I would like to especially thank Cori Hundt (Middlebury College, ’11), whose thesis on this subject was incredibly useful in providing me with both a starting point for research and fresh ideas about the adaptations themselves.
David Mamet’s Uncle Vanya
American playwright David Mamet was commissioned to create an adaptation of Chekhov’s Uncle Vanya in 1988 after his successful recreation of Chekhov’s play The Cherry Orchard. Mamet cites Chekhov as one of the major influences on his theatrical ideas, and he viewed his work in Chekhovian adaptation as “the practical approach to grasping Chekhov’s technique.” Considering that Mamet was not a Russian speaker, he modified the original from Vlada Chernomordik’s unpublished, direct translation of the text. In general, Mamet was truthful to the original plot, but “enlivened the language and situations” within his adaptation. The diction and syntax were reworked from Chekhov’s play to more reflect Mamet’s own writing style, with instances of repetition and pause that were not present in the original. The playwright’s noted love for contradiction is evident in the interaction between the characters of the new Uncle Vanya, who challenge each other more harshly and openly. In creating a new Uncle Vanya, Mamet modernized the old Russian text to be more suitable for modern American audiences.
The play opened on April 13th, 1988 at the American Repertory Theater in Cambridge, Massachusetts. Mamet’s adaptation of Uncle Vanya also made it to the screen; it was the basis for Mamet’s screenplay for the film Vanya on 42nd Street, directed by Louis Malle and produced in 1994.
 Nadel, Ira Bruce. David Mamet: a Life in the Theatre. New York: Palgrave Macmillan, 2008. Print: 143
 Ibid: 166-167
 Hundt, Corinne. “Understanding the Purpose of Modern Adaptations of Classic Works of Dramatic Literature: A Case Study of Anton Chekhov.” Thesis. Middlebury College, 2011. Print: 53
 Ibid: 60
 Plotkins, Marilyn. The American Repertory Theatre Reference Book: the Brustein Years. Westport, CT: Praeger, 2005. Print: 77
Howard Barker’s (Uncle) Vanya
“I remade Vanya because I loved his anger, which Chekhov allows to dissipate in toxic resentment. In doing this I denied the misery of the Chekhovian world, where love falters in self-loathing and desire is petulance.” (Barker)
Howard Barker, a British dramatist and poet, was inspired to rework Chekhov’s Uncle Vanya in 1996 when he read a letter written by the playwright to an old friend, in which he describes the melodramatic use of the gun in the play. From such aggressive inspiration, it is no surprise that Barker’s adaptation takes the passionate violence of the original to its extreme. The play begins at the climax of the Chekhovian version, where Vanya and Serebryakov are quarrelling with each other and, in the heat of the arguement, Vanya stumbles into the drawing room with the gun. Vanya’s shot does not miss in this version: Vanya kills Serebryakov. After her old husband’s death, Helena engages in a fiery affair with Vanya. Later in the play, Sonya strangles Astrov to death. Both Astrov and Serebryakov come back later in the play as ghosts, and are joined by another ghost: Chekhov himself. Through melodrama, Barker’s tragicomic (Uncle) Vanya primarily comments upon the effects of the assertion of individuality, instinct, and the will to live.
 Shuttleworth, Ian. “Review of (Uncle) Vanya.” Review. Financial Times. Theater Things. Web. 16 Apr. 2011. <http://www.compulink.co.uk/~shutters/reviews/96118.htm>.
 Hundt, Corinne. “Understanding the Purpose of Modern Adaptations of Classic Works of Dramatic Literature: A Case Study of Anton Chekhov.” Thesis. Middlebury College, 2011. Print.
 “Uncle Vanya.” The Wrestling School.
Sam Holcroft’s Vanya
Sam Holcroft, a dramatist educated in Edinburg and the recent winner of the Tom Erhardt Award for up-and-coming writers, brings both a streamlined and universal perspective to the most recent adaptation of Chekhov’s Uncle Vanya. She strips her play of all but the four main characters in Uncle Vanya: Vanya, Sonya, Yelena, and Astrov. With the absence of a supporting cast, the plot is frighteningly simple: two men love the same woman, and two women love the same man. As a result, the play centers on the sentiment of unrequited love, and the evocation of this familiar and heart-wrenching emotion is clear in every action of each of the characters. The universality of Vanya’s central theme causes the play to diverge from the realism within the seminal text in all but the interaction between the characters: “Holcroft has created a play that is aware that it is a piece of theatre, whereas Chekhov created slice of life works where he institutes a fourth wall in which the audience members are witnesses to the lives of those on the other side of the stage.”  Vanya’s departure from realism can also be attested to the new structure of Holcroft’s version. Instead of maintaining the Chekhov’s organization of Uncle Vanya into four, compartmentalized acts, Holcroft divides her play into 15 scenes. As a result, the time sequence in Vanya is blurred.
Holcroft’s adaptation of Uncle Vanya is certainly not a complete deviation from the original; the playwright manages to modernize Uncle Vanya yet still retain elements from Chekhov’s text. In essence, Holcroft manages to blend the modern with the traditional Russian both in the text and in the story. For example, Holcroft’s stylistic choices specifically recall as well as update Chekhov’s version. She particularly employs the use of 21st-cenutry humor—biting, witty, sarcastic remarks—to renew the tragicomedy present in Chekhov’s Uncle Vanya. The characters mostly remain faithful to the original with the exception of Astrov, whom Holcroft revises to better fit the contemporary train of thought. Astrov still assumes the role of an “eco-campaigner”, though while the original character talks on end about the effects of deforestation in the Russian countryside, Holcroft’s Astrov epitomizes the ant colony: his desired model for human social structure. He changes from an environmentalist to a sort of social anthropologist, though his commentary on the state of the natural world, evident in both the seminal and the adapted texts, still forms the heart of the doctor’s intellectual charm in the play.
Sam Holcroft’s Vanya premiered at the Gate Theatre in London in August of 2009. The play was scheduled to run from August 26th to September 26th, but due to popular demand was extended to include shows until October 3rd. The production was directed by Natalie Abrahami at its world premiere, and lasted around 90 minutes.
 “Sam Holcroft.” Doollee. Web. 17 Apr. 2011. <http://www.doollee.com/PlaywrightsH/holcroft-sam.html>.
 “About Vanya.” Off West End. Web. 17 Apr. 2011. <http://www.offwestend.com/index.php/plays/view/3245>.
 Hundt, Corinne. “Understanding the Purpose of Modern Adaptations of Classic Works of Dramatic Literature: A Case Study of Anton Chekhov.” Thesis. Middlebury College, 2011. Print: 18
 Haydon, Andrew. “Tragic Trajectories: Vanya, the Gate, London.” Culture Wars. 9 Sept. 2009. Web. 17 Apr. 2011. <http://www.culturewars.org.uk/index.php/site/article/tragic_trajectories/>.
 Hundt: 19
 Billington, Michael. “Vanya.” The Guardian. 2 Sept. 2009. Web. 17 Apr. 2011. <http://www.guardian.co.uk/stage/2009/sep/02/vanya-review>.
 “Vanya.” Gate Theatre. Web. 17 Apr. 2011. <http://www.gatetheatre.co.uk/whats-on/show-archive/vanya.aspx>.


NEYMAR, ROMEO SANTOS AND CHIARA FERRAGNI, MAD ABOUT ‘LA CASA DE PAPEL-MONEY HEIST’
The biggest holdup in history, ‘La Casa de Papel-Money Heist’ has hooked up football player Neymar, singer Romeo Santos and influencer Chiara Ferragni. Followed by millions, they have publicly declared in their social networks their passion for the drama series produced by Vancouver Media.
Chiara Ferragni, the Italian influencer, confessed herself as a follower of ‘La Casa de Papel – Money Heist’, sharing a photo in her Instagram stories.
A short while later, the football player from Paris Saint-Germain, Neymar, made public his addiction for Álex Pina’s drama series.
And in an attempt to mimic the accents of some characters from ‘La Casa de Papel – Money Heist’, the singer Romeo Santos recommended the series produced by Vancouver Media to all his fans via a video uploaded to his Instagram gallery. (If you want to watch it, click here https://www.youtube.com/watch?v=TJXS9xnBw6w)


"Ten Percent of running an Ultramarathon is the actual running, the other 90 Percent is mental."
I've made the decision to go forward with producing my newest film titled, 90 Percent. This short film will introduce audiences to 2 or 3 ultra-marathon runners living in Colorado's Front Range; whom are all preparing for the 2012 Big Horn 100 Mile Endurance Run, the races 20th Anniversary Running. The film will then follow these runners as they take on the Big Horn 100 and will capture their most intimate and candid thoughts throughout the race, as they run with handheld cameras.
PLEASE CONSIDER YOUR FINANCIAL SUPPORT OF 90 PERCENT. Currently Stone Face Productions is $300 short of the funding needed to produce this film. To donate, please contact Sherpa John at Sherpajohn@gmail.com for more information.


This duo is only seen together on the screen in 2010, they played the role of lovers in Venice. The movie “The tourist” Didn’t go well, but both the actor becomes friends. They never dated but Depp always used a poetic way to describe the actress.
Angelina Jolie was always in love with Johnny Depp
In a interview with The Japan times Angelina said she always wanted to work with Johnny Depp and who don’t want to, he’s such a great actor. Angelina fall in love with Depps character in the film Edward Scissorhands. In the book “Angelina: An unauthorized biography” it was mentioned that how much that movie inspired Angelina in her real life. She was drawn to that character particularly because of scissors in place of depp’s hands, as everyone know that Angelina has an obsession of sharp objects.
What Parameters Make Them Similar and Why They Should Have Ended Together
Both the actors are very particular about their character as dark and outlandish in the film selection. They both are very good actors in industry and have gained a lot of appreciation through the characters they played. Unfortunately both the actors upto now played in one movie, but everyone want them together in many more movies.
What Johnny Depp have to say about actress Angelina Jolie
In one if the interview when it was asked about Angelina, Depp made a jaw dropping action and said this is what he felt when he saw her, he called her breathless moment. He said that she’s not only beautiful but also perfect in every way as she’s very deep, very smart, very funny, very clever, very quick and also has a very perverse sense of humor. He said overall she’s great fun.
With this such admiration from Johnny Depp and from the same time many fans wanted then to be together as they fits perfect. But even without that both the actors are loved very much by their fans.


Charlie picked up a video camera as a young boy and has been behind the lens ever since. He is part of our video crew, shooting and editing – wherever client stories take him.
He’s used to the gig, after spending six years as Director of Photography and Video Editing with First Line Media, a production house that supports a variety of big-name clients. Charlie’s portfolio includes a mix of web videos, commercials and PSAs, many featuring celebrity spokespersons like Dorothy Hamill, Christina Applegate and Anthony Anderson. He even has an IMDb page, thanks to a documentary he shot, Wendover: Out on the Edge, which aired on PBS in 2010. Earlier career stops include production assistant jobs at two smaller studios.
Charlie grew up in Salt Lake City and received his Bachelor’s degree in Film and Media Arts from The University of Utah, which gave him the opportunity to take a class at The Sundance Film Festival. Early on, he thought about filmmaking in Hollywood, but after meeting his Atlanta-based wife in college, he became an East Coast convert, committed to the world of video communications.
Their family, which now includes two young daughters, resides in Marietta, where they are active in their church. Charlie serves as a youth leader to teens every Wednesday night, giving him a free pass to hang with the guys, play sports and watch movies.
Charlie speaks fluent Portuguese after two years living in southern Brazil. He’s well-positioned to continue his world travels, too, since his father-in-law is a pilot.


How to Find Hidden Gems When You Watch Movies Online?
Streaming platforms have revolutionized the way we consume movies and TV shows. With an abundance of content available at our fingertips, finding hidden gems among the vast sea of options can be a rewarding but challenging task. Some strategies and tips to help you discover those hidden cinematic treasures while ดูหนังออนไลน์.
- Explore Niche Streaming Services
Many lesser-known streaming platforms focus on specific genres or cultural niches. By subscribing to these ดูหนังออนไลน์ services, you can uncover unique films that cater to your specific interests. Whether you’re into international cinema, independent films, or classic documentaries, there’s likely a niche streaming service tailored to your taste.
- Read User Reviews and Ratings
Before hitting the play button, take a moment to read user reviews and ratings. Platforms like IMDb, Rotten Tomatoes, and Letterboxd provide valuable insights from fellow viewers. Look for films with high ratings and positive reviews, but also consider the opinions of viewers who share your cinematic preferences.
- Follow Film Critics and Reviewers
Film critics and reviewers often have a knack for spotting hidden gems. Follow their blogs, YouTube channels, or social media profiles to stay updated on their recommendations. Their expertise can guide you toward movies that might have slipped under your radar.
- Utilize Recommendation Algorithms
Streaming platforms employ recommendation algorithms that analyze your viewing history to suggest similar movies. Don’t hesitate to explore these recommendations; they can introduce you to films you might have never discovered otherwise.
- Join Online Film Communities
Online film communities, such as Reddit’s r/movies, offer a platform for cinephiles to discuss and recommend movies. Engaging in these communities can expose you to lesser-known titles and passionate film enthusiasts eager to share their discoveries.
- Explore Film Festivals
Many film festivals now offer online screenings, allowing you to access a curated selection of independent and foreign films. Keep an eye on upcoming festivals and take advantage of the opportunity to watch unique and innovative cinema.
- Take Risks with Unknown Directors
Established directors often draw attention, but hidden gems can be found in the early works of up-and-coming filmmakers. Don’t be afraid to explore movies by relatively unknown directors; you might stumble upon their breakthrough masterpiece.
- Check Out Film Lists and Guides
Numerous websites and publications compile lists of must-watch films from various genres and eras. Seek out these lists and use them as a roadmap to discover cinematic treasures you haven’t yet experienced.
- Embrace Different Cultures
Expand your horizons by watching movies from different cultures and countries. Foreign films can offer unique perspectives, storytelling styles, and hidden gems that might not have received widespread recognition.


DOCVILLE 2018 has passed, the next edition will be March 27th - April 4th 2019.
The winners of the competition will be announced at the Award Ceremony in presence of the jury, followed by the screening of the film Mountain and a reception. The DOCVILLE jury hands out 3 awards:
The audience awards their favourite film with the DOCVILLE Audience Award. Nominees: all international films from the different programs
1. LEEN ENGELEN(BE) is a film and media historian. She teaches film and animation film students at LUCA School of Arts (Belgium). She is also part of the teaching team of the Docnomads master program in documentary film directing.
2. CHRISTOPHER QUIN (BE) is an awarded Film director, writer, and producer. His film God Grew Tired of Us (2006) won numerous prizes. In 2007, Quinn was awarded the emerging documentary filmmaker award by the International Documentary Association. His latest film – Eating Animals – is shown at DOCVILLE.
3. WARD VERRYCKEN (BE) is a movie reporter for Belgian public broadcaster VRT. Claims he remembers only things that happen in movies.
4. TOM BLEYAERT graduated as master in Politics and Social Science from the University Ghent. Started working for the national broadcaster VRT in 2000. Since 2001 he is responsible for the purchase of international documentaries for CANVAS.
5. NEASA NÍ CHIANÁIN (IE) is an Irish documentary filmmaker, best known for her 2016 film In Loco Parentis/School Life which premiered at IDFA and Sundance Film Festival and won the Jury Prize of Best International Documentary at DOCVILLE 2017. Since 2006, Neasa has been co-director of the Guth Gafa International Documentary Film Festival.
6. DANIEL CROSS (CA) is the Founder of Eyesteelfilm in Montreal and Associate Professor and previous Chair of the Mel Hoppenheim School of Cinema, Concordia University in Montreal. A multi-disciplined award-winning filmmaker with a long history of directing and producing theatrical documentaries as well as interactive documentary approaches.
7. BART MAES (BE) From sound engineer, cameraman and trouble shooter to globetrotter, director and creator of author documentaries: Bart was involved in the making of numerous ( 100+) author driven films and founded his own production company ZON*DER_LING.
8. MARTIN HORYNA (CZ) is a Member of the Program Department at the Karlovy Vary IFF which is held annually in July in the Czech Republic, where he is programming documentaries. Previously he worked as a film journalist and critic.
9. ANNA VAN DER WEE (NL) is producer and director, head of Wild Heart Productions. Van der Wee has produced for more than 20 years award winning, relevant and compelling documentaries which have played in theatres and been bought by broadcasters from around the world.


Sign up Sign in. The story of Wu Xie, Zhang Qi Ling and Wang Pang Zi who join forces again after a ten-year hiatus to go on an adventure.
Please help us to describe the issue so we can fix it asap. For downloading this video, please login first. Accueil » Cinéma & TV » The Lost Tomb 3; Note: 0.0 /5 (0 vote) The Lost Tomb 3.
According to writer, this drama is a sequel of The Lost Tomb series which takes place about 10 years after the events of main story, farthest into the timeline. The Lost Tomb Reboot Season 2. Drama | Chine | 1 commentaire. Origin: China This page was last edited on 30 October 2020, at 11:29.
It revolves around Liu Sang and Wang Meng's ancestor, Liu Qianmo and Nanmeng Denghai who searches for the Wu Tong Immortal to seek revenge. The Lost Tomb Episode 3 2016-01-14 08:04:39; SUB The Lost Tomb Episode 2 2016-01-14 08:04:33; SUB The Lost Tomb Episode 1 2016-01-06 15:15:28; Login to Drama Cool Log in with Google Remember me Forgot password?
Wu Xie, Pang Zi and Zhang Qiling have hung their hats to keep a ten-year promise.
Audio Not Synced Wrong Audio Other .
Dear valued customer, After exchanging their adventures for a normal life, a text by Wu Sansheng drives them to embark on a mysterious journey again for the sake of family and friendship. Please help us to describe the issue so we can fix it asap. But anyway, the curiosity about it made me to open Viki and watch it. Please report us immediately (with short video or screenshot) when you see these ads. Drama Title: The Lost Tomb 3 盗墓笔记重启 Origin: China Release Date: December 2020 Episodes: 72 Synopsis: The drama follows the lives of three men. First episode finished....and i was left in shock. The drama follows the lives of three men.
Subtitle Not … Episodes: 30; Broadcast network: iQiyi; Broadcast period: 2020-Sep-13 to 2020-Sep-29; Synopsis .
The Lost Tomb (Chinese: 盗墓笔记; pinyin: Dàomù Bǐjì) is a 2015 Chinese web series based on the internet novel Daomu Biji.The series was originally intended to have 8 seasons filmed over a period of 8 years but only two seasons were produced as of 2020. Please scroll down to choose servers and episodes, Global Request Show- A Song for You Season 4 Episode 15, Dageki Tenshi Ruri (Blow Angel Ruri) Episode 7, Terrace House Boys x Girls Next Door Episode 99. Drama Title: The Lost Tomb 3 盗墓笔记重启
Movie Broken Wrong Movie Other .
A text from Wu Sansheng drives the iron triangle trio to embark on a mysterious journey once again for the sake of family and friendship.
1. If errors re-appear then report to us. Audio Not Synced Wrong Audio Other .
If there any errors appear, please reload the page first. Release Date: December 2020 Sign up Sign in.
Filming lasted 185 days from October 11, 2018 to April 14, 2019. The Lost Tomb 3 盗墓笔记重启, Dao Mu Bi Ji Chong Qi, Chong Qi Zhi Ji Hai Ting Lei, The Lost Tomb Reboot, Ji Hai Ting Lei, 极海听雷, Chong Qi, 盗墓笔记, 重启, 重启之极海听雷, The Lost Tomb 3: Heavenly Palace on the Clouds.


Today, I want to share something that maybe can change your personality (if you take it seriously). I love watching drama that comes in series even the episodes are to many to mention. I just love watching it both on TV or straight away streaming from the internet. I like to see how the story expands from the beginning to the climax. Its just like you have to be extra patient throughout the story. Moreover, you can watch it like one day one episode. As a student, I used this as a reward for myself after a long and tiring day — Relax Time & Free Your Mind.
That’s why I want to share or maybe recommend to you readers to watch this.
It is a Philippine drama. Some of my friends think that it is lame to watch such drama especially in Philippine. It do sounds lame but wait till you watch it. Starting from last year, it becomes one of my favourite drama until now. It has so many episodes which begins from 2012 and has not come to the end yet.
Why I love this drama ?
- The main point is about family. Teach how to appreciate and caring about your family. Teach how to be a good parents and children.
- No antagonist — I mean like AT ALL. Seriously. The first drama I watch which does not have any bad characters and so you know what does it mean? Yeah. No typical-wicked plus evil scene like other dramas.
- Courage and passion. The main character also the heroin plays a role as a very simple girl who is very positive and never lose any hope to achieve her dream. (I wish I can be talkative like her).
There others moral values from this wonderful drama. Its really spreading good vibes towards me. Maybe I can be more positive and passionate after this. Here I put the synopsis as a frame so you can imagine what this drama all about.
A simple girl, Maya dela Rosa (Jodi Sta. Maria), her older sister, Cristina Rose, and Cristina’s son are introduced as tour guides in their hometown of San Nicolas, with their mother runs a souvenir shop. Money is often less than the living expenses and household repairs. Cristina Rose hopes to work at sea, while Maya dreams of becoming a flight stewardess. One rainy night, after an attempt to fix the roof, Cristina breaks her leg and is thus unable to complete her schooling to become a seafarer. With a large medical bill, Maya deems it necessary to work overseas for two years to help her family. Upon arrival in Manila, Maya discovers that the woman who had offered work overseas had swindled her. Maya is stuck in Manila with no money or place to go. Relentless, Maya allows no one to stop her, not even the handsome, wealthy widower Richard Lim (Richard Yap), who reminds her of her shortcomings.
Ironically, Richard is her last hope because of his influence in the airline industry. He offers Maya to become his youngest daughter’s (who has selective mutism) temporary nanny in exchange for his help. Maya agrees to become a maid and nanny in his household. Upon entering the Lim home, she finds herself involved in the private lives of Richard and his three problematic children: Luke (Jerome Ponce), Nikki (Janella Salvador) and Abby (Mutya Orquia).
Maya realizes that since Richard’s wife died, the family’s joy died with her; hence their problems. Maya is tasked to bridge Richard to his children and eventually she succeeds in rebuilding the family. However, in repairing their broken hearts, Maya encounters bigger challenges that test her determination and, more importantly, her heart. While fulfilling her obligation, she falls in love with the Lim children and, admittedly, with Richard.
Straight away from Wikipedia. Lulz 😛


Wednesday, April 26, 2006
A couple of upcoming events will focus on practical considerations concerning independent film/video, and business podcasting, respectively:
- May 4-5, the 2006 San Francisco Film & Video Makers Conference (San Francisco, CA): "[L]earn about the new San Francisco film incentives, new film funds established to invest solely in independent films and new distribution channels for independent film makers that are changing the economics of film making."
- June 20-21, the Corporate Podcasting Summit (Redwood City, CA): "[T]he absolute 101 on Enterprise Podcasting."
(Proving once again you can make this stuff up!)
Unless otherwise expressly stated, all original material of whatever nature created by Denise M. Howell and included in the Bag and Baggage weblog and any related pages, including the weblog's archives, is licensed under a Creative Commons License.


As far as really really good movies I've had the fortune of seeing recently the one that really stands out is a overlooked movie that came out last year called "The Virgin Suicides." The movie while one of the more depressing movies in recent memories is just brilliantly directed by first time director Sofia Coppola (it was also her first screenplay - quite impressive indeed). I thought you know going into this movie A) I'm a guy and B) depressing movies just sometimes make it really really tough for me to like the movie they have those endings where its like you emotionally feel like you have just fallen off a cliff... yet despite A) and B) I was very moved by this movie... the directing, cinematography, acting, music - all work extremely well hand in hand complementing each other. This movie will make you even more so want to enjoy every second and moment with those rare & special people you meet on the roads of life.
Josh Hartnett as Trip Fontaine turns in a very cool performance. Kathleen Turner turns in a performance that is so good you wonder how she got overlooked when it came Oscar time... and of course James Woods is incredible as are all the Lisbon sisters. Kirsten Dunst is intoxicatingly beautiful in this movie and really proves she is going to be an amazing actress to watch in the years ahead.
Probably my favorite sequence in the movie is the telephone sequence towards the end... the scene starts out and your not quite sure where it's going to go... but once the needle on the record strikes and the Todd Rundgren song "Hello It's Me" starts to play it transports you into a genuinely touching movie moment (and a great use of split screens) as you watch the boys and Lisbon sisters phone each other back playing music that perfectly fits. Another favorite scene is where Josh Hartnett leaves the Lisbon house... and you know he is sorta on this "not-really a date - date. The montages throughout the movie and their interludes with the music by the band "Air" combined with the beautiful cinematography by Edward Lachman are just pure movie magic.
All in all a movie that draws you in despite its slow moments, depressing moments, and haunting moments... a movie full of life, quite moments, passion, imagination, reaching out, and those moments in life not usually seen in movies that are beautifully captured in a very passionate way. Going back over the movie I find that when the movie works you become much like the boys in the movie fully enthralled with the Lisbon sisters and searching for clues and answers as to "why... why... why"... as key and subtle moments pass by... its very hard not to fall in love with the Lisbon sisters... and though they exist solely in the realm of this movie... you feel that they are real as if they were someone you know in your life either as sister or a friend that you care about deeply and you feel their ups and downs... yet at the same time you can't reach out to help... though you desperately want to...
The Virgin Suicides
Drama / Romance
The Virgin Suicides
Drama / Romance
A man about forty years of age tells the story from when he was a teenager in upscale suburban Detroit of his and three of his friends' fascination with the mysterious and doomed Lisbon sisters. In 1974, the sisters were seventeen year old Therese, sixteen year old Mary, fifteen year old Bonnie, fourteen year old Lux, and thirteen year old Cecilia. Their fascination still remains as they try to piece together the entire story. The sisters were mysteries if only because of having a strict and overprotective upbringing by their father, who taught math at the girls' private co-ed school, and overly devout Catholic mother, who largely dictated the household rules. The story focuses primarily on two incidents and the resulting situations on the girls' lives. The first was an action by Cecilia to deal with her emotions over her life. And the second was the relationship between Lux - the sister who pushed the boundaries of the household rules most overtly in doing what most teenagers want to...
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April 16, 2018 at 03:38 AM


Critically acclaimed director Darko Lungulov got his start after walking away from a frustrating collaboration. Get to know the making of his film Here and There, and much more.
Current Residence: Splitting time between New York City & Belgrade
Occupation: Film Director & Writer
Areas of Focus: Feature films, storytelling,
How would you describe the cinema in Serbia?
Cinematography in Serbia has a great potential. There is a great wealth of talented actors, directors, and cinematographers. However, right now, it’s a chaotic scene, where making films happens coincidentally, not in a planned way, even with two public film making funds in existence: the Ministry of Culture Fund and the City of Belgrade Fund. Conclusion; abundance of talent, lack of structure and organization.
What was your life like before you began directing films?
For a long time after film school, I worked as a film editor and had no directorial aspirations. Having few frustrating collaborations with directors led me to believe that I could easily direct and do a good job at it. So I started directing, first documentaries and then feature film.
What is your favorite aspect to making films?
Definitely production – shooting is my favorite part, no doubt, The adrenaline rush, the togetherness of many people around the same idea giving their best for the common goal, I love that feeling. We are all united in believing in this idea, in this story. I just love filming. Sometimes I am so excited after the shooting day that I cannot fall asleep for hours, reliving the whole day.
In 2010, your film Here and There has been recognized by major film festivals, what has that experience been like for you? Was there anything that was a surprise during your film festival experience?
My feature film “Here and There” started off by winning the Best New York Narrative Award at the Tribeca Festival. Eventually, Here and There won total of 16 international at the festivals around the world. The most intense festival experience was at the Tribeca Festival, where I was so overwhelmed by the whole “red carpet experience”. I really didn’t expected that much media attention.
Cindy Lauper showed up for the premiere and she is such an icon, especially a New York icon, so the amount of attention was amazing. And we also already had a buzz surrounding our film as one of the “must see’s” at Tribeca”. Finally the film won an award so all that made for an amazing start for the film.
Cyndi Lauper was part of the cast of your film Here and There, what was it like to work with her?
Cyndi Lauper is a great and truly generous person. She was extremely professional and dedicated. And she is such a funny lady. During Tribeca and during our USA theatrical run she was a great support and always ready to help the film. She also made a terrific title song “Here & There” for us.
What are 5 things you’ve learned about directing in hindsight where perhaps, you didn’t consider and/or know before?
1. Director’s responsibility is to hear others, but ultimately, to listen to himself.
2. Getting an emotion from the actors is crucial. Everything else – framing, production design, costume etc – is important but secondary.
3. Never ever show that you don’t know what you are doing on the shooting set.
4. Stand your ground.
5. Always try to stay “in story” ( similar to actor who tries to “stays in character” between the takes).


Root Story Studios launched in 2019 when founder Sydney Decker decided to leave her position as a journalist at a news radio station to pursue her dream job creating personal documentary films.
While most documentary films focus on famous people or events, Sydney believes there is power in the simple and profound lives lead by ordinary people. To that end, Root Story Studios uses video, audio, photography and music to create short features about client's legacies.
No story is the same, and while Root Story Studios offers several packages, no film looks alike. Root Story Studios is committed to adding a personal touch and personality to each film to best represent the client's legacy and life.
Visit the "Packages" section of the website to find out which one is right for you.


4K Video Production
4K video production, we can go much further. We offer the highest available standards when it comes to image resolution. All projects are filmed in industry-standard high definition 4K video or above. 4K video production technology guarantees the highest level of quality as well as the most room to enhance the imagery in post-production. We are able to develop high resolution projects into website video formats, as well as deliver cinema screen ready digital formats.
High resolution video, or 4K video content is no longer out of reach. The price of 4K television screens is dropping and the resolution of all other mobile and desktop devices are increasing as well. Hence the future dictates our standard and we make sure that the cinematic content that we create for our clients is future proof as well.
It’s only a matter of time before 4K video production becomes the new standard of the video production industry. As filmmakers, we thought to ourselves “why wait?”. We want to help bring about this standard sooner rather than later and pioneer the advancement of high resolution digital video.
It’s not all about the resolution. We shoot on cinema standard cameras and lenses made for the cinematographer and we have the lighting to match. World class technology lies at our fingertips and we’re itching for an excuse to use it. It’s not just the cameras either, we have track & dolly, camera jibs, smoke machines, wind machines, pyrotechnics and aerial drones.
How would this benefit you as a client? Well, if we shoot Hollywood, you get Hollywood. The high dynamic range and sensitive cameras allow us to create beautifully crafted cinematic images. The camera rigs add a level of camera movement that will really impact your story and everyone loves a good explosion. We want to bring the look and tone of cinema to your web browser, we have the technology to do this, so why can’t your business get the Hollywood treatment?
Hollywood can be expensive, but Film Division is not. We cater to all budgets and all project sizes. So tell us about your next project, it may not be as expensive to create as you think!


This movie is one of my all time favorite movies. It brings a sense of quiet enchantment into your life that is inescapable for days after you see it. Four women, worn out, depressed, and in need of time away from the dreariness of London, travel through separate means to a villa in Italy. They seek alone time guardedly, hoping to find their souls peace they feel they have lost. Slowly they relax to the peace of their surroundings, share moments of quiet conversations, and grow from one anothers experiences. The movie is delightful, fulfilling, and definitely leaves you planning your own quiet getaway to Italy.
Have you seen this movie?


Showtime’s The First Lady is not your typical political drama. Rather than tell the usual male-dominated saga from the halls of the West Wing, the new series, as the title suggests, looks through the lens of three trailblazing women who made the most of their time in the White House—Michelle Obama, Eleanor Roosevelt, and Betty Ford. According to Deadline, the show “will peel back the curtain on the personal and political lives of three unique, enigmatic women and their families, tracing their journeys to Washington, dipping into their pasts and following them beyond the White House into their greatest moments.”
Starring Viola Davis, Gillian Anderson, and Michelle Pfeiffer, The First Lady is created by Aaron Cooley, show-run by Cathy Schulman (Crash), and directed by Susanne Bier (The Undoing). Schulman and Bier are also executive producers alongside Davis and others.
As The First Lady‘s 10-episode series premieres tonight, we’re taking a closer look at the A-list cast and the historical figures they’re bringing to life.
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Viola Davis as Michelle Obama
Is there anyone more fit to portray Michelle Obama than the Viola Davis? The Oscar and Emmy winner (for Fences and How to Get Away with Murder, respectively) transforms into the former first lady, who served in the White House from 2009 to 2017 and championed causes like nutrition and girls’ education.
Michelle Pfeiffer as Betty Ford
After building an impressive resume (that includes Scarface, The Fabulous Baker Boys, and Batman Returns), the legendary Michelle Pfeiffer turns to former first lady Betty Ford for her next role. Serving from 1974 to 1977, Ford was a known supporter of the Equal Rights Amendment.
Gillian Anderson as Eleanor Roosevelt
The X-Files and Sex Education star is no stranger to playing historical figures; in season 4 of The Crown, she portrayed the “iron lady” Margaret Thatcher. Now, she’ll play Eleanor Roosevelt, the longest-serving U.S. first lady (1933-1945), who transformed the role into a more active one and was a champion for women’s rights.
O-T Fagbenle as Barack Obama
Best known for playing Luke in The Handmaid’s Tale, Fagbenle steps up to the challenge of portraying America’s historic 44th president, Barack Obama.
Kiefer Sutherland as Franklin D. Roosevelt
The former 24 star portrays Franklin D. Roosevelt, who led the country through the Great Depression and while Wold War II raged on outside its borders.
Aaron Eckhart as Gerald Ford
With credits including The Dark Knight, Erin Brockovich, and Thank You for Smoking, Eckhart portrays Gerald Ford, Richard Nixon’s vice president who took on the presidency after his superior resigned post-Watergate.
Lexi Underwood as Malia Obama
You’ve seen her as Kerry Washington’s onscreen daughter in Little Fires Everywhere. Now, newcomer Lexi Underwood finds a new onscreen mom in Viola Davis as she plays Michelle and Barack Obama’s oldest daughter, Malia.
Saniyya Sidney as Sasha Obama
Playing younger Obama daughter Sasha is Saniyya Sidney, who recently starred as Venus Williams in the Oscar-nominated King Richard.
Dakota Fanning as Susan Ford
Fanning starred in as Uptown Girls and War of the Worlds in her younger years and One Upon a Time…in Hollywood and The Alienist as an adult. In The First Lady, she’ll portray Susan Ford, daughter of Betty and Gerald R. Ford.
Cailee Spaeny as Anna Roosevelt
In her last TV role, Cailee Spaeny portrayed Mare of Easttown‘s central victim, Erin McMenamin, opposite Kate Winslet. Next, she’ll play Eleanor and Franklin D. Roosevelt’s only daughter, Anna.
Eliza Scanlen as young Eleanor Roosevelt
Eliza Scanlen, known for roles in Greta Gerwig’s Little Women (Beth) and HBO’s Sharp Objects, plays a younger version of Anderson’s Eleanor Roosevelt.
Kristine Froseth as young Betty Ford
Kristine Froseth has come up on YA series like the Hulu’s Looking for Alaska and Netflix’s Sierra Burgess Is a Loser and The Society. The First Lady finds her playing Betty Fordin her younger years.
Jayme Lawson as young Michelle Obama
Regina Taylor as Marian Robinson
Regina Taylor, who has starred in TV series I’ll Fly Away and The Unit (she also had a role in Lovecraft Country), plays Marian Lois Robinson, Michelle Obama’s mother.
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While the release of the " Incredibles 2 " is only scheduled for June 15 in the United States and July 4, 2018, in France, the feature film Pixar Studios could blow the records at the US box office, according to the forecasts.
Fourteen years after the first part, the wait was long to finally find the family of superheroes. And that could be economically felt. Disney and Pixar rely on a supersonic departure of the " Incredibles 2 " at the US box office with more than 140 million dollars in revenue, reports The Hollywood Reporter. It would be the best start for an animated film in the United States, surpassing the historic launch of the " Finding Dory " in 2016 with 135 million dollars.
" The Incredibles 2 " was directed by Brad Bird, back after writing and directing the original feature film in 2004. Spectators will follow the new adventures of the Parr family, trying to live a normal life despite their superpower.
According to THR, the film could reach $ 140 million in the territory the day of its release on June 15. The current record holder is another Pixar film, Finding Dory, whose debut is estimated at $ 135 million.
To set the context, the first film of the Incredibles started in 2004 with about 70.5 million dollars (without taking into account inflation). Moreover, last year, Coco made $ 49 million in its national opening and has since reported about $ 805 million worldwide, according to Mojo Box Office.
So we hope the same thing for The Incredibles 2 in France, which promises to be a success that will bring together young and old, nostalgic of the first film released 14 years ago.
The Indestructible 2 will be released in cinemas on July 4 in France.
Elastigirl springs into action to save the day, while Mr. Incredible faces his greatest challenge yet -- taking care of the problems of his three children.
Initial release: 14 June 2018 (Brazil) Trending
Director: Brad Bird
Film series: The Incredibles
Music director: Michael Giacchino
Producers: John Lasseter, Nicole Paradis Grindle, John Walker


Video editing is a crucial step in the filmmaking process, where raw footage is transformed into a cohesive and engaging visual story. It’s the art and science of manipulating video and audio elements to create a seamless and impactful final product. In this blog post, we’ll dive deep into the world of video editing, exploring its key principles, techniques, and tools.
The Basics of Video Editing:
- Assembly: The first step in video editing is importing and organizing your footage. This includes selecting the best takes, arranging clips in the desired sequence, and creating a rough cut.
- Cuts and Transitions: Video editors use cuts (straight transitions) and a variety of transitions (dissolves, wipes, fades, etc.) to move between scenes and shots. The choice of transition can significantly impact the viewer’s perception.
- Timing and Pacing: Timing is everything in video editing. Editors control the duration of shots to create rhythm and pacing that suits the story’s mood. This involves adjusting shot lengths, adding pauses, or speeding up sequences.
- Color Correction and Grading: Editors adjust the colors and tones of the footage to achieve a consistent and appealing look. This step can drastically alter the mood and atmosphere of a video.
- Sound Design: Audio is as important as visuals. Sound editors work on dialogue, music, and effects to create a balanced and immersive audio experience.
- Visual Effects (VFX): Video editors may incorporate visual effects to enhance scenes, from simple text overlays to complex CGI elements.
The Role of Video Editing Software:
Video editing software is the editor’s toolbox. Popular options like Adobe Premiere Pro, Final Cut Pro, and DaVinci Resolve provide powerful tools for editing, effects, and audio manipulation. Understanding and mastering these software platforms is essential for professional video editors.
Collaboration and Feedback:
Video editing is often a collaborative process. Editors work closely with directors, producers, and other team members to ensure the final product aligns with the creative vision. Feedback and revisions are integral to refining the edit.
Video editing is a multifaceted craft that combines technical expertise with artistic sensibility. It’s the invisible hand that shapes the stories we see on screens, making it an essential part of filmmaking and video production.


Get out your Ray-Bans and autograph books!
From the Indy Star, via AP:
MADISON, Ind. -- Hollywood and some of its stars were expected to come to the city for a long-awaited debut of a movie partly shot in the Ohio River community six years ago.
After a string of expected openings, the independent film "Madison," shot in 1999, should premiere in the community on April 16, The Courier-Journal of Louisville, Ky., reported.
Indiana native Bill Bindley wrote and directed the movie, which was set in 1971 and resembled "Hoosiers" in that it was about small-town values and an underdog. It stars Jim Caviezel -- "The Passion of the Christ" star -- and focused on a community-owned powerboat, Miss Madison, and its push to defy the odds to earn top prize during the city's annual powerboat regatta on the Ohio River.
Caviezel, co-star Jake Lloyd -- Anakin Skywalker in "The Phantom Menace" Star Wars film -- and Bruce Dern were expected to attend the opening, officials said.
Linda Lytle, executive director of the area's convention and visitors bureau, said the city would host the premiere.
"We're trying to make it as nice as we can," she said
The last time Hollywood came to the city was 1958 to film "Some Came Running," starring Frank Sinatra.
Lessee....we've got "Breaking Away", "Hoosiers", "Rudy" and now "Madison". Gotta be something in the corn. I went to IU and grew up not far from Bloomington, so of course "Breaking Away" is a favorite film. My father went to Butler University and both of my parents were at the *real* game depicted in "Hoosiers" (never watch this film with my parents, for you will spend the entire movie deluged in Hoosier basketball arcana and fact-checking, and yes, that bloody well IS Ray Crowe playing the coach of the South Bend team). Notre Dame is Hoosier by geography rather than personality, I'm afraid. We'll have to see how this film visit to Kentuckiana goes. Must, must see.


With the new Matrix movie out, I thought I’d write a few thoughts about the new movie, as well as the series in general:
*** Spoiler, all the important characters live, and there is a happy ending ***
It’s not that the new movie is terrible… but it is bad. Half way through the movie, I was thinking, “What the hell is going on. This is boring.” The fight scenes were ok-ish, and there were some cool characters. But the supporting characters were pretty bland compared to the original movies. The movie had none of the tension and betrayal in the original film, and was fairly predictable once you figured out that Neo was in another matrix.
Back in 1999, The Matrix was new and interesting with a cool style, unique at the time. The use of a slow-motion “Bullet Time” fight scenes gave the action a video-game feel. (Bullet Time has become a standard in many modern action video-games, ever since “Max Payne”) All and all, it was a fun film to watch, especially if you ignore the ridiculous science that justifies why the machines and humans are at war.
On a side note, humans make terrible batteries and require more energy to feed than the heat-energy they produce. Any civilization capable of superconductor technology necessary to make electromagnetic VTOL flight possible would have access to nuclear fusion… which would be a much more logical power source than people in bathtubs.
The initial movie also asked deep questions and made us explore our thoughts about reality. Since then, it has become popular among many intellectuals to discuss “Simulation Theory” which is the idea that we all live in some form of a simulated reality.
The second movie coasted along on the momentum of the first, as does most sequels, and it was ok. The third movie wasn’t great, but brought the series to a tidy conclusion… which was useful since trilogies have been a natural way of telling complex stories since the original Star Wars movies.
The Matrix Resurrections does not do any of this. It’s obviously just using nostalgia as a money grab. I wouldn’t actually spend any money to see this movie, but if you can watch it for free on a streaming service that your friend is already paying for, then it’s worth watching if you have nothing better to do.
Keanu Reeves is still pretty cool, though I preferred him as John Wick. Carrie-Anne Moss does a fine job remaking her old role as Trinity. Laurence Fishburne was way cooler as Morpheus, though the new guy isn’t bad… though Yahya suffers from the drawback of not actually being Laurence Fishburne. It was nice to see Neil Patrick Harris in the movie, but I can’t look at him without seeing Barney from “How I Met Your Mother.” The new Agent Smith sucks, and looks like a frat boy dropout, but that’s because Hugo Weaving IS Agent Smith and cannot be replaced.
So I’d certainly choose to watch Matrix Resurrections over getting a speeding ticket, but I dare say that I would rather have watched The Last Jedi (which also sucked)… and that’s saying a lot since I really didn’t like the Disney sequels. Rogue One wasn’t bad. Final Thoughts: Definitely watch Rogue One over The Matrix Resurrections.


David Reckziegel Launches Media Bank Rex Media Capital Inc.
David Reckziegel announced today at the Toronto Film Festival that he is launching a new media bank, Rex Media Capital Inc.
Following a successful 20 year career in film and television production and distribution, David has decided to combine his most recent experience with his prior career in investment banking to provide media and entertainment companies a differient kind of media bank.
"Rex Media Capital will provide advisory services to investors and companies involved in the media and entertainment industry. Our approach is practical and hands on. I want to bring my 30 years of experience in finance and entertainment to help others achieve their objectives." said David Reckziegel Founder and Managing Director.


Before returning to filmmaking in 2017, he was an entrepreneur known for creating award-winning interactive media. The Matrix (1999) popularized his 1994 invention of seamless video expansion by enabling DVD viewers to “follow the white rabbit” to access behind the scenes footage. Other of his 100+ patents include body-based solutions to motion sickness in virtual reality.
His patented inventions can now be found on most Blu-ray titles and are licensed by all major studios in the USA, including Paramount Pictures, Walt Disney Pictures, Twentieth Century Fox, Warner Bros., Lionsgate, Universal Pictures and Sony.
Duck Huntin’ in Eurydice. Shot this on a dare from a studio exec.
The kid that fuels my fearlessness (circa 1986)


The script by Eric Roth is described as a “sweeping epic” which tells the story of African-born Leakey, a fossil hunter who helped find bones of early man but later turned his attention to combating elephant and rhino poaching.
The film will be produced by David Ellison and Dana Goldberg of Skydance, as well as Jon Peters. Jolie will also produce.
Roger Deakins, the acclaimed cinematographer who worked with Jolie on Unbroken, will reteam with the filmmaker forAfrica.
"I’ve felt a deep connection to Africa and its culture for much of my life, and responded immediately to Eric’s beautiful script about a man drawn into a violent conflict that leads him to discover his own profound connection to that same place and people," said Jolie.
Said Ellison: “Africa is a story that deserves to be told. It is very close to my heart, and I know that it will exceed my expectations in Angelina’s hands. She is an incredibly talented filmmaker and is sure to turn Eric Roth’s impeccable script into the project I’ve always wanted Skydance to be involved in.”
Jolie is currently in production on By the Sea, directing the drama she wrote and that also stars husband Brad Pitt as well as Melanie Laurent and Niels Arestrup. Unbroken, the story of World War II POW survivor Louis Zamperini, opens Christmas Day.


It is said that there are only 8 characters or archetypes in the “hero’s journey” My 8 Archetypes Series is the perfect way for actors to prove once and for all that they can play any role. These sessions are great fun but a challenge too.
Tired of being told you cannot play a role? Ready to prove it? Can you be all 8?
The 8 Archetypes:
2. Mentor (Helps the Hero find the right path)
3. Ally (Loyal aid to the Hero)
4. Herald (Announces the need for change in the journey)
5. Trickster (Adds humor to the story)
6. Shapeshifter (All that betrays the Hero)
7. Guardian (Challenger to the Hero)
8. Shadow (AKA: The Villain)


Elena Kampouris (born September 16, 1997) is an American film and television actress, best known for playing Allison Doss in 2014's film Men, Women & Children and Maya Decker in the series American Odyssey. She starred in My Big Fat Greek Wedding 2 (2016), playing the daughter of Nia Vardalos and John Corbett's characters from the original.
Kampouris was born in New York City, the daughter of Ivey, a fashion illustrator, and Alexander Kampouris, who owns an antique wine store. Her father is Greek, from the island of Kasos, and her mother is American, of part French descent. She is currently living in Bridgewater Township, New Jersey.
In 2013, Kampouris made her film debut with the comedy television film Jinxed, in which she played Ivy Murray along with Ciara Bravo and Jack Griffo, and the film premiered on Nickelodeon on November 29, 2013. Same year, she also starred in the drama Labor Day, in which she played Young Rachel McCann opposite Kate Winslet and Josh Brolin in the lead. The film was directed by Jason Reitman, premiered at TFF on August 29, 2013 and released by Paramount Pictures on December 27, 2013. In December, she signed with the William Morris Endeavor for representation.
In 2014, Kampouris played Allison Doss in the comedy-drama Men, Women & Children along with Rosemarie DeWitt, Jennifer Garner, Judy Greer, Dean Norris, and Adam Sandler. Jason Reitman directed the film, which was released limited on October 1, 2014 and widely on October 17 by Paramount. Later, she played Alexia in the comedy-drama The Cobbler along with Adam Sandler, Dan Stevens, Dustin Hoffman and Steve Buscemi. The film was directed by Thomas McCarthy, premiered on September 11, 2014 and released on March 13, 2015 by Image Entertainment.
In 2015, Kampouris starred in the NBC's thriller series American Odyssey, in which she played Maya Decker, daughter of Peter Facinelli's character Peter Decker, a former U.S. Attorney. The series ran from April to June 2015, and was cancelled by the production studio.
Kampouris had a supporting role in the romantic comedy film My Big Fat Greek Wedding 2, playing the daughter of Nia Vardalos and John Corbett's characters. The film, directed by Kirk Jones, was released on March 25, 2016 by Universal Pictures.
Kampouris has also filmed a supporting role of Juliet Sykes in the comedy-drama film Before I Fall along with Zoey Deutch, Halston Sage, and Logan Miller, and Ry Russo-Young directed the film.
|2013||Labor Day||Young Rachel McCann|
|2014||Men, Women & Children||Allison Doss|
|2016||My Big Fat Greek Wedding 2||Paris Miller|
|2016||Before I Fall||Juliet Sykes||Post-production|
|2012||Gossip Girl||Constance Girl #2||1 episode|
|2013||Jinxed||Ivy Murray||TV film|
|2015||American Odyssey||Maya Decker||9 episodes|
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“Glen E. Friedman” – wikipedia.org
Two short films about the one and only Glen E. Friedman. I’ve always been a big fan and I was lucky enough to interview him here in London in the 90s just before his show opened at the ICA. If you are fan I’m sure you will enjoy the films. If you are new to Glen’s work this is a great place to start.
Filed under: Glen E. Friedman, Youth Culture. You can leave a comment, or trackback from your own site.


Iwa, a producer on the project, has written for multiple hit TV shows including “Law & Order: SVU,” “NYPD Blue,” “Dark Angel,” etc. Adisa is currently writing and producing new television, film, and online projects in Los Angeles, Atlanta, and Medellin, Colombia. He is a founding member of the prestigious and popular Cinema/Television/and Emerging Media Studies Department (CTEMS) at his alma mater Morehouse College. In addition to teaching at Morehouse, Adisa simultaneously teaches Screenwriting at Spelman College. In addition, Adisa is developing multiple other feature film, television, and streaming projects with Hollywood icon Reuben Cannon.


04/10/2018 – 07/10/2018 @ 8:00 pm – 9:30 pm –
Canopy Theatre, in partnership with La Scéne Theatre from Aix-en-Provence, France, launches its inaugural season with the American debut of Syrian playwright Fares al Zahaby’s daring drama, Mawlana. Starring Syrian TV and Film actor, Nawar Bulbul, Mawlana opens at The VORTEX at 8pm Thursday, October 4 and runs for only 4 nights through October 7, 2018.
Fares al Zahaby’s courageous play questions religious ideologies and doctrines through the eyes of a young man named Abed. Set in the iconic Damascus neighborhood near the Sheikh Mohy ad-Din Ibn Arabi Mosque and Shrine, Mawlana reveals the story of Abed as he struggles to find his place amongst competing religious doctrines, Western influences, and his own inner desires. Nawar Bulbul masterfully plays Abed, as well as a colorful palette of characters from the neighborhood. Each person Abed crosses in this journey propels him towards a dangerously liberating discovery.
Mawlana is performed in the lyrical and poetic colloquial Damascene dialect of Arabic, but also features English supertitles. Not only will Mawlana give Austin audiences a glimpse into the life of someone growing up in late 20th-century Syria, but it also will provoke serious questions about adherence to institutions of religion.
Canopy and La Scéne Theatre are cultivating this joint venture between artists in Austin, Texas and Aix-en-Provence, France with the goal of building an international coalition of theatres that produce work of global significance, particularly surrounding violence, displacement, and oppression. Additionally, Canopy Theatre works to bring military veteran and refugee communities together to combat the isolation present in both conditions. Canopy Theatre is sponsored and funded in part by Vortex Repertory Company and by the Cultural Arts Division of the City of Austin Economic Development Department.
For Interviews or Information Contact firstname.lastname@example.org


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Janelle, Princeton '19, is a screenwriter, director & curator who advises regarding Lambent Data's digital media and video production. She has experience working as an Associative Producer at the Latin American Film Center where she worked to curate a five-part series highlighting contemporary films from Latin America & the Caribbean. She also worked to help market & promote the 2020 Havana Film Festival New York. Janelle is particularly interested in representations of blackness in cinema & is dedicated to producing film projects that promote positive portrayals of people of color.
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The Award winning Flabbergast Theatre return to Ludlow Castle’s Inner Bailey after wowing audiences with their interpretation of Macbeth in 2022.
This year they bring a rambunctious approach to Shakespeare’s much-loved comedy, A Midsummer Night’s Dream. Goblins and Sprites run amok as the King and Queen of the Faeries settle a spat causing havoc among the humans caught up in their machinations.
Combining a respectful approach to the text and a creative focus on storytelling, Flabbergast bring the magic of midsummer alive with physical comedy, folk song, dance, and expert use of European theatre arts.
Picnic in the Outer Bailey from 6pm.


The XV edition of the European Film Festival in Seville starts on November 9th
The SEFF is a project of the Institute of Culture and Arts of Seville (ICAS) with the support of the Institute of Cinematography and Audiovisual Arts, Cajasol, Deluxe, Renault and Media.
The points of interest of this festival are concentrated in Nervión Plaza Cinemas, Lope de Vega Theater and Alameda Theater in Seville.
This event, of great cultural interest, makes merits to contemporary European cinema. The jury is composed of professionals from the sector of great influence.
This contest focuses on sections of feature films, short films, non-fiction films, special projects, tributes and retrospective.
EUROPEAN FILM FESTIVAL SEVILLA 2018
This festival also aims to meet professionals from around the world and also offers extracurricular activities for teachers and students to participate in it.
Throughout its fifteen editions, authors such as Agnès Varda, Milos Forman, Khail Joreige and Andrea Arnold among others have passed.
For all those interested in the event, tickets and passes can be purchased online or directly at the ticket office one hour before the start of each session.
If you are a movie lover, do not hesitate to book your stay with us. Best prices and promotional codes on web what are you waiting for?


Anna is a Minnesotan living in New York. She is the daughter of New Yorkers living in Minnesota.
After working steadily for a decade in Minneapolis (30+ full productions and countless readings and workshops), she moved to NYC in 2016.
Since moving to NYC, Anna has workshopped plays with Roundabout, Playwrights Horizons, and Fiasco Theater. She has performed locally at the Access Theater and regionally at Virginia Stage Company, GreenHouse Theatre Project, and Great River Shakespeare Festival.
When she lived in Minneapolis, Anna's artistic homes included Ten Thousand Things (the model for The Public Theater's Mobile Unit), The Playwrights' Center, and the Jungle Theater. She has performed at the Guthrie Theater, Children's Theatre Company, and many more.
She appears in the FX series "Fargo," the film "I Am Not A Serial Killer" (with Christopher Lloyd), and the award-winning web series "Theater People."
Anna also has experience touring the South Island of New Zealand playing a sheep.


This year I’ve been teaching a theatre course at ESIEE Paris working hand in hand with with Frederic Merlo, a really excellent dramaturge and trainer of actors. Our latest ‘trouvail’ is to clear the classroom of desks and use the desks themselves to make a temporary stage. In this photo the students are rehearsing the play within the play in Hamlet. You can guess who the characters are from where they are sitting. And how!
On the 26th of November we are all going to the Comedie Française to see La Tragédie d’ Hamlet directed by Dan Jemmett
“..La pourriture morale de la Cour éclate à l’occasion d’une représentation théâtrale orchestrée par Hamlet comme un miroir de la scélératesse du couple royal, prélude à sa vengeance…” says the blurb.
The Financial Times is less than kind however.
“Cuts must be biting in the state of Denmark. In the Comédie-Française’s new production of Hamlet, the fabled kingdom has shrunk to the size of a 1970s sports clubhouse. Photos of the kings in fencing regalia decorate the bar; flared trousers and unspeakable wigs are all the rage. It’s a tacky edition of Shakespeare, and a strange offering from Paris-based British director Dan Jemmett.
Jemmett’s previous stints with the company, for Molière’s Les Précieuses ridicules and Eduardo de Filippo’s La Grande Magie, met with acclaim, but the premises of this Hamlet are faulty. Jemmett muses about the Shakespearean dimension of soap operas in the programme and clearly sees some EastEnders in the twisted family drama at the heart of Hamlet . In its bid to reconcile the tragic and the banal, however, the production is all slapstick and no serious storytelling. Drinking games punctuate Gertrude and Claudius’s merrymaking; the clubhouse jukebox is a recurring character; Guildenstern is a puppet dog on the arm of Rosencrantz, and the duo ham it up like a music hall act.
The production revels in the cheapness of this stage world, and provides some memorably tasteless scenes. The set is inexplicably flanked on both sides by lavatories, and Hamlet happens upon “To be or not to be” while staring at a condom vending machine. Poor Ophelia ends her days in a toilet cubicle, perched on pink stilettos.
Once you’ve become used to the atmosphere of ridicule, there is some fun to be had, but the production never shakes off its arbitrary feel. What might play across the Channel as an offbeat take on a revered classic misses the mark here, perhaps in part because Hamlet isn’t nearly as ubiquitous a reference in the French context. Translation robs the text of its period feel and hallowed status, and there is little frisson in the deliberate outlandishness of Jemmett’s vision.
In keeping with the overall tone, the cast is required to be as over-the-top as they usually are in Labiche or Feydeau vaudevilles, and they work hard to provide comic relief throughout. Comédie-Française star Denis Podalydès, meanwhile, is an intriguing presence in his debut as Hamlet. At 50, he commands the stage with the determination of an actor hell-bent on making the role his own, questionable production or not. With his peculiar diction, at once shrewd and seething with irrational undercurrents, he is a righteous, obsessive Prince of Denmark, and a welcome sight amid the comedy.”


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Amy Adams: Five Films for Newcomers
We can comfortably say that there is a generation of cinephiles that have just assumed acting powerhouse Amy Adams was always around. A generation before was wondering where this star came from, as her entrance seemed to be from out of the blue. Adams has indeed experienced one interesting career: from surprise newcomer to industry mainstay. With six Academy Award nominations and unfortunately no wins, her impact is more than apparent (especially since a big case can be made for each of her nominations). What makes her everyone's favourite performer is her down-to-earth neighbourly personality that never disappeared: not when she made it big, and not when she became an industry staple. Still, there may be some of you that are new to her work. In that case, here are five films for newcomers to the works of Amy Adams.
5. Catch Me if you Can
This was Adams' first big break, as the slight crack in conman Frank Abagnale's armour. As love interest Brenda, you see glimpses of Abagnale seeing a morally just life for himself. Unfortunately, crimes have to be paid for, and her beacon of light turns into Abagnale's comeuppance: a better life unattainable due to sin.
This performance naturally earned Adams her first Academy Award nomination, and for good reason. We knew she could be charming due to previous work, but we could see signs of her dramatic chops in this indie gem. Stuck in a troubled marriage with a baby in the way, you can see Adams balance moods with ease. Thus, her best years began (and have yet to let up).
3. The Master
Joaquin Phoenix and Philip Seymour Hoffman rightfully get their dues to this day for this film, but I find Amy Adams to be criminally underrated as the wife of a cult leader. This is one of the finer subtle performances in a long time, and it's because Adams knows how to feel real. She seems beyond brainwashed by her husband, because she is no longer fawning after him like his church. She teaches him as he teachers others, and it's a frightening act to witness.
A big part of what made Denis Villeneuve's most sympathetic film so moving is Adams' tangible performance as a linguistics professor . She is hired to translate the visible language of an alien species that has made its way to Earth. Cursed by devastation, and longing for possibility, her take as Louise Banks is perfectly nuanced, without any extra force or under-acted moments. She is the main heart here, and it shows.
1. American Hustle/The Fighter
I think it goes to show that a main reason why David O. Russell films did so well is because of the cast he selects. In both The Fighter and American Hustle, Amy Adams arguably steals many scenes she is a part of. In The Fighter, Adams plays a tough-as-nails bartender with a blunt Bostonian accent, a stare to kill, and zero tolerance for bull. She turns into the engine that sets a boxing career into motion, and a toxic family in on itself. In American Hustle, Adams is the chameleonic Sydney Prosser who, when exposed to the life of forgery, ends up wanting to take the reins. Her accent acrobatics, and her ability to drop personas on a dime make this performance thrilling to watch. I couldn't pick one performance of hers from an O. Russell film, so I'm going with both.
Andreas Babiolakis has a Masters degree in Film and Photography Preservation and Collections management from Ryerson University, as well as a Bachelors degree in Cinema Studies from York University. His favourite times of year are the Criterion Collection flash sales and the annual Toronto International Film Festival.


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Professional Stage Management (FdA) - Bristol Old Vic Theatre School
Katherine is a freelance Stage Manager who trained at the Bristol Old Vic Theatre School after graduating with a degree in Drama from the University of Bristol.
She specializes in regional theatre and her favorite roles are ASM and Props Assistant.
She is a member of Equity and the SMA and was recently nominated for 'Student Stage Manager of the Year' at the SMA Awards at Alexandra Palace.
Please see the 'Contact' page for current availability.
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Filmmaker Wes Anderson Recalls How 'Bottle Rocket' Bombed
Filmmaker Wes Anderson Recalls How 'Bottle Rocket' Bombed
The New York Public Library - New York Public Library
LIVE from the NYPL presents an evening with director Wes Anderson ("Rushmore," "The Royal Tenenbaums") in conversation with screenplay co-writer Noah Baumbach ("The Squid and the Whale") about "Fantastic Mr. Fox," Wes Anderson's first animated film. In "Fantastic Mr. Fox," Wes Anderson utilizes classic handmade stop-motion techniques to tell the story of the classic children's book by Roald Dahl.Mr. and Mrs. Fox (George Clooney and Meryl Streep) live an idyllic home life with their son Ash (Jason Schwartzman) and visiting young nephew Kristofferson (Eric Anderson). But after twelve years of quiet domesticity, the bucolic existence proves too much for Mr. Fox's wild animal instincts. Soon he slips back into his old ways as a sneaky chicken thief and in doing so, endangers not only his beloved family, but the whole animal community...The film is produced by Allison Abbate, Scott Rudin, Wes Anderson and Jeremy Dawson.


The Seagull, auspiciously and ironically enough, begins with the performance of a play-within-a-play by Konstantin (Paolo Santalucia), a young playwright intent on creating a new, unconventional theatrical form. The performance is laughed off especially by Irina (Michelle Monteith), a famous actress and the mother of the playwright. Konstantin is humiliated.
The irony is that the 1889 opening of The Seagull was a humiliating and disastrous premiere for Chekhov to the point where he swore never to write for the theatre again. The splendid irony is that the play opened at the Moscow Arts Theatre in 1898 directed by Konstantin Stanislavski and not only was it a triumph but it marked a monumental change in the history of drama.
Let’s get some of the love interests momentarily straight. The teacher Simeon (Farhang Ghajar) loves Masha. Masha loves Konstantin. Konstantin loves Nina (Hayley Gillis), an aspiring actress who is angry about her life. Nina is in love with the writer Boris Trigorin (Raoul Bhaneja) who is supposed to love Irina. And Paulina (Robyn Stevan), the wife of Leo (Randy Hughson), the estate manager is having an affair with Dr Hugo (Diego Matamoros).
The romantic triangles are not what the play is about. Like Masha hating her life, the triangles set the tone for life on the estate where these people meet during a summer vacation. They are petulant, depressed, listless, nasty and on the edge of despair. There are no outward reasons for some of the conduct, but gunshots are heard during the performance. Neither shot is on the stage because we are not interested in the individual fates of these people but on a view of all of them and I think on a view of Russian society at the end of the nineteenth century.
The fourth act of the play takes place two years later and things have gotten worse. The health of Peter Sorin (Oliver Dennis), the owner of the estate where the action takes place, has continued to deteriorate. Masha married the teacher Simeon, but she still loves Konstantin. The latter is depressed and tears all his writing to pieces. Nina has become a second-rate actress. The whole group leads a life-in-death existence, and the brilliance of the play is Chekhov’s ability to capture the atmosphere and reality of that existence.
The acting is superb. Michelle Monteith is brilliant as the self-possessed actress who may have some money, has a terrible relationship with her son and like her brother Peter’s estate where we find her, she is in the middle of nowhere. Santalucia is excellent as the visionary playwright Konstantin who cannot get his act together either on stage or in love. By the end of the play, he seems to have achieved success in the theatre, but his depression becomes fatal. Gillis plays a sympathetic Nina, a woman who wants to be an actress but fails in everything like the rest of the group. Bhaneja’s Boris Trigorin is cool and successful but lacks empathy for people. His main concern is ideas for his stories. He goes off to Moscow with Nina and dumps her. A terrific performance.
Dennis as Sorin is a retired 60-year-old who is still looking for a life. He feels that he has done nothing with his life. If there is an exception to this depressing crowd it may be Hugo, the doctor in the hands of Diego Matamoros. He seems to have a solid grip on reality.
The set by Shannon Lea Doyle is sparse. A few chairs, a table, the indication of a stage are all the objects needed. The back of the stage is covered by an opaque plastic which can represent whatever you want to imagine.
The credit for eliciting fine acting and capturing the atmosphere of Chekhov’s play goes to director Daniel Brooks. It is a tough play to do. Chekhov described it as a comedy which it clearly is not but there is room for laughter in-between. Brooks gets some of that without trying to make the production a comedy. The most laughs are garnered when Irene tries to convince Boris to leave the estate and go with her. She unbuckles Boris’s belt, but he lifts her up. She sits beside him and proceeds with manual stimulation, all tastefully done with their backs to the audience, as she speaks to him. There is a crescendo of laughter at the end of her speech when she asks him “you are coming, aren’t you?’ and he replies in a faint voice “yes,” it brings the house down.
The production uses Simon Stephens’ “new version” that he adapted in 2017 for the Lyric Hammersmith Theatre in London. It is done in modern dress with cell phones present. At the opening we hear a recording of “There is no business like show business.”
Stephens tries to de-Russify the play and Englandize it. Some of the characters’ names are anglicised: Piotr becomes Peter, Ilya Shamrayev becomes Leo, Yevgeny becomes Hugo and so on. And only first names, please.
In the opening line, Masha tells Simeon, in Stephens’ version, that she is angry all the time. In three other translations that I consulted she tells Simeon that she is wearing black because she is mourning for her life. She is depressed. Those are more apt statements than anger.
One may disagree with some details but this a stunning production of a great play.
The Seagull by Anton Chekhov in a new version by Simon Stephens continues until April 30, 2023 at the Young Centre for the Performing Arts, 55 Tank House Lane, Toronto, Ontario. www.soulpepper.ca


Jane Austen films have captivated audiences for decades, offering a glimpse into the world of Regency-era England and bringing to life her timeless characters and stories
For those unfamiliar with this genre of film, here is an in-depth exploration of Jane Austen films, their historical development, and what makes them so beloved by fans.
Introduction to Jane Austen Films:
Jane Austen films refer to cinematic adaptations of the novels written by the renowned English author, Jane Austen. Often set in the late 18th and early 19th centuries, these films transport viewers to the world of Austen’s characters, exploring themes of love, societal expectations, and the complexities of relationships. Known for her wit and keen observations of human nature, Austen’s works have endured through generations and continue to be celebrated through film adaptations.
Historical Development of Jane Austen Films:
The history of Jane Austen films can be traced back to the early days of cinema. The first known adaptation of an Austen novel on the big screen was the 1938 film “Pride and Prejudice,” starring Greer Garson and Laurence Olivier. This adaptation set the stage for future cinematic interpretations, establishing the beloved formula of romantic tension, societal class struggles, and intricate character development.
Since then, numerous adaptations of Austen’s works have been produced, showcasing her enduring popularity and literary prowess. While some films have remained faithful to the original source material, others have taken creative liberties, exploring alternate perspectives or reimagining Austen’s narratives.
Notable Jane Austen Film Adaptations:
Over the years, several Jane Austen film adaptations have stood out, capturing the hearts of audiences worldwide. Some noteworthy films include:
1. “Pride and Prejudice” (1995):
This six-part BBC miniseries, starring Colin Firth as Mr. Darcy and Jennifer Ehle as Elizabeth Bennet, is a benchmark in Jane Austen adaptations. Known for its faithfulness to Austen’s novel and Firth’s iconic lake scene, this series remains a favorite among fans.
2. “Sense and Sensibility” (1995):
Directed by Ang Lee, this Academy Award-winning film features Emma Thompson, Kate Winslet, and Hugh Grant in a heartwarming tale of love and family. Its exquisite cinematography and stellar performances captured the essence of Austen’s novel perfectly.
3. “Emma” (1996):
Gwyneth Paltrow brought Jane Austen’s beloved character, Emma Woodhouse, to life in this adaptation. With its charming setting and witty dialogue, this film showcases Austen’s talent for satirical social commentary.
4. “Persuasion” (2007):
This adaptation, featuring Sally Hawkins and Rupert Penry-Jones, delves into the complexities of Anne Elliot’s character and her second chance at love. This emotionally resonant film is a must-watch for Austen enthusiasts.
The Influence and Endurance of Jane Austen Films:
Jane Austen films have had a lasting impact on popular culture, contributing to a renewed interest in Austen’s novels and influencing subsequent romantic dramas. The enduring appeal of Austen’s works lies in her ability to depict universal themes that still resonate with contemporary audiences.
Austen’s stories emphasize the importance of personal growth, the navigation of societal expectations, and the pursuit of true love. Her characters, often strong-willed and independent, provide role models that continue to inspire and captivate viewers.
Additionally, the settings and costumes portrayed in Jane Austen films showcase the elegance and grandeur of the Regency era, contributing to the overall visual appeal of these adaptations. From the opulent balls to the picturesque countryside, these films transport viewers to a time of elegance and refinement.
In conclusion, Jane Austen films hold a significant place in the world of cinema, captivating audiences with their nuanced characters, timeless stories, and exquisite settings. Whether it’s the enduring appeal of “Pride and Prejudice” or the charm of “Emma,” these adaptations continue to bring Austen’s world to life, appealing to both fans of her novels and newcomers alike. As audiences delve into the world of Jane Austen films, they discover a treasure trove of romance, wit, and social commentary that has stood the test of time.


By Teri Bayus
Another domestic horror film to freak out the married people has arrived. Like “Gone Girl, Gone,” “The Girl on the Train,” is a dark terror account of what happens when relationships go sour.
Despite having read the novel, I was still able to appreciate this film and watch my hubby squirm.
The film stars Emily Blunt as Rachel Watson. Rachel has been divorced and became an alcoholic. Like many working stiffs, she takes the same train to work every single day.
On her train journey, Rachel watches and ends up fantasizing about the relationship of two of her ex-husband’s neighbors, Scott (played by Luke Evans) and Megan Hipwell (Haley Bennett). She can’t stop thinking about her ex-husband and his wonderful new wife, Anna (Rebecca Ferguson).
The movie deals with the disappearance of a nanny and is told through numerous changes of time, space and perspective. We constantly switch from the present to events that happened a week, two months, four months, six months or even several years ago.
Numerous parts of the film take place in recurring, closed spaces, such as an apartment, a house, a psychologist’s office and a train. Most of the movie is told through the eyes of an alcoholic divorcée, while other parts are told through the eyes of the mentally unstable nanny.
Still other parts are, however, told through a third person, omniscient narrator, point of view.
The story is clever. How many of us haven’t sat on a train, looked out at people and wondered how different our lives would have been, had we made different choices? The way the story unfolds is loaded with intrigue. You keep asking questions in your mind, all the way through to the revelation at the end.
Director, Tate Taylor, shoots the first half of the film with a lot of style, but the second half focuses more on the story itself. It’s a beautifully shot film at times. The acting performances are also impeccable from all concerned.
Blunt was unbelievable and even Oscar-worthy in certain scenes. Bennett and Theroux were also standouts. The intensity the cast brings is the strength of the film.
What sets this movie apart from many other thrillers that explore similar themes of adultery, sex, relationships, lust, and conceiving, is this movie explores the very nature of psychological and physical abuse in relationships.
We’re privy to the inner workings of a villain whose reprehensible, abusive nature has such shattering and devastating effects on the victims, we are quickly introduced into this world and the nature of abuse that is somewhat confronting.
In the end, what kept me watching this movie to the end are its sinister mood and the great performances by Blunt and Bennett. The below average plot and repetitive storytelling patterns are the downsides of this film.
Teri Bayus is the Host of Taste Buds, shown on Charter Cable Ch. 10 and on Central Coast Now TV. Teri’s culinary erotic book, “Consumed,” is available at: www.amazon.com/Consumed-Teri-Bayus-ebook/dp/B016DW85PA. Dinner and a Movie is a regular feature of Tolosa Press.