#lm movie showdown

[youssefguedira]

tog fandom's favourite luca marinelli movie: ROUND TWO

Summaries:

Martin Eden (2019):

“The tale of an individualist proletarian in a time marked by the rise of mass political movements. In early 20th-century Italy, illiterate sailor Martin Eden seeks fame as a writer while torn between the love of a bourgeois girl and allegiance to his social class.”

Waves (2012):

“Gabriele, a young sailor, is hired by two men to help deliver a yacht to its new owner. But it quickly becomes clear that the real purpose of their journey is not what it seems, and tension only builds with the arrival of Sara, a woman trying to escape her husband, as they draw closer to their destination.” 

RULES:

ideally vote based on which film is your favourite, but if you haven't seen both / either vote which one you'd like to watch most or prefer the vibes of

or any other reasonable metric of your choice

propaganda IS encouraged and can be sent to me or added to the post

go forth and have fun!

[dragonofyang]

From the Sock Puppet’s Mouth

Well folks, good news and bad news.

Good news: the ABTV interview on March 4th confirmed for us that WEP is the reason for the last-minute changes and that certain things were fought tooth and nail for until they came down and axed it.

Bad news: WEP is still using the EPs as their meat shields to hide behind, and despite not being really able to refuse, Joaquim Dos Santos and Lauren Montgomery still said some fucked up shit in this interview and the one before. And we probably should gird our loins for the next interview with Let’s Voltron!

But Yang, why in the fuck are we not going after the EPs, then?

The answer to that and why this is happening is three little letters, my friends.

NDA.

Non-disclosure agreements.

AKA the bane of your existence. And ours. And almost certainly JDS, LM, voice actors, animators, and literally anybody who has to comply with the season 8 we got back in December and the resulting fallout.

These are fairly standard in lots of situations where you’ll be working with confidential material, stuff like stories, military paperwork, movie production, that sort of thing. They generally tell you that you can’t spill the beans until a certain date when the contract expires, or when the information becomes public knowledge and the need for secrecy is lifted. Pretty standard in the entertainment business, keeps people from getting spoiled to trade secrets or important plotlines and ensures that you can trust your employees with whatever you need done for the project in question.

One other thing that these pesky little pieces of paper do is give your employer (say, the owner of a franchise or a superior officer), the ability to order you what to say just as easily as what not to. Don’t believe me? Look up interviews with the people who were in The Last Airbender (yeah… THAT movie). During production and when it was new, they all said how excited they were to work on the movie and be a part of it, but once those magical dates came by to free them of their legal obligations, they spilled more tea than the American revolutionaries did back in Boston. As soon as they wouldn’t get sued, they changed their tune about working on TLA.

Sometimes you just don’t like a project, sometimes your boss is a dick, whatever, but the fact is, if you sign one of those little things titled “Non-Disclosure Agreement”, you are bound by law to say whatever your boss tells you to. It’s very much a “they say ‘jump’, you say ‘how high’” situation. The only time this sort of shit doesn’t apply is if it implicates you in a crime. So like, your boss can’t embezzle money and then tell you to say you did it, or that you helped, or whatever. If it means you’ll get pressed charges, then you’re free to stand up and say “fuck this noise” and leave.

But JDS and LM aren’t being forced to admit to a crime, as heinous as some of what they’ve said in the past two ABTV interviews was. I’ll admit, I saw red the first time I heard the interviews on February 25 and March 4, but ya know fuckin’ what? That was the goal. Those interviews were meant to be a targeted blow against those of us in the VLD fandom who want the real s8 and for the characters to get their stories told correctly, rather than the slipshod stoic nonsense that ultimately created a story with zero meaning.

WEP/World Events Productions/Bob Koplar holds the Voltron intellectual property. JDS and LM are their puppets right now because unless they’re ordered to admit to a crime or otherwise break the law, they could be ruined legally, financially, and closed off from their trade. Would it be nice if they stuck to the scruples they displayed back when the show first started? Fuck yeah. I’d love it if they said, “screw it, here’s the real s8 with the heroine’s journey and the parallel storylines and the ending you deserved to see and get catharsis with.”

Fact is, they can’t, but we, who have never signed an NDA with WEP, DreamWorks, or Netflix or whoever the fuck else is involved, can.

They’re lying, yes, and they said despicable things that would make anybody’s blood boil, but the fact is they’re just the unfortunate human shields that will let WEP get away scot-free and it sets a very dangerous precedent about what happens when a story is being told and someone up top doesn’t like what they see. The narrative LM and JDS are being told to spin is that when the writers left, they went ham and ruined the story and that the real season 8 would be worse than the concoction we got on December 14. LM and JDS have said awful shit as WEP tries to demoralize fans and chase them off from going after the original season 8 and deflecting blame off where it should be aimed. But why would they have to write a story that’s animated and would have been completed before the writers left? LM said it herself that animation is extremely ahead of schedule compared to releases, and if you’re a fan of HTTYD like myself, you’ll know that the third movie’s release date had to be pushed back multiple times to account for the animation schedule because they failed to accurately project when it would be complete, and so pushed it back as opposed to releasing a shoddy product.

It’s simple enough to realize that the story being spun is just logically fallible and factually untrue, but because so much of what’s been said has been attacking the fandom, it’s easy to believe it. I almost wanted to believe that, too. It’s easy when there’s already a face and a name to blame. It’s harder to dig through stinging nettles, even if you know there’s a pot of gold under it all. Luckily I brought work gloves and have friends who know how to wield gardening shears.

We knew before that there was last minute edits to season 8, and @leakinghate did an excellent breakdown of that here in case you want to settle in for a nice read to see what should have been. But the interview on March 4th confirmed multiple times that the problem with the changes and story didn’t come from the EPs or even Dreamworks. The pushback came from the IP owners. JDS says so right toward the beginning, about 12 minutes in when he’s talking about Adam and Shiro’s romance. JDS and LM both discuss how it was the IP owners who gave the order to change an already-storyboarded and approved plotline for Shiro, which directly negates their tweet on March 1 claiming that the store has no creative control and the letter Bob Koplar wrote to a few fans, also written March 1, which claimed the same thing and seemed intent on absolving him as a responsible party for s8. Sure, the person tweeting and the person handling orders might not have to approve things, but that account and the store are both owned by WEP, which is easily proven if you dial WEP’s number. But the IP holders got discussed multiple times throughout the entire episode, more towards the first half than the second, which is when what they’re saying gets really screwy in terms of logic and what they’ve said before and general bullfuckery. Until JDS and LM are thanking the hosts for the unprecedented two hour interview and JDS says, “I don’t agree with myself” at 43:03, they were thanking the fans and apologizing for what happened and explaining that it wasn’t them or Dreamworks, but rather the IP holders who were pushing back.

Don’t believe me?

Click to 12:10 of the March 4 interview. JDS talks about Adam and Shiro’s relationship and how it was originally meant to be portrayed, and at the 12:50 mark he says that they got pushback about their relationship, not from Dreamworks, but from “other controlling parties with Voltron.”

Click to 18:52, where JDS mentions how they didn’t have the position as being creators of the IP. He also points out that, “We were, for all intents and purposes, like, started as a show for boys 6 to 11 to sell as much toys as possible.”

Does that phrase bother you as much as it bothers me?

Because it should.

Ever since VLD ended and the fans started pushing back against what got published as season 8, the EPs have been silent, at least for the first two-ish months. They didn’t say a word anywhere publicly about the show or if they liked it, because their NDAs probably had an “if you can’t say anything nice, don’t say anything at all” clause. Generally, that’s the case because part of your job is to build good PR and hype up your project. Don’t believe me? Look at how they were after literally every other season, they came out immediately saying how much they loved it and how much they hoped the fans would too, and when there was pushback about Lotor’s abuse and the colony plot they were like, “please trust us, we want to do his story justice” even when it probably would have served them better to remain silent.

Not with S8.

Until these interviews, nobody talked. And when they finally did start talking?

They all kept saying the same things.

“This is a show for boys and their dads” and “this is a show meant to sell toys to little boys.”

At no point before this did anybody on the production team say anything even remotely related.

You can look for yourself, but I guarantee you won’t find anything. “Boy toy show” has been the go-to phrase for everybody ever since the silence around season 8 broke, and it’s not their words.

It is, without a doubt, from the IP holder.

We were promised that Lotor’s arc would continue and that “there’s a lot that is at play in his brain and his mind,” in the GeekDad article about him. Narratively, Lotor and Allura were meant to foil Zarkon and Honerva/Haggar. We should’ve gotten an alchemist-versus-alchemist showdown and a cool Lotor and Lance arc. Many things that were built up in seasons 1 through 6 were dropped, and if you refer back to Hate’s meta “Seeking Truth in Darkness”, you’ll find her analysis on what was cut, why, and the plot she pieced together based on the inconsistencies in the details of the season 8 that got released. In the latest interview, JDS said, “We were just trying to break the trope, our own trope. You know what I mean? Like Voltron was its own trope and the sort of little nook that we inhabited was, like, sort of boys toys was its own weird tropey situation.”

And despite all this talk of family and love and complexity and breaking barriers, we received two things from December 14 and on: VLD season 8, and silence.

Complete and utter silence.

The VAs were trotted out to face the wrath of the fans at SAC Anime 2019 and there was nary a word to be heard from the EPs, Dreamworks, WEP, Netflix… Nobody had anything to say about the final season of Voltron. The VAs even commented that there were things they were and weren’t allowed to say. And if they wanted to say anything, their NDAs and general social etiquette prevented them from saying whatever was actually on their mind, because I guarantee you nobody happy about the season would have kept silent. Even when all the season 7 backlash happened, JDS and LM asked us as a fandom to please wait and see, because there would be narrative payoff.

Which is why the latest two interviews with ABTV are all the more rightfully infuriating.

In the February 25 interview, LM specifically says that the initial pitch was to kill everybody, everybody would die and that would be the end of it, and that they had to back off from that. After the broken promises of season 8, that’s pretty damn believable to a fandom who’s rightfully hurting and grieving what could have finished a great show. But then with this March 4 interview, she says that she wanted to go Sailor Moon with it and have Allura come back as a baby after sacrificing herself. Kind of hard for those two stories to mesh when the person LM says would raise Allura would also have been one of the ones to die in the initial pitch.

So what exactly is the truth there?

Frankly, I think neither of those ideas is the truth. At least completely.

Why? A) It sounds like a super early pitch idea and B) because their general behavior disagrees with every interview leading up to season 8. Because if LM and JDS were proud of this product that got released, they would have said so and behaved as normal, if maybe a little more reserved due to fandom backlash. Because they wouldn’t be silent and only coming out with interviews after two months and several of #TeamPurpleLion metas that poke massive holes in what exists of season 8, CallVoltron has been sending letters, and #FREEVLDS8 garnered over 30,000 signatures. WEP has been trying to do damage control ever since we as a fandom started putting two and two together about where these disastrous last-minute changes came from, and only when the petition got updated to include WEP as a point of focus did WEP start trying to discredit the fans and meta writers who were coming too close to the truth. Here is a complete list of everything that’s happened since December 14, to give you an idea of just how wild of a ride this has been.

One main consistent thing throughout everything that’s happened since season 8 dropped is that everybody from the EPs up is lying, whether by omission or outright or through someone else, people have been lying like mad. WEP doesn’t want you to know that they own the IP and have strong input, despite confirming it by liking a tweet on February 13 and how you can be directed to their store if you call WEP’s phone number. WEP doesn’t want you to know that they gave the original season 8 the axe. WEP got scared that we got close and so they trotted out their EPs after two months of silence to try and break those of us hunting for the truth. These two interviews, which, mind you, came after what was scheduled to be the last one.

The official story continues to fall apart with every word of these last two interviews, too. JDS says that they were crafting the epilogue for season 8 during the aftermath of season 7, but according to him they completed season 8 back in June.

Again: which is the truth?

I stand with @leakinghate and the rest of #TeamPurpleLion and think that the original season 8 was completed back in June, but that the backlash from s7 and the general disapproval of a story of empowerment caused the truly-eleventh-hour edits to s8. The EPs are being forced to lie to you due to their contracts, WEP wants to keep hiding and lying and calling their customers liars and mocking them. But the funny thing is that the more intricate the lie, the harder it is to keep it straight versus the truth, as evidenced by how JDS and LM seem to be confusing what was in s8 versus what was pitched versus what they were told to say.

So what’s it all mean, then?

It means you should be watching and writing letters and calling WEP and calling them out publicly whenever WEP and Bob Koplar lie to the consumers and customers that express dissatisfaction with their service and their products.

WEP forgets that there is more to fandom than diehard dads and young boys.

The more they ignore the majority of their consumers, the more money they lose, the more faith they lose, and the less people will want to follow their future projects (like if they decide to do an MFE spinoff). Let’s Voltron is coming up with a new episode with JDS and LM, and they’re hoping to get it up soon. I’d just like to remind y’all that it’s scripted and pre-recorded, it’s not live, and it benefits from being the official Voltron podcast and has to keep good relations with WEP in order to retain that status. So don’t stop calling, write letters, hell just leave a Facebook or Twitter review of the business to express your satisfaction or lack thereof with how WEP treats customers and its show and everything. After all, the road to s8 is paved with honesty.

@felixazrael @leakinghate @crystal-rebellion @voltronisruiningmylife

[clockworkopera]

Story Arc of LoS and TDA...

After my post on analyzing books, I got this question from @anna-g-x: Hi, you talk a lot in posts about story arcs and climaxes and I was wondering if you could do a post explaining the events e.g. Inciting incident followed by ..etc that should happen in a good book, thank you

The story arcs that I refer to are part the fundamental elements of plot in a 3 Act Structure. There are lots of discussions about the merits of plot driven vs. character driven stories. In my opinion they go hand in hand, and a good story needs both. You can have the best character, but if nothing happens there’s no story, and if there isn’t a character you’re vested in then why care about the best plot. In YA it’s especially important that a character has an opportunity to grow and change, be challenged, face and overcome obstacles—this is twofold between external things happening to the character and internal things, personal struggles. LoS has a lot of different characters to follow, and everyone who has a POV is going to have a slightly different story arc, though there are times they converge.  So, I’ll go through LoS using Julian as the example. Because Julian’s need to keep Emma and his family safe—the most important thing to his character, the story arc is going to reflect that.

These are my opinions of where things break down, and you can follow along with the chart:

Act 1: LoS begins by defining their routine—fighting demons at the pier. When they return Clary and Jace are there and we get the warning that things aren’t going to be staying the same. There’s no medicine for Arthur as the Centurions arrive to further upset the balance. Throughout all these external things happening, Julian still has internal struggles. He tries to juggle his frustrations with Arthur, the pressure of the Centurions bearing down, and most importantly his jealousy of Emma being with Mark. 

Gwyn arrives to tell the Blackthorns of how Kieran is to be executed. It’s Mark’s ii (Inciting Incident) because he decides he can’t abandon Kieran and leaves for Faerie. Mark leaving for Faerie is Julian’s ii because he now has to leave the Institute and his family to the Centurions while he ventures to Faerie with Emma and Cristina to make sure his brother doesn’t end up getting killed. Kit’s ii is different since he has a different story arc. I think his is when Malcolm and his sea demons attack the Institute. Up till then he’s been full of disdain for Shadowhunters, but he discovers something about himself in the fighting, and then there is their escape to London after.

They leave for Faerie, and I like the Phouka as a literary device to remind us what is important for each character. For Julian, it is a solution to the parabatai bonds and this is essential to his character, because without breaking his bond, he can’t have Emma. He is told he will meet someone who will be able to break the bonds. When they get to Faerie, none of their weapons work. It’s Julian’s time to have second thoughts, yet they continue to the Climax of Act 1—the showdown with the Unseelie King and rescuing Kieran.

Act 2: There are more ups and downs (Ascending Action) for Julian. Rescued by the Seelie Court he now has to face the Seelie Queen all the while trying to hide his feelings for Emma. Meeting with the Queen he sees Malcolm is still alive, his uncle murdered, Annabel raised from the dead. More things going wrong with his life, even as the Queen tantalizes with the offer of the one thing he wants most in the world—a way to break the parabatai bonds, and the price. This temptation feeds into his ever increasing internal struggles. I think Annabel being raised from the dead would be considered a midpoint (big twist), because upon being reunited with his family at the London Institute he now needs to leave again to search for Annabel and the Black Volume. He doesn’t know what he wants to do with either of them yet, but he does know they need to be found. He leaves for Cornwall with Emma in search of Malcolm’s cottage. Being with Emma reinforces all of his internal struggles, raising the tension between the two of them as he can’t help but fantasize what a more ordinary life with her would be like.

Annabel finds him, and later they track her to the church where the Black Volume was used to raise her. There is a rip between dimensions, they fight off the blood demon Sabnok of Thule—they use a super rune to burn down a stone church (another obstacle). He’s angry Emma was put in danger, all his internal frustrations come to a boiling point and he and Emma fight in the cottage. She storms out only to meet up with the Riders. On the chart, I think the Riders would qualify as disaster, because it means the Unseelie King is using a group of super powerful near immortals to go after the entire Blackthorn family.

Once that fight is done, both Julian and Emma succumb to their mutual desire, a climax (fun pun) of their internal struggles to stay apart. Julian is flying high, he’s with Emma—but nope, because she confesses to him about the parabatai curse. (I know there are a lot of people in the fandom that don’t like Julian, but seriously can’t the guy get a break?)

Magnus brings them back to the London Institute where they try to piece all of these clues together. Then the Riders show up, a major fight ensues, an impossible battle against all odds, and everybody (convergence where everybody’s storylines match up in one place. Emma, Mark, Cristina, Kit—they are all there) is in danger of being slaughtered. But, Annabel comes and saves them. This is the Climax of Act 2. The Riders are gone and they finally have Annabel and the Black Volume.

Act 3: Falling/Descending Action. The function of falling action according to literarydevices.net: Audiences expect a low ebb after every great tide in order to give themselves a feeling of relief. This happens with falling action of the story or the play. In fact, it is the desire of the audiences to see the fruits of the labor of a hero or protagonist that satisfies them. If this does not happen, the audience stays unsatisfied, and the story seems incomplete. This, falling action serves as a rewarding element in a story or movie.

Julian makes a deal with Annabel to testify before the Clave. They have a plan. With Magnus’ help this is their chance to stop the Cohort, have Helen returned to the them. Emma doesn’t want to break all the parabatai bonds and Julian respects that, so they agree exile is their best option. The Blackthorns arrive in Idris to face the Clave. Robert agrees to the exile. But then Annabel is called to testify. Magnus is a no show. Questioning under the Mortal Sword breaks the last vestiges of Annabel’s fragile mind, and in the final pages a nightmare unfolds. The Final Outcome is the Resolution: Livvy is dead, Robert is dead, the Mortal Sword is shattered, the Clave is in chaos, and the Unseelie King has declared war and whisked Annabel and the Black Volume away.

I’m going to leave it up to the readers to say whether the resolution was satisfying. I will say this leads me into my next topic. LoS has its individual story arc, but it is also a part of The Dark Artifices overarching story arc. TDA overall could be superimposed on this same story structure with Livvy’s death being the midpoint (big twist). 

The parabatai bonds, the Clave, Mark and Helen’s persecution, the Black Volume, the enemies of the Faerie Court, have all been a constant throughout LM and LoS: the rising/ascending action of the larger overall story.

What story structure teaches me about TSC as a whole…

The TSC series as a whole follows this pattern too…

I go chronologically in this example. TID set the introduction of the Shadowhunters in the Victorian Era. The first obstacle was Mortmain to be overcome. We move to TLH and we don’t know yet what ‘obstacle’ that series will overcome, but we do know that it is a vital puzzle piece to the overall TSC story arc. I have a theory thought that the climax of TLH will be the equivalent of Climax of Act 1. Moving into Act 2, TMI’s obstacle was overcoming Valentine and Sebastian and all the ups and downs in between. But the second Act is also about confrontation. And the Clave has its own confrontation with itself when it needs to decide whether to join Valentine. The Clave has always been in the background up till now, but it’s almost as if the Clave has become its own character with its own internal struggles and story arc in the series.

TDA continues the Ascending Action of the series as Emma and the Blackthorns work through their obstacle of Annabel and the Black Volume, the Unseelie King, the Clave, etc. This series again forces to the Clave to confront itself—who will Shadowhunters be? If this holds true I expect QoAD to have one hell of a midpoint plot twist. 

TEC is another missing puzzle piece and I think (not sure because there isn’t a lot of info on it yet) the time frame will overlap with TMI and maybe TDA. Will it go so far as to help fill in the missing years between TDA and TWP? We know Magnus and Alec will have an obstacle to overcome.

And Cassie has said that TWP is the finale of the TSC series. That means that not only will TWP have its own climax, but it will doubly serve as the climax of the entire series. All of the series will somehow converge at this moment where there will be a seemingly insurmountable obstacle that Kit, Ty and Dru as protagonists will have to defeat.

It is very rare that an author has interconnecting series within a larger worldbuilding framework. And I think she might be a genius to have so many interconnecting parts follow this same overall story pattern.

[youssefguedira]

tog fandom's favourite luca marinelli movie: ROUND TWO

Summaries:

La grande bellezza / The Great Beauty (2013):

“Jep Gambardella has seduced his way through the lavish nightlife of Rome for decades, but after his 65th birthday and a shock from the past, Jep looks past the nightclubs and parties to find a timeless landscape of absurd, exquisite beauty.”

Diabolik (2021):

“1960s, the city of Clerville. The forthcoming visit of heiress Eva Kant, who’ll be bringing a famous pink diamond with her, catches the attention of Diabolik, the infallible and elusive thief whose real identity is unknown: while trying to steal the jewel, he finds himself bewitched by Eva’s charm, a feeling she may be reciprocating. But the police, led by relentless Inspector Ginko, is rapidly closing in on him…”

RULES:

ideally vote based on which film is your favourite, but if you haven't seen both / either vote which one you'd like to watch most or prefer the vibes of

or any other reasonable metric of your choice

propaganda IS encouraged and can be sent to me or added to the post

go forth and have fun!

[youssefguedira]

ok people following the poll round 2 HAS ended but unfortunately i have been struck by real life events so bar any changes we will be taking a break this week and aim to resume on friday. ok

[youssefguedira]

tog fandom's favourite luca marinelli movie: ROUND TWO

Summaries:

Il padre d'Italia / There is a Light (2017):

“Paolo and Mia, an introverted clerk and a unconventional pregnant woman, go on a journey looking for the father of Mia’s unborn daughter.”

Tutti i santi giorni / Every Blessed Day (2012):

“Guido and Antonia are a young couple with opposing characters and working schedules: he works a night job as a doorman in a hotel, and she works as an employee for a rental car service. This is the story of what happens to Guido and Antonia when they decide to have a child.”

RULES:

ideally vote based on which film is your favourite, but if you haven't seen both / either vote which one you'd like to watch most or prefer the vibes of

or any other reasonable metric of your choice

propaganda IS encouraged and can be sent to me or added to the post

go forth and have fun!

[youssefguedira]

tog fandom's favourite luca marinelli movie: ROUND TWO

Summaries:

Lo chiamavano Jeeg Robot / They Call Me Jeeg (2015):

“After coming in contact with radioactive waste, small-time crook Enzo Ceccotti gains super-strength. A misanthropic, introverted brute, he uses his new powers for personal gain until he meets Alessia, a mentally ill girl who believes Enzo is the hero from her favorite anime Steel Jeeg.”

Fabrizio de André: Principe libero (2018)

“A biopic on the personal and artistic life of Italian songwriter Fabrizio De André.”

RULES:

ideally vote based on which film is your favourite, but if you haven't seen both / either vote which one you'd like to watch most or prefer the vibes of

or any other reasonable metric of your choice

propaganda IS encouraged and can be sent to me or added to the post

go forth and have fun!

RULES:

ideally vote based on which film is your favourite, but if you haven't seen both / either vote which one you'd like to watch most or prefer the vibes of

or any other reasonable metric of your choice

propaganda IS encouraged and can be sent to me or added to the post

go forth and have fun!

[youssefguedira]

tog fandom's favourite luca marinelli movie: ROUND TWO

Summaries:

Ricordi? / Remember? (2018):

“A long love story, seen through the memories of one young couple. The journey through the years of two individuals, united, divided, happy, unhappy, deeply in love, or in love with others, in a single stream of emotions and shades of feeling. Over the course of the film, he learns that love can indeed last, while she learns to live with nostalgia.”

La solitudine dei numeri primi / The Solitude of Prime Numbers (2010):

“Prime numbers are divisible only by one and themselves. These numbers are solitary and incomprehensible to others. Alice and Mattia are both “prime”, both haunted by the tragedies that have marked them in childhood: a skiing accident for Alice which has caused a defect in her leg, and the loss of his twin sister for Matthew.”

RULES:

ideally vote based on which film is your favourite, but if you haven't seen both / either vote which one you'd like to watch most or prefer the vibes of

or any other reasonable metric of your choice

propaganda IS encouraged and can be sent to me or added to the post

go forth and have fun!

[youssefguedira]

tog fandom's favourite luca marinelli movie: ROUND TWO

Summaries:

Trust (2018):

“The trials and triumphs of one of the wealthiest and unhappiest families of the United States, the Gettys. Originally planned to be told over multiple seasons and spanning the twentieth century, the series begins in 1973 with the kidnapping of John Paul Getty III, an heir to the Getty oil fortune, by the Italian mafia in Rome.”

L'ultimo terrestre / The Last Man On Earth (2011):

“The story of the latest week on the earth before the announce of the landing of an extraterrestrial society on earth seen by the eyes of a misogynist man with only the desire solitude and routine.”

RULES:

ideally vote based on which film is your favourite, but if you haven't seen both / either vote which one you'd like to watch most or prefer the vibes of

or any other reasonable metric of your choice

propaganda IS encouraged and can be sent to me or added to the post

go forth and have fun!

[youssefguedira]

tog fandom's favourite luca marinelli movie: ROUND TWO

Summaries:

Non essere cattivo / Don't Be Bad (2015):

 “A story set in the 90s and in the outskirts of Rome to Ostia. A world where money, luxury cars, night clubs, cocaine and synthetic drugs are easy to run. A world in which Vittorio and Cesare, in their early twenties, act in search of their success.”

Una questione privata / Rainbow: A Private Affair (2017):

“Summer 1943, Piedmont, Italy. Milton loves Fulvia who plays with his love: she only likes the depth of his thought and the letters he writes to her. One year later, Milton has joined the Resistance and fights beside other partisans. He learns during a conversation that Fulvia was secretly in love with his best friend Giorgio, a partisan like him. Milton decides to go find Giorgio in the Langhe region of Italy with all its misty hills…But Giorgio has just been arrested by the Fascists.”

RULES:

ideally vote based on which film is your favourite, but if you haven't seen both / either vote which one you'd like to watch most or prefer the vibes of

or any other reasonable metric of your choice

propaganda IS encouraged and can be sent to me or added to the post

go forth and have fun!

[youssefguedira]

tog fandom's favourite luca marinelli movie: ROUND TWO

Summaries:

Le otto montagne / The Eight Mountains (2022):

“An epic journey of friendship and self-discovery set in the breathtaking Italian Alps that follows the profound, complex relationship between Pietro from Turin, and Bruno, who grew up in an isolated mountainside village, over four decades.”

The Old Guard (2020):

“Led by a warrior named Andy, a covert group of tight-knit mercenaries with a mysterious inability to die have fought to protect the mortal world for centuries. But when the team is recruited to take on an emergency mission and their extraordinary abilities are suddenly exposed, it’s up to Andy and Nile, the newest soldier to join their ranks, to help the group eliminate the threat of those who seek to replicate and monetize their power by any means necessary.”

RULES:

ideally vote based on which film is your favourite, but if you haven't seen both / either vote which one you'd like to watch most or prefer the vibes of

or any other reasonable metric of your choice

propaganda IS encouraged and can be sent to me or added to the post

go forth and have fun!

[youssefguedira]

tog fandom's favourite luca marinelli movie: ROUND TWO

see updated bracket below:

and our list of showdowns (links will be added as polls are posted):

LA GRANDE BELLEZZA / THE GREAT BEAUTY (2013) vs DIABOLIK (2021)

LE OTTO MONTAGNE / THE EIGHT MOUNTAINS (2022) vs THE OLD GUARD (2020)

MARTIN EDEN (2019) vs WAVES (2012)

NON ESSERE CATTIVO / DON'T BE BAD (2015) vs UNA QUESTIONE PRIVATA / RAINBOW: A PRIVATE AFFAIR (2017)

TRUST (2018) vs L'ULTIMO TERRESTRE / THE LAST MAN ON EARTH (2011)

RICORDI? / REMEMBER? (2018) vs LA SOLITUDINE DEI NUMERI PRIMI / THE SOLITUDE OF PRIME NUMBERS (2010)

LO CHIAMAVANO JEEG ROBOT / THEY CALL ME JEEG (2015) vs FABRIZIO DE ANDRE: PRINCIPE LIBERO (2018)

IL PADRE D'ITALIA / THERE IS A LIGHT (2017) vs TUTTI I SANTI GIORNI / EVERY BLESSED DAY (2012)

go forth and have fun!!!

[youssefguedira]

re: the tournament if you hate the letterboxd summary because they do suck and want to write a better one feel free to send it to me and i'll add it on

[youssefguedira]

waves is currently winning by more than tog btw. very funny piece of information to me

[youssefguedira]

shout out to the single valiant il mondo fino in fondo voter

[youssefguedira]

tog fandom's favourite luca marinelli movie: ROUND ONE

Summaries:

Diabolik:

“1960s, the city of Clerville. The forthcoming visit of heiress Eva Kant, who’ll be bringing a famous pink diamond with her, catches the attention of Diabolik, the infallible and elusive thief whose real identity is unknown: while trying to steal the jewel, he finds himself bewitched by Eva’s charm, a feeling she may be reciprocating. But the police, led by relentless Inspector Ginko, is rapidly closing in on him…”

Slam:

“Samuele is 16 and has a passion for skateboarding. He has big dreams: going to university, move to California, and travel, but things change when he meets Alice, who could be the girl of his life.”

RULES:

ideally vote based on which film is your favourite, but if you haven't seen both / either vote which one you'd like to watch most or prefer the vibes of

or any other reasonable metric of your choice

propaganda IS encouraged and can be sent to me or added to the post

go forth and have fun!