing shots or observant shots of Zain pulling the baby along on a skateboard with a pan attached to it, show dexterity way beyond the expected cinéma vérité style often used in films like this.  I think the framing device detracts a bit from the impact this story could have had if it were to have been told linearly, but it’s a minor gripe in a film with so much empathy and respect for its subjects. 

A year ago, I would have said something along the lines of, you won’t believe what a child has to go through in this film. Now, however, with children suffering in cages within our borders, it’s not such a stretch and CAPERNAUM articulates the chaos with such a timely urgency. By the time it reaches its fascinating, bittersweet conclusion, you may find yourself conflicted.  Clearly that’s Labecki’s intention with this angry, despairing, yet oddly optimistic little gem.  

[modehotcom]

Elie Saab – Covers & Editorials : ELIE SAAB PreFall 2015 filmé par Jihad Hojeily & réalisé par Caroline Cassia pour le … https://ift.tt/2l6M4p0

[mrmichaelchadler]

#337 September 18, 2018

Matt writes: The 2018 Toronto International Film Festival, which wrapped on September 16th, had so many enticing selections guaranteed to be major contenders this awards season, and RogerEbert.com was there to cover them all. Click here for the full table of contents featuring dispatches penned by Brian Tallerico, Vikram Murthi, Monica Castillo, Tomris Laffly and Chaz Ebert. Last Monday, Claire Denis became the fifth recipient of the annual Ebert Tribute Award at TIFF, and the event proved to be unforgettable (read Brian's coverage of it here).

Trailers

Private Life (2018). Written and directed by Tamara Jenkins. Starring Kathryn Hahn, Siobhan Fallon Hogan, Paul Giamatti. Synopsis: An author is undergoing multiple fertility therapies to get pregnant, putting her relationship with her husband on edge. Debuts on Netflix on October 5th, 2018.

Capharnaüm (2018). Directed by Nadine Labaki. Written by Jihad Hojeily, Michelle Keserwany, Nadine Labaki and Khaled Mouzanar. Starring Kawthar Al Haddad, Boluwatife Treasure Bankole, Nadine Labaki. Synopsis: A politically-charged fable, featuring mostly non-professional actors, about a child who launches a lawsuit against his parents. Opens in US theaters on December 14th, 2018.

What Are You Gonna Do When the World's On Fire? (2018). Directed by Roberto Minervini. Synopsis: The story of a community of black people in the American South during the summer 2017, when a string of brutal killings of black men sent shockwaves throughout the country. US release date is TBA.

Anna and the Apocalypse (2018). Directed by John McPhail. Written by Alan McDonald and Ryan McHenry. Starring Ella Hunt, Malcolm Cumming, Sarah Swire. Synopsis: A zombie apocalypse threatens the sleepy town of Little Haven - at Christmas - forcing Anna and her friends to fight, slash and sing their way to survival, facing the undead in a desperate race to reach their loved ones. Opens in US theaters on November 30th, 2018.

Why Are We Creative? (2018). Directed by Hermann Vaske. Synopsis: A documentary in which such creative minds as David Lynch, Stephen Hawking, Angelina Jolie and David Bowie attempt to ask the titular question. US release date is TBA.

At Eternity's Gate (2018). Directed by Julian Schnabel. Written by Jean-Claude Carrière and Julian Schnabel. Starring Willem Dafoe, Rupert Friend, Oscar Isaac. Synopsis: A look at Vincent van Gogh's time in Arles. Opens in US theaters on November 16th, 2018.

Quincy (2018). Directed by Alan Hicks and Rashida Jones. Synopsis: An intimate look into the life of icon Quincy Jones. A unique force in music and popular culture for 70 years, Jones has transcended racial and cultural boundaries; his story is inextricably woven into the fabric of America. Debuts on Netflix on September 21st, 2018.

Captive State (2019). Directed by Rupert Wyatt. Written by Erica Beeney and Rupert Wyatt. Starring Vera Farmiga, Machine Gun Kelly, Madeline Brewer. Synopsis: Set in a Chicago neighborhood nearly a decade after an occupation by an extra-terrestrial force, Captive State explores the lives on both sides of the conflict - the collaborators and dissidents. Opens in US theaters on March 29th, 2018.

The Beach Bum (2019), red band trailer. Written and directed by Harmony Korine. Starring Matthew McConaughey, Snoop Dogg, Isla Fisher. Synopsis: A rebellious stoner named Moondog lives life by his own rules. Opens in US theaters on March 22nd, 2019.

Teen Spirit (2018). Written and directed by Max Minghella. Starring Elle Fanning, Rebecca Hall, Millie Brady. Synopsis: Violet is a shy teenager living in the Isle of Wight who dreams of pop stardom as an escape from her small town and shattered family life. With the help of an unlikely mentor, Violet enters an international singing competition that will test her integrity, talent and ambition. US release date is TBA.

Kursk (2018). Directed by Thomas Vinterberg. Written by Robert Rodat. Starring Léa Seydoux, Colin Firth, Matthias Schoenaerts. Synopsis: The film follows the 2000 K-141 Kursk submarine disaster and the governmental negligence that followed. As the sailors fight for survival, their families desperately battle political obstacles and impossible odds to save them. US release date is TBA.

One Nation, One King (2018). Written and directed by Pierre Schoeller. Starring Gaspard Ulliel, Adèle Haenel, Olivier Gourmet. Synopsis: In 1789, a people is entered into revolution. Let us hear it. It has things to say to us. A people and its king crosses the destinies of men and women of the people, and historical figures. Their meeting place is the any young National Assembly. At the heart of the history, there is the fate of the King and the emergence of the Republic. US release date is TBA.

Viper Club (2018). Directed by Maryam Keshavarz. Written by Maryam Keshavarz and Jonathan Mastro. Starring Matt Bomer, Damian Young, Susan Sarandon. Synopsis: A war correspondent gets taken hostage while on assignment, prompting his mother, impatient with the government's lack of concern, to take matters into her own hands. Opens in US theaters on October 26th, 2018.

Instant Family (2018). Directed by Sean Anders. Written by Sean Anders, John Morris. Starring Rose Byrne, Mark Wahlberg, Isabela Moner. Synopsis: A couple find themselves in over their heads when they adopt three children. Opens in US theaters on November 16th, 2018.

The Wind (2018). Directed by Emma Tammi. Written by Teresa Sutherland. Starring Miles Anderson, Caitlin Gerard, Julia Goldani Telles. Synopsis: A plains-woman is driven mad by the harshness and isolation of the untamed land. US release date is TBA.

F--- You All, The Uwe Boll Story (2018). Directed by Sean Patrick Shaul. Synopsis: Behind the lens with the most hated man in Hollywood. US release date is TBA.

22 July (2018). Written and directed by Paul Greengrass (based on the book by Åsne Seierstad). Starring Anders Danielsen Lie, Thorbjørn Harr, Jonas Strand Gravli. Synopsis: In Norway on 22 July 2011, right-wing terrorist Anders Behring Breivik murdered 77 young people attending a Labour Party Youth Camp on Utøya Island outside of Oslo. A three-part story about the survivors of the attacks, the political leadership of Norway, and the lawyers involved. Debuts on Netflix on October 10th, 2018.

The Ballad of Buster Scruggs (2018). Written and directed by Joel Coen and Ethan Coen. Starring Tim Blake Nelson, Liam Neeson, Zoe Kazan. Synopsis: An anthology western following six different storylines centering on a man named Buster Scruggs. Opens in US theaters on November 16th, 2018.

Why "America to Me" is Must-See TV

Matt writes: "America to Me," the new series from Kartemquin Films directed by Steve James ("Hoop Dreams," "Life Itself") and currently airing every Sunday on STARZ is an extraordinary achievement on every level. Brian Tallerico awarded the 10-part epic four stars while Allison Shoemaker interviewed James about how he and the show's essential segment directors (Bing Liu, Rebecca Parrish, Kevin Shaw) went about examining racial disparities at Oak Park and River Forest High School. I also conducted an in-depth roundtable discussion with editors Leslie Simmer, David E. Simpson and Alanna Schmelter about their process for assembling such a mammoth documentary.

Effie T. Brown on Project Involve

Matt writes: Effie T. Brown, the acclaimed producer of "Real Women Have Curves" and "Dear White People," spoke with me about the 25th anniversary of Film Independent's vital Project Involve program, which will be celebrated at a benefit dinner on Saturday, September 22nd, in Los Angeles. Click here for our full conversation.

Free Movies

A Girl in Every Port (1928). Written and directed by Howard Hawks. Starring Victor McLaglen, Robert Armstrong, Louise Brooks. Synopsis: Two sailors with a rivalry over chasing women become friends. But when one decides to finally settle down, will this mysterious young women come between them?

Watch "A Girl in Every Port"

Hell's Angels (1930). Directed by Howard Hughes. Written by Joseph Moncure March. Starring Ben Lyon, James Hall, Jean Harlow. Synopsis: Brothers Monte and Ray leave Oxford to join the Royal Flying Corps. Ray loves Helen; Helen enjoys an affair with Monte; before they leave on their mission over Germany they find her in still another man's arms.

Watch "Hell's Angels"

Nothing Sacred (1937). Directed by William A. Wellman. Written by Ben Hecht. Starring Carole Lombard, Fredric March, Charles Winninger. Synopsis: An eccentric woman learns she is not dying of radium poisoning as earlier assumed, but when she meets a reporter looking for a story, she feigns sickness again for her own profit.

Watch "Nothing Sacred"

from All Content https://ift.tt/2xvvbtE

[mrmichaelchadler]

#341 November 13, 2018

Matt writes: Passes for the 21st annual Roger Ebert's Film Festival (a.k.a. Ebertfest) in Champaign, Illinois, are now on sale. The same amount of films will be screened next year, though the festival will take place over four days instead of five, enabling the closing night festivities to pack an even greater punch. Please join us for Ebertfest 2019, running from Wednesday, April 10th, through Saturday, April 13th. Tickets can be purchased through the festival website, the theater website or the theater box office, 203 W. Park Ave., Champaign, 217-356-9063. Individual tickets will be available for purchase on Monday, April 1st. Click here to read the full announcement, and make sure to watch the official video for last year's installment of Ebertfest embedded below.

Trailers

Capernaum (2018). Directed by Nadine Labaki. Written by Nadine Labaki, Khaled Mouzanar, Jihad Hojeily and Michelle Keserwany. Starring Zain Al Rafeea, Yordanos Shiferaw, Boluwatife Treasure Bankole. Synopsis: While serving a five-year sentence for a violent crime, a 12-year-old boy sues his parents for neglect. Opens in US theaters on December 14th, 2018.

Head Full of Honey (2018). Directed by Til Schweiger. Written by Til Schweiger, Lo Malinke and Jojo Moyes (based on the movie written by Til Schweiger and Hilly Martinek). Starring Nick Nolte, Matt Dillon, Emily Mortimer. Synopsis: A man suffering from Alzheimer's embarks on a final road trip with his granddaughter. Opens in US theaters on November 30th, 2018.

The House That Jack Built (2018). Written and directed by Lars von Trier. Starring Matt Dillon, Bruno Ganz, Uma Thurman. Synopsis: The story follows Jack, a highly intelligent serial killer, over the course of twelve years, and depicts the murders that really develop his inner madman. Opens in US theaters on November 28th, 2018.

The Ballad of Buster Scruggs (2018). Written and directed by Ethan Coen and Joel Coen. Starring Tim Blake Nelson, Zoe Kazan, Stephen Root. Synopsis: An anthology film comprised of six stories, each dealing with a different aspect of life in the Old West. Opens in US theaters on November 16th, 2018.

Isn't It Romantic (2019). Directed by Todd Strauss-Schulson. Written by Erin Cardillo, Dana Fox and Katie Silberman. Starring Rebel Wilson, Priyanka Chopra, Betty Gilpin. Synopsis: A young woman disenchanted with love mysteriously finds herself trapped inside a romantic comedy. Opens in US theaters on February 14th, 2019.

Blue My Mind (2018). Written and directed by Lisa Brühlmann. Starring Luna Wedler, Zoë Pastelle Holthuizen, Regula Grauwiller. Synopsis: 15-year-old Mia is facing an overwhelming transformation which calls her entire existence into question. Her body is changing radically, and despite desperate attempts to halt the process, she is soon forced to accept that nature is far more powerful than her. US release date is TBA.

Back Roads (2018). Directed by Alex Pettyfer. Written by Adrian Lyne and Tawni O'Dell (based on the novel by Tawni O'Dell). Starring Juliette Lewis, Jennifer Morrison, Robert Longstreet. Synopsis: An unusual set of circumstances brings unexpected success to a pop star. US release date is TBA.

The Quake (2018). Directed by John Andreas Andersen. Written by John Kåre Raake and Harald Rosenløw-Eeg. Starring Kristoffer Joner, Ane Dahl Torp, Jonas Hoff Oftebro. Synopsis: In 1904 an earthquake of magnitude 5.4 on the Richter scale shook Oslo, with an epicenter in the "Oslo Graben" which runs under the Norwegian capital. There are now signs that indicate that we can expect a major future earthquake in Oslo. US release date is TBA.

Between Worlds (2018). Written and directed by Maria Pulera. Starring Nicolas Cage, Franka Potente, Penelope Mitchell. Synopsis: Joe meets a mother who can contact spirits when suffocating. Her daughter is dying when Joe helps the mother spiritually contact the daughter and save her. Unfortunately, the spirit in the daughter's body is now that of Joe's dead wife. US release date is TBA.

A Dog's Way Home (2019). Directed by Charles Martin Smith. Written by W. Bruce Cameron and Cathryn Michon (based on the book by W. Bruce Cameron). Starring Bryce Dallas Howard, Ashley Judd, Edward James Olmos. Synopsis: A dog travels 400 miles in search of her owner. Opens in US theaters on January 11th, 2019.

Spies in Disguise (2019). Directed by Nick Bruno and Troy Quane. Starring Karen Gillan, Will Smith, Tom Holland. Synopsis: When the world's best spy is turned into a pigeon, he must rely on his nerdy tech officer to save the world. Opens in US theaters on September 13th, 2019.

Tyler Perry's A Madea Family Funeral (2019). Directed by Tyler Perry. Written by Tyler Perry and Jason Rogers. Starring Courtney Burrell, Tyler Perry, Patrice Lovely. Synopsis: A joyous family reunion becomes a hilarious nightmare as Madea and the crew travel to backwoods Georgia, where they find themselves unexpectedly planning a funeral that might unveil unsavory family secrets. Opens in US theaters on March 1st, 2019.

Jonathan (2018). Directed by Bill Oliver. Written by Gregory Davis, Peter Nickowitz and Bill Oliver. Starring Ansel Elgort, Patricia Clarkson, Suki Waterhouse. Synopsis: Jonathan leaves the office everyday at noon. When he gets home, he goes to sleep. Every morning he wakes up and there is a breakfast prepared for him along with a video telling him about the second part of his day. Opens in US theaters on November 16th, 2018.

Five Feet Apart (2019). Directed by Justin Baldoni. Written by Mikki Daughtry and Tobias Iaconis. Starring Cole Sprouse, Haley Lu Richardson, Claire Forlani. Synopsis: A pair of teenagers with life-threatening illnesses meet in a hospital and fall in love. Opens in US theaters on March 22nd, 2019.

Miss Bala (2019). Directed by Catherine Hardwicke. Written by Gareth Dunnet-Alcocer. Starring Gina Rodriguez, Anthony Mackie, Matt Lauria. Synopsis: Gloria finds a power she never knew she had when she is drawn into a dangerous world of cross-border crime. Surviving will require all of her cunning, inventiveness, and strength. Opens in US theaters on February 1st, 2019.

Mowgli (2018). Directed by Andy Serkis. Written by Callie Kloves (based on the novel by Rudyard Kipling). Written by Billy Ray and Mark L. Smith. Starring Christian Bale, Benedict Cumberbatch, Cate Blanchett. Synopsis: A human child raised by wolves must face off against a menacing tiger named Shere Khan, as well as his own origins. Debuts on Netflix on December 7th, 2018.

The Secret Life of Pets 2 (2019). Directed by Chris Renaud. Written by Brian Lynch. Starring Patton Oswalt, Eric Stonestreet, Kevin Hart. Synopsis: A follow-up to the hit film, "The Secret Life of Pets." Opens in US theaters on June 7th, 2019.

Missing Link (2019). Written and directed by Chris Butler. Starring Zoe Saldana, Hugh Jackman, Timothy Olyphant. Synopsis: The charismatic Sir Lionel Frost considers himself to be the world's foremost investigator of myths and monsters. The trouble is none of his small-minded high-society peers seems to recognize this. Sir Lionel's last chance for acceptance by the adventuring elite rests on traveling to America's Pacific Northwest to prove the existence of a legendary creature. A living remnant of Man's primitive ancestry. The Missing Link. Opens in US theaters on April 12th, 2019.

Paul Dano on "Wildlife"

Matt writes: The wonderful actor-turned-director Paul Dano (memorably featured in "Little Miss Sunshine" and "There Will Be Blood") recently spoke with Nick Allen about his acclaimed directorial debut, "Wildlife," featuring Oscar-worthy turns by Carey Mulligan and Jake Gyllenhaal. Read their full conversation here. 

"Little Tickles" wins Ebert Award

Matt writes: Allison Shoemaker reports on Andréa Bescond and Eric Métayer's French drama, "Little Tickles," which her jury named as this year's recipient of the Roger Ebert Award at the 2018 Chicago International Film Festival.

Free Movies

Garfield's Halloween Adventure (1985). Directed by Phil Roman. Written by Jim Davis. Starring Lorenzo Music, Thom Huge, Gregg Berger. Synopsis: Garfield has one spooktacular adventure on the Eve of All Saints. He fashions himself a pirate costume then takes Odie out trick-or-treating to ensure extra candy. But when attempting to cross a river on a boat, Garfield and Odie end up at a haunted house.

Watch "Garfield's Halloween Adventure"

A Garfield Christmas Special (1987). Directed by Phil Roman and George Singer. Written by Jim Davis. Starring��Lorenzo Music, Thom Huge, Pat Carroll. Synopsis: Garfield, Jon, and Odie go to Jon's grandmother's house for Christmas, where Garfield finds a present for Grandma.

Watch "A Garfield Christmas Special"

Garfield's Thanksgiving (1989). Directed by Phil Roman, Gerard Baldwin, Bob Nesler and John Sparey. Written by Jim Davis and Kim Campbell. Starring Lorenzo Music, Thom Huge, Pat Carroll. Synopsis: Finds Jon with a love interest-a veterinarian who orders Garfield on a diet-and then comes for Thanksgiving dinner!

Watch "Garfield's Thanksgiving"

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