Dec 19, 2013 "Neighbors" TRAILER 3 (2013) - Rose Byrne, Zac Efron, Seth Rogen Movie HD - Rated R - Comedy - 9 May 2014 (USA) Subscribe to Oct 22, 2013 Neighbors Official Trailer #2 (2014) - Zac Efron, Seth Rogen Movie HD. Sign in with your Google Account (YouTube, Google+, Gmail, Orkut,
Jun 3, 2013 YouTube. home This Is the End Movie CLIP - Emma's. Entrance (2013) - Seth Rogan Movie HD While attending a party at James Franco's house, Seth Rogen, Jay Baruchel and many other celebrities are faced with the
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The LEGO Movie
Nov 29, 2013 Zac Efron and Seth Rogen spoof Kanye West's 'Bound 2' music video to promote their upcoming movie, 'Neighbors. ' As John Basedowjohn steinbeck pearl
The LEGO Movie1Apr 6, 2013. The first official Green Band Trailer for the comedy about the end of the world. is here! Plot: While attending a party at James Franco's house,
3 Days to Kill
Oct 28, 2013 Neighbors Trailer 2014 Movie - Official movie trailer in HD 1080p - starring. Zac Efron, Seth Rogen, Rose Byrne - directed by Nicholas Stoller - a
Oct 23, 2013 Neighbors Trailer 2014 Movie - Official movie trailer in HD 1080p - starring. Seth Rogen, Rose Byrne, Zac Efron, Dave Franco - directed byseth rogen james franco apocalypse
3 Days to Kill2Dec 18, 2013 Neighbors Official Trailer #3 (2014). - Zac Efron, Seth Rogen Movie HD. Sign in with your Google Account (YouTube, Google+, Gmail, Orkut,
Jan 23, 2010 here's the best movies of seth rogen in my opinion leave a comment :) Enjoy!
Dec 18, 2013. Neighbors TRAILER 3 (2014) - Rose Byrne, Zac Efron, Seth Rogen Movie HD MOVIES Coming Soon ·7,884 videos SubscribeSubscribedthe.americans.s01e01.hdtv.x264-2hd subs
Pompeii3Sep 4, 2013. YouTube home Stars: Seth Rogen, Rose Byrne, Zac Efron. Neighbors Official Trailer #3 (2014) -. Zac Efron, Seth Rogen Movie HD by
Dec 27, 2013 Official Trailer for Neighbors, starring Seth Rogen, Zac Efron, Rose Byrne. Neighbors Official Trailer #3 (2014) - Zac Efron, Seth Rogen Movie Apr 4, 2013. While attending a party at James Franco's. house, Seth Rogen, Jay Baruchel Whether they are blockbusters, indie films, or that new comedy
Dec 18, 2013. YouTube home. Top 10 Movies So Bad They're Good by WatchMojo com 645,182 views; 10:52. Neighbors Official Trailer #3 (2014) - Zac Efron, Seth Rogen Movie HD by MOVIECLIPS Trailers 2,531,551 views; 1:41 Dec 29, 2013 Subscribe to TRAILERS: Subscribe to COMING SOON: Like us on FACEBOOK: Neighbors TRAILER 3 (2013) - Rose Byrne, Zac Efron, Seth
Most movies are regenerated on stage for one reason alone: No matter how unwieldy the material…
Nov 25, 2013. During some down time on the set of their upcoming movie, The Interview, actors Seth Rogan and James Franco decided to have some fun
Dany Boon plays a hyper-sensitive germophobe who disrupts everyone around him with his imaginary…
Dec 18, 2013 Neighbors Official Trailer #3. (HD) Seth Rogen, Zac Efron. Watch Later Neighbors Trailer 2014 Zac Efron, Seth Rogen Movie - Official [HD] by
Michelle Williams plays twenty-eight-year-old Margot, happily married to Lou ( Seth Rogen), a good-natured cookbook author But when Margot meets Daniel Nov 25, 2013 Seth Rogen stars as Kim Kardashian in a spoof of Kanye West's "Bound 2" video released on his Facebook. The two jokesters star in the upcoming film 'The Interview' and reportedly filmed the kevinthatwas via YouTube
Nov 25, 2013. And after James Franco and Seth Rogan hilariously spoofed her and. even retweeted funnyman Seth's link to. the YouTube clip, titled 'Bound 3', as he plans 'pivotal role' for fiancee Kim in Yeezus inspired movie · The
The film, designed as a roughly one-and-a-half minute movie trailer for YouTube but conceived as a 9-minute short, stars actors Seth Rogen and Jay Baruchel
'Him': 'Seth Rogen' Stars in Parody of New Spike Jonze Movie 'Her' on YouTube [ VIDEO]. Posted by Jeff Klima on Friday, January 24, 2014 ·
Jan 26, 2014. we saw Jonah Hill lampoon the film on Saturday Night Live, but earlier. we're sure the best parody of them all was uploaded on to YouTube
Nov 25, 2013 Pals James Franco and Seth Rogen parodied the video of Kanye. set of their movie, The Interview, James Franco & Seth Rogen felt inspired to. Did they ever watch a YouTube video of what a volcano actually looks like?
Sep 6, 2011 That he is a movie character, played in the upcoming indie dramedy Seth Rogen says to Reiser, as the two discuss the origin of the film in a conversation with The Huffington Post. 50/50 Movie Trailer (2011) - YouTube.
Will Reiser and Seth Rogen were friends who worked together on Da Ali G Show, src="//www. youtube com/embed/vIu85WQTPRc?rel=0" frameborder="0 "]. May 20, 2013. Watch: Seth Rogen, Vince Vaughn, Jack McBrayer and More Kick Off YouTube's ' Big Live Comedy Show' Read this and other movie news,
Dec 27, 2013 Neighbors Synopsis: Seth Rogen, Rose Byrne, Zac Efron lead the cast of. starring Seth Rogen, Zac Efron and Rose Byrnewww youtube com.
Arts network Ovation has partnered with Film Independent to be the premier sponsor for the 2014 Film…
“Gangster Squad” helmer Ruben Fleischer could be moving into the family arena and is in negotiations to…
Nov 4, 2013 According to DeVine, the action-comedy flick will not be related to Workaholics, though Superbad writers Seth Rogen and Evan Goldberg are May 16, 2013 in comedy, stoner fans, and upcoming. projects with Seth Rogen Kyle was going to school for directing and this was right when YouTube was coming Comedy] written a movie that we're. producing with Seth Rogen and
Oct 16, 2011. "I wish it was more phallic," said Seth Rogen, referring to his microphone. at the start of a YouTube-sponsored Q&A at this year's London Film Nov 25, 2013. Seth Rogen & James Franco Make Out In 'Bound 2? Parody While working on their new movie, The Interview, it seems like Seth The rest of the whole free world is laughing like Hell at his stupid video and borish lyrics
Craig Robinson, James Franco, Seth Rogen, Danny McBride and Jay Baruchel play themselves in this film about apocolypse Aug 4, 2009 ads on YouTube and realize this is great. viral marketing for the movie Yesterday I showed a clip from the movie showing Seth Rogen asking
Erik Feig has been promoted to co-president of Lionsgate Motion Picture Group and signed a new…
Jun 12, 2013. Seth Rogen, Craig Robinson, and Evan Goldberg recently stopped by our . POPSUGAR offices to promote their new movie This Is the End, out
- Seth @sethrogen Instagram photos | View your Instagram feed online! Webstagram is the Best. Please just keep making. movies in every way 2d; andreagrieb Apr 25, 2013 Seth Rogen & More Set for YouTube's First-Ever Comedy Week from comics to gaming and tech to movies. and TV right to your eyeholes
- Jan 7, 2011 in the meantime, comic star seth rogan had theatergoers laughing all the way. to their cars in movies like "knocked up" and " super bad. In a popular YouTube video, the beaming little ballerina dances an entire four-minute
- May 19, 2013. YouTube Comedy Week begins with The Big Live Comedy Show, from Sarah Silverman, The Lonely Island, Seth Rogen, Reggie Watts and more. 'awesome': Lego Movie sequel plannedIs. 'Heroes' returning a good idea?


I went out to the theatre tonight, to see some friends from the Paisley Musical and Operatic Society performing West Side Story. It was a tremendous presentation of a really difficult show - a huge "well done" to the entire company!
This is the theatre where the show took place, the King's Theatre in Glasgow. It opened in 1904, and while owned by Glasgow City Council is operated by the Ambassador Theatre Group.
Photographically, this is a 10s exposure to try to prevent too much interference from people walking across the road to get to the theatre - it was a very popular show and there were a lot of people around!


It cannot be denied that John Wick: Chapter 3 - Parabellum was a film that caused real physical exhaustion due to the cadence of the action that was seen on the screen every few minutes. Exceeding the level in John Wick 4 is something that worries director Chad Stahelski.
In a new interview, the director states that neither David Leitch nor he feels any shame for having been action specialists before directors. He ensures that they only try to improve as directors and make the best action cinema possible because it is what they really like.
"I guess the third was born from a feeling of having to go somewhere after the second, I had those ideas. Somehow they ended up being that crazy action movie. There were a couple of days after deciding to do the fourth in which I got up. with cold sweats 'Horses! How do I get over the horses?' I mean, I have no fucking idea. [...] I've had enough ideas for the next one that I think is different and shocking. How to execute them, no fucking idea right now. I'm trying to solve it. "
Chad Stahelski and David Leitch will surely end up hitting the key as they did in a sublime trilogy that has been passionately eaten in and out of theaters. John Wick is a modern phenomenon, Keanu Reeves one of the most beloved actors of the moment, and his universe has been brought to the video game and is even running a television series.
John Wick 4 is still dated May 21, the same day that it should hit Matrix 4 theaters if it doesn't end up being delayed by the stoppage of filming caused by the COVID-19 pandemic.


Thursday, September 3, 2009
Urban Legends - Superman Curse
The Superman curse refers to a series of misfortunes that have plagued creative people involved in adaptations of Superman in various media, particularly actors who have played the role of Superman on film and television. The curse basically states,
If you intend to play the strongest man on Earth, you will either die or end up in the weakest position possible.
The curse is somewhat well-known in popular culture, largely due to the high-profile hardships of Superman actors George Reeves and Christopher Reeve. Other sources deny the curse, stating that several Superman-related actors, such as Bud Collyer and Teri Hatcher, continued with successful careers after their association with the franchise and that many hardships of "cursed" individuals are common in their respective fields.
Supposed victims of the curse
Siegel & Shuster
Writer Jerry Siegel and artist Joe Shuster created Superman in the 1930s but their employer DC Comics held the copyright to the character. In 1946, the two sued DC, arguing that they were inadequately compensated for the character. The New York Supreme Court limited their settlement to $60,000 each, a small sum compared to the millions of dollars Superman comic books, films, television series, and merchandise grossed. In 1975, in response to a campaign launched by Siegel and Shuster and joined by many prominent comic book creators, DC agreed to pay the two lifetime pensions of $35,000 a year and give them credit in every adaptation of the character. While Siegel and Shuster were respected in comic book fandom for Superman, neither went on to work on any other high-profile comic books after Superman. Some tellings of the curse state that Siegel and Shuster themselves cursed the character out of anger for the injustice.
The Fleischer Brothers
Brothers Max and Dave Fleischer founded Fleischer Studios, which produced the original Popeye, Betty Boop, and Superman cartoons. Shortly after bringing Superman into animation, the Fleischers began feuding with one another and their studio slumped financially until they were forced to sell to Paramount Pictures, which ousted the Fleischers and rearranged their company as Famous Studios. Although Dave Fleischer went on to a career as a special effects advisor at Universal Studios (which now owns many of Paramount's sound feature films released before 1950), Max died poor at the Motion Picture & Television Country House and Hospital.
Kirk Alyn played Superman in two low-budget 1940s serials but failed to find work afterwards, saying that casting directors thought he was too recognized as Superman. He eventually retired to Arizona. He made an uncredited cameo appearance in the 1978 film Superman: The Movie as the father of young Lois Lane, who witnesses young Clark Kent racing the train they are riding on (his wife is portrayed by Noel Neill, also uncredited, who played Lois Lane in the Kirk Alyn Superman movies as well as on The Adventures of Superman from 1953 to 1958). Alyn developed Alzheimer's disease before passing away of related causes and old age in 1999.
George Reeves played Superman in the 1951 film Superman and the Mole Men and the ensuing television series Adventures of Superman. Like Alyn, he was recognized only for the role. On June 16, 1959, days before he was to be married, Reeves was found dead of a gunshot wound at his home with his Luger near him. The death was ruled a suicide but other theories persist.
John F Kennedy
In 1963, U.S. President John F. Kennedy's staff approved of a Superman story in which the hero touts the president's physical fitness initiatives, scheduled to be published with an April 1964 cover date. On November 22, Kennedy was shot and killed but, at the request of successor Lyndon B. Johnson, DC published a reworked version of the story.
Read more at http://theunexplainedmysteries.com/superman-curse.html


Gateway Theatre enriches the quality of life in Richmond and surrounding communities by creating outstanding professional theatre and serving as a dynamic hub for the performing arts. We do this through our three main areas of activity: producing and presenting professional live theatre, theatre education, and community venue rentals. Each season, we delight and engage theatregoers with six plays and a fantastic mix of comedy, drama and musical.
The Gateway Academy, established in 1991, offers year-round acting, musical theatre, and performance training classes for youth aged 6–18. Professional actors, directors, playwrights and choreographers are engaged as instructors, teaching skills that enrich students in performance and in life.
Gateway Theatre is managed and operated by the Richmond Gateway Theatre Society, a registered charity and not-for-profit organization incorporated in 1982.
- Wheel Chair Accessible
- Free public wifi
- Family Friendly
- Parking Available


On the big screen whether viewed as 3D technical masterpiece or just a damn good story Avatar reaffirmed James Cameron’s imaginative filmmaking genius - it was just a pity it took quite so long to tell the tale.
2D Avatar is a little shorter than the 3D version and without the fancy 3D visuals, makes it harder to miss Cameron’s potent anti-war message. Despite no 3D version on DVD Avatar sold 6.7m copies in the first four days topping Christopher Nolan’s Dark Knight’s and making a cool £86m for film maker Twentieth Century Fox.
Ten years in the making and costing an estimated $280m Avatar came with the usual dose of hyperbole. True to form, as if it really matters, Avatar was trumpeted as the “most expensive film ever,” but Twentieth Century Fox needn’t have panicked about recouping their investment. Fans already hooked by Terminator, Titanic, King Kong and the Lord of the Rings didn’t need much convincing to re-enter the Cameron cult and Avatar was an empathic and well deserved sell-out at the box-office attracting both mass audiences and disciples alike.
Set in 2154 the story begins when ex-marine Jake Sully (Sam Worthington) is inserted into an alien planet Pandora. Half man and half alien Jake Sully is on a mission to secure natural resources to save the earth from imminent collapse. The forest dwelling Na’vi tribe, peeved about the threat to their idyllic way of life, fight back and the plot develops into a psychological battle between the proud Na’vi and what the indiginent Pandorans call the “Skypeople”
Straddling the divide between the military-backed corporation (Skypeople) and the Na’vi is the brilliant Sigourney Weaver of Alien fame, torn between advancing her environmental study of Pandora’s unique biology and genetically engineering Avatar’s to infiltrate the Na’ vi to cheat it of its wonder-fuel “Unobtanium.” Weaver as Dr Grace Augustine is the brains behind the project combining human and Na’vi genes that ultimately, by creating an Avatar with the mind of Jake Sully, blows up in her face.
Instrumental in the plot to rob the Pandora tribes people of its raw materials is the inevitable and implausibly convenient romance between the chief of the Na’vi people’s daughter Neytiri (Zoe Saldana) and our lead man Jake Sully. If you listen carefully, towards the end of the movie you can here ingenious bits of soundtrack that triggers what suspiciously feels and sounds like something out of Titanic. This seems corny at first, but in the end it sort of worked.
Along the was Avatar introduces a whole host of weird and wonderful alien wildlife, what looked like skinned black panthers (Viperwolf) flocks of immense incandescent dragons (Mountain Banshees) and herds of Hammerhead Titanothere, rhino-like creature than manage somehow to stay in tune with the forest where the Na’vi people live “as one”.
Cameron has borrowed much from American Indian Culture in Avatar. Ideas of earth as the original mother and of peoples living by the four simple commandments of the “great spirits” the Na’vi people call “Eywa”. The Na’vi value system, grounded in respect of our fellow man, individual freedom and mother earth are naturally rejected by the murderous Skypeople intent of robbing Pandora of its treasures. Personified by an unholy alliance between pig-headed Colonel Miles Quaritch (Stephen Lang) whose sole purpose in life is to serve his country and mercilessly crush anything and everything that gets in his way. Quarich is also the muscle behind the company’s operational chief played by drippy Parker Selfridge (Giovanni Ribisi) who played dozy Frank Jnr, the brother of Phoebe, in Friends.
There are some truly spellbinding moments in Avatar and despite the final thirty minutes degenerating into ludicrously implausible Transformer like battle Avatar is convincing enough. Overall, despite its inventive graphics Avatar, in essence, is a digitised and futuristic version of the Last of the Mohicans or Dances with Wolves that depict a US dominated earth that prowls the universe plundering other worlds and capable of annihilating anything and everything that questions its right to take what it needs.
Without the overwhelming 3D graphics to distract you Cameron’s pacifist anti-capitalist dialogue comes through powerfully, but 2D Avatar lacks that captivating virtual brilliance that hits you on the big screen. Out now on DVD Avatar is definitely worth a look, but don’t expect to get blown away as you were by the 3D version.
Production year: 2009
DVD Release: April 2010
Cert (UK): 12A
Runtime: 155 mins
Director: James Cameron
Cast: CCH Pounder, Giovanni Ribisi, Michelle Rodriguez, Sam Worthington, Sigourney Weaver, Stephen Lang, Zoe Saldana


Phoebe Waller-Bridge: new Bond film must 'treat women properly' – even if he doesn't
https://www.theguardian.com/film/2019/m ... n-properly
What did she mean by this?
I take this to mean that the Bond character will be surrounded by female SJWs in the film, pushing their female empowerment message on him as he swats them away, until finally at the end, Bond is injured or something, and one of them appears, deus ex machina style, and saves the day. Then he recants and has his own "I love Big Brother" moment and hands the baton to this woman, who becomes the next "James" Bond (Jayme Bond?) and the star of subsequent Bond movies.“It has just got to grow. It has just got to evolve, and the important thing is that the film treats the women properly. He doesn’t have to. He needs to be true to this character.”
She's not stunning. She wouldn't qualify as a Bond girl in any of the movies. Maybe not even as an extra.“There is a pivotal scene at the start of the film where M [played by Ralph Fiennes] says, ‘Come in 007,’ and in walks Lashana who is Black, beautiful, and a woman. It’s a popcorn-dropping moment. Bond is still Bond but he’s been replaced as 007 by this stunning woman,” an insider told the Daily Mail.
This means that while Lynch will be taking on the agent number 007, James Bond is still Bond. Bond is expected to be in retirement at the start of the events of the upcoming film, essentially making the coveted agent number 007 open for Lynch’s taking.
The casting of Lashana Lynch as the first female 007 is the latest evidence that Bond 25 will be a much more inclusive installment than its predecessors. The hiring of feminist TV writer and actor Phoebe Waller-Bridge to write the script for the film was perhaps the first suggestion that Bond 25 would be in the very least, much more empathetic to its female characters.


We tell stories.
TINY LUMBERJACK is a production company based in Lund, in the south of Sweden, and consists of director/screenwriter/journalist Thérèse Ahlbeck and director/producer Marcus A. Olsson.
Thérèse Ahlbeck, born in Kristianstad, south of Sweden, is a Swedish film director, screenwriter and journalist. Her interest in filmmaking and storytelling began early. Soon after high school she earned a bachelor’s degree in Art History and Film at the University of Lund, followed by journalism studies at Skurup Folkhögskola. She has studied screenwriting at IHTV in Gothenburg and 2008 she earned a Master in film direction at Dramatiska Institutet (STDH). Her graduation film "Janna & Liv", starring Sofia Ledarp and Lo Kauppi, was nominated, by the Student Academy Award, to an Honorary Foreign Film Award, 2010. In addition to this "Janna & Liv" has won several international prizes. She has since then written and directed several award winning shorts, she has worked as host/reporter/producer at Sveriges Radio, UR Television and SVT, she recurrently teaches Film Directing at Skurup Folkhögskola and screenwriting at Tiny Lumberjack as well as taking on assignments as compere, host, moderator, and dramaturgist. 2016 she received the Cultural Award of the city of Kristianstad, with the motivation (shortened):
Marcus A. Olsson, born in Bjärred, south of Sweden, was one of the members of the celebrated comedy group Varanteatern, who later became Varan-TV. Only 24 years old he applied and got accepted to the education in Film Direction at the National Filmschool, Dramatiska Institutet. His graduation film “Major and Minor Miracles” was nominated to an Academy Award in the category best short live action, 2000. He has directed (conceptual) several successful tv-series, such as “Mäklarna” (The Brokers), “Orka! Orka!”, “Morden i Sandhamn”(The Sandhamn Murders), “Fjällbackamorden” (The Fjällbacka Murders), and the award winning mini-series “Gustav IIIs Äktenskap” (The Marriage of Gustav III) et al. With an origin in the comedic tradition, he achieves to combine humor with a human touch in all his productions, a quality that has generated several prestigious awards over the years.
Together, Thérèse Ahlbeck and Marcus A. Olsson form an internationally award winning film production company who produces live action feature films. (short, full length and series), with a strong commitment in film which begins with the recognition that the foundation of a great story is built on the fascination of the human nature, creative strength, innovative thinking and a sense of humor.
Current feature project is Ashas Irrfärder.


Paris Neal is another rich kid. She's currently in a relationship with Duncan Wagner, the most popular senior at their high school and enjoys picking on people more than anything. Whenever she goes over to the Wagner residence, she makes it a must to pick on Ophelia, Duncan's little sister and Brittney's older sister. She's the cheer captain and is worshipped by Brittney, Duncan and Ophelia's little sister. Truthfully, Paris feels jealous of Brittney because she gets more time with Duncan and he cares about her so much. Duncan treats her out to fancy, expensive restaurants every week. Paris hates her parents, but they're the ones who give her anything she wants, basically spoiling her rotten. All the popular kids love Paris, but when she hears someone doesn't like her, she'll go right up to them and bully them until they tell her that they love her.


By Hamed Soleimanzadeh
Cinema has long been celebrated as a powerful medium for expressing dissent, challenging societal norms, and reflecting on the complexities of the human experience. Within this realm of cinematic activism, the name Abbas Kiarostami stands as a beacon of innovation and influence. His indelible mark on Iranian and global cinema resonates not only in the aesthetic tapestry he wove but also in the profound impact he left on the evolution of protest cinema in Iran and the Middle East. This article embarks on a journey to unveil the intricate interplay between Kiarostami’s cinema and the emergence of Iranian protest cinema, investigating the ways in which his groundbreaking techniques have shaped narratives of dissent and resistance.
Abbas Kiarostami hailed as a cinematic visionary, redefined storytelling conventions, prompting a paradigm shift that reverberated through the cinematic landscape. His oeuvre was a testament to his artistic audacity, blending elements of realism with allegory to create narratives that transcended the confines of traditional cinema. Films like Close-Up (1990) and Taste of Cherry (1997) bore witness to his masterful fusion of documentary authenticity with philosophical depth, inviting audiences into intimate dialogues with the characters’ inner struggles while simultaneously commenting on broader societal challenges.
Central to Kiarostami’s allure was his embrace of elliptical storytelling, a technique that encouraged viewers to become active participants in piecing together narrative fragments. This departure from linear narratives cultivated a space for introspection, challenging conventional cinema’s role as a passive entertainment medium. Kiarostami’s exploration of alternative narrative structures paved the way for filmmakers to infuse protest cinema with fresh vitality, allowing for the depiction of complex socio-political issues that resonated deeply with audiences.
As the stage of Iranian cinema transformed into a podium for socio-political expression, the emergence of protest cinema found fertile ground. Historical contexts of socio-political turbulence in Iran further catalyzed the development of cinematic narratives that sought to unravel the complexities of dissent and resistance. The confluence of Kiarostami’s cinematic prowess and Iran’s socio-political realities birthed a new era, a cinematic renaissance that showcased a profound interplay of realism, symbolism, and allegory. Kiarostami’s influence on Iranian protest cinema is not merely confined to surface aesthetics or technical innovations. His legacy lies in the thematic resonances that traverse time and space, creating a tapestry of narratives that meld individual experiences with larger societal struggles. The embodiment of personal and collective turmoil became emblematic of this cinematic movement, with filmmakers finding solace in Kiarostami’s precedent, one that offered a blueprint for navigating censorship and boldly addressing issues that had long been shrouded in silence.
The forthcoming exploration delves into the tapestry of Kiarostami’s cinematic techniques, the emergence of protest cinema, and the intersections that have paved the way for an enduring dialogue between them. The article will illuminate the ways in which Kiarostami’s cinematic legacy has transcended national borders, inspiring filmmakers across the Middle East and beyond to harness the power of cinema as a conduit for protest and societal transformation. Through this journey, it becomes evident that Kiarostami’s impact is not confined to the silver screen but has woven itself into the very fabric of contemporary protest cinema, articulating a poignant narrative of dissent, resilience, and the indomitable spirit of change.
Abbas Kiarostami’s cinematic techniques and narratives
Abbas Kiarostami’s cinematic legacy is a testament to his unwavering commitment to redefining the boundaries of storytelling and narrative conventions. His films, marked by a unique blend of realism and allegory, transcended the confines of traditional cinema, inviting audiences to engage with narratives that pulsated with life and philosophical resonance.
In films like Close-Up and Taste of Cherry, Kiarostami pioneered a form of realism that breathed authenticity into his narratives. He possessed an uncanny ability to capture the mundane aspects of daily life, juxtaposing them against broader existential questions. Close-Up exemplified this approach by blurring the lines between documentary and fiction, intertwining the real-life story of a man impersonating a filmmaker with the profound allegorical themes of identity, art, and human connection. Kiarostami’s adeptness at blurring these boundaries transformed his films into allegorical tapestries that mirrored the complexities of reality while inviting contemplation on universal truths. The notion of elliptical storytelling, a hallmark of Kiarostami’s cinema, invites viewers to become active participants in constructing the narrative’s meaning. In works like Certified Copy (2010), he thrusts audiences into a world where the boundaries between reality and illusion become hazy, prompting contemplation on the nature of authenticity and perception. This narrative experimentation shatters the linear progression expected in traditional cinema, demanding viewers to engage in a process of interpretation and introspection. Kiarostami’s narrative intricacies extend beyond mere plot; they become conduits for philosophical exploration, sparking conversations that transcend the screen.
Kiarostami’s indelible mark on cinema is underscored by his audacious willingness to challenge norms and subvert conventions. His propensity to eschew traditional storytelling structures is evident in films like Ten (2002), where a series of conversations unfold entirely within a car. This departure from conventional visual aesthetics is not merely an artistic quirk; it serves as a tool for deeper engagement. By unshackling his narratives from the limitations of traditional plot progression, Kiarostami empowers his viewers to engage actively with the characters’ inner worlds and reflect upon the broader societal dynamics at play. At the heart of Kiarostami’s cinema lies his commitment to viewer engagement. His films are an invitation, a challenge to the audience’s preconceived notions and expectations. The elliptical narratives, the blend of realism and allegory, and the deliberate ambiguity that shrouds his stories are all mechanisms to draw the viewer into a deeper, more introspective relationship with the narrative. The act of watching becomes an act of discovery, an exploration of the spaces between the words spoken and the emotions unspoken.
As we journey through the legacy of Abbas Kiarostami’s cinematic techniques and narratives, it becomes evident that his contribution to the world of cinema transcends the mere creation of films. Kiarostami’s cinema is an exploration of human complexity, a reflection of societal dynamics, and an open invitation for audiences to engage with the profound questions that permeate the human experience. In the subsequent sections of this article, we will delve into how these techniques have rippled through the fabric of Iranian protest cinema, breathing new life into narratives of dissent and resilience.
Socio-political dynamics in Iran and the emergence of protest cinema
The emergence of Iranian protest cinema is intricately interwoven with the socio-political landscape that has shaped the nation’s history. Iran’s modern history is marked by a series of transformative events, each leaving an indelible imprint on the collective consciousness of its people. From the Constitutional Revolution of the early 20th century to the 1979 Islamic Revolution and its aftermath, Iran has navigated waves of change, often accompanied by tension, upheaval, and the suppression of dissenting voices. It was within this charged environment that cinema emerged as a potent avenue for artistic expression and protest. The power of visual storytelling, unhindered by the constraints of traditional censorship, provided filmmakers with a canvas to articulate their perspectives, challenge authority, and document the experiences of individuals swept up in the tide of societal change. As Iran grappled with the socio-political repercussions of the 1979 Islamic Revolution, a new era of cinema emerged, offering a platform for artists to engage critically with the shifting contours of power and ideology. Iranian filmmakers found themselves in the unique position of navigating a delicate balance between creativity and state-sanctioned limitations, leading to the cultivation of a distinct cinematic language that carried hidden subtexts and veiled allegories.
Key Iranian protest films began to emerge, their narratives echoing the sentiments of a society in flux. Notable works like Jafar Panahi’s The Circle (2000) and Samira Makhmalbaf’s At Five in the Afternoon (2003) grappled with themes of gender inequality, political disillusionment, and the clash between tradition and modernity. These films adopted a nuanced approach, weaving personal narratives into the fabric of larger socio-political concerns, mirroring the very tensions that defined Iranian society. The thematic concerns of Iranian protest cinema are as diverse as the historical contexts that inspired them. These films explore themes of identity, human rights, religious and cultural tensions, and the resilience of the human spirit in the face of adversity. In many instances, allegorical storytelling, a technique inherited from predecessors like Abbas Kiarostami, enabled filmmakers to navigate censorship while delivering hard-hitting commentary on issues that were too sensitive to address directly. This intersection between personal narratives and societal struggles became a defining characteristic of Iranian protest cinema. Filmmakers channeled the spirit of their times into cinematic tales that reverberated with universal resonance, connecting with audiences on a visceral level and drawing attention to the voices of those who were often marginalized or silenced.
As we delve into the subsequent sections, we will unravel the profound influence of Abbas Kiarostami’s cinematic innovations on the evolution of Iranian protest cinema. By examining key films, narratives, and artistic techniques, we will illuminate the ways in which Kiarostami’s legacy provided filmmakers with a template for engaging with socio-political issues, amplifying dissent, and creating a dialogue that transcends national boundaries.
Influence on narrative approaches and visual aesthetics
Abbas Kiarostami’s imprint on Iranian protest cinema is akin to a guiding constellation, illuminating the paths for filmmakers to navigate the complexities of dissent and societal reflection. His innovative narrative approaches and visual aesthetics have reverberated through the works of subsequent generations, giving rise to a poignant cinematic dialogue that resonates with audiences worldwide. Kiarostami’s emphasis on blending realism with allegory, a hallmark of his cinema, has been a lodestar for Iranian filmmakers seeking to capture the profound while sidestepping overt censorship. The deeply personal stories woven into broader socio-political contexts, as exemplified by Kiarostami’s Taste of Cherry, have become a storytelling tradition that many contemporary protest films honor. These narratives offer a dual-layered experience, connecting the personal struggles of characters with the collective struggles of the society they inhabit.
The impact of Kiarostami’s elliptical storytelling is palpable in Iranian protest cinema, where narrative ambiguity serves as a tool for critical reflection. The legacy of his narrative experimentation finds resonance in films like Fireworks Wednesday (2006) by Asghar Farhadi, where complex interpersonal relationships become a lens through which wider societal tensions are examined. The narrative intricacies, often reflecting shades of Kiarostami’s influence, beckon audiences to dissect the layers of meaning hidden beneath the surface. However, Kiarostami’s influence is not limited to mere homage. Some Iranian filmmakers have ventured into uncharted territory, melding his techniques with their unique creative visions. Mohsen Makhmalbaf’s Kandahar (2001) is a testament to this departure, employing Kiarostami-inspired allegory to illuminate the plight of Afghan women while departing from Kiarostami’s signature restraint to create a visually arresting and emotionally charged narrative. The trajectory of Kiarostami’s influence extends beyond mere replication; it has catalyzed an evolution of protest cinema’s visual and narrative language. Films like A Separation (2011) by Asghar Farhadi underscore the dynamic interplay between Kiarostami’s legacy and contemporary storytelling. The nuanced exploration of societal intricacies, while rooted in Kiarostami’s ethos, ventures into explorations of moral ambiguity and ethical dilemmas that forge new ground. Moreover, Kiarostami’s boldness in subverting conventions has inspired filmmakers to test the boundaries of cinematic expression. In films like Crimson Gold (2003) by Jafar Panahi, there is a daring departure from linear narrative structures, where the disintegration of a protagonist’s psyche mirrors the fragmentation of societal norms.
As we transition into the subsequent sections, it becomes evident that Kiarostami’s cinematic influence is not confined to mimicry but has evolved into a dynamic dialogue between his legacy and the narratives of dissent that emerge from the contemporary Iranian protest cinema landscape. The influence is not about replication; it’s about the evolution of an artistic lineage that continues to transform, adapt, and amplify the voice of protest.
Shared socio-political themes: Kiarostami’s continuum
The essence of cinema as a tool of protest lies in its capacity to engage with societal themes that resonate across time and borders. In this regard, Abbas Kiarostami’s cinema and contemporary Iranian protest films share a symbiotic connection, drawn together by their exploration of shared socio-political themes. The struggles of individuals grappling with personal dilemmas against a backdrop of societal challenges are emblematic of Kiarostami’s narratives and continue to reverberate in the discourse of protest cinema. Kiarostami’s narratives inherently mirror the complexity of Iranian society, often touching on issues of identity, alienation, and the tension between tradition and modernity. His ability to craft allegories, as seen in The Wind Will Carry Us (1999), creates a tapestry where personal narratives become microcosms of broader societal dynamics. These themes provide fertile ground for protest cinema, allowing filmmakers to draw parallels between individual experiences and larger socio-political struggles.
In an environment where overt dissent might face censorship, allegorical storytelling emerges as a powerful tool to address sensitive subjects with subtlety. Kiarostami’s mastery of this technique has been a beacon for filmmakers seeking to navigate the complexities of societal criticism without attracting unwarranted attention. By couching contentious issues within layers of allegory, filmmakers create narratives that can be interpreted on multiple levels, inviting viewers to engage with the narrative’s surface and delve into its underlying meanings.
The allegorical approach, akin to a shield, offers filmmakers the freedom to engage with topics that might be deemed too incendiary under direct scrutiny. A Separation by Asghar Farhadi exemplifies this technique, exploring issues of class, gender, and morality within a narrative that showcases the complexities of interpersonal relationships. As viewers decode the layers of allegory, the narrative’s implications ripple into the broader societal landscape, fostering nuanced conversations that are crucial to the protest movement.
The power of allegory lies not only in its capacity to navigate censorship but also in its ability to catalyze reflection and dialogue. Iranian protest cinema, echoing Kiarostami’s influence, uses allegory as a means to provoke thought, challenge perceptions, and illuminate hidden truths. Taxi (2015) by Jafar Panahi exemplifies this transformational quality, employing the allegorical space of a taxi to engage with diverse passengers whose conversations weave a rich tapestry of socio-political commentary.
Kiarostami’s approach of blending realism with allegory finds particular resonance in the depiction of protest movements. Films like Ten (2002) by Kiarostami himself and Circumstance (2011) by Maryam Keshavarz exemplify how these techniques can translate personal experiences into allegorical commentaries on societal upheaval. The confined space of a car in Ten becomes a microcosm of Iranian society, allowing conversations to flow organically and revealing layers of dissent, compromise, and longing. Ten is emblematic of the power of Kiarostami-inspired techniques to amplify the impact of protest cinema. The confines of the car not only mirror societal dynamics but also create a claustrophobic intimacy that intensifies the emotional resonance of the conversations. This technique is echoed in Women Without Men (2009) by Shirin Neshat, where the enclosed garden becomes a metaphorical space in which the characters’ personal journeys intersect with wider socio-political struggles.
Moreover, Kiarostami’s narrative experimentation, as seen in Certified Copy (2010), finds echoes in No Date, No Signature (2017) by Vahid Jalilvand. Both films challenge the audience’s perception of reality, inviting viewers to grapple with the blurred lines between truth and illusion. In No Date, No Signature, this narrative ambiguity becomes a tool to explore themes of guilt and responsibility, encapsulating the complexity of social and moral challenges.
Kiarostami’s influence extends beyond narrative techniques to visual aesthetics that mirror the intricacies of personal struggles and societal challenges. Films like A Man of Integrity (2017) by Mohammad Rasoulof utilize Kiarostami’s penchant for landscapes and visual poetry to evoke a sense of isolation and moral dilemma. The use of desolate landscapes and minimalistic settings draws the viewer into the inner turmoil of the characters and their battles against systemic injustice.
As the subsequent sections beckon, it becomes evident that Kiarostami’s cinematic legacy has not only provided filmmakers with narrative techniques but has also shaped the very visual grammar through which the narratives of protest unfold. The power of cinematic language, harnessed through Kiarostami-inspired approaches, captures the essence of protest movements, the resilience of individuals, and the complexities of societal change, bringing them to life on the screen in a symphony of visual and narrative resonance.
Kiarostami’s resonance beyond borders
The impact of Abbas Kiarostami’s cinematic legacy transcends national boundaries, resonating with filmmakers and audiences around the world. His pioneering approaches to narrative and aesthetics have not only shaped the landscape of Iranian cinema but have also inspired a global movement of cinematic protest. Kiarostami’s influence extends far beyond his native Iran, becoming a touchstone for filmmakers grappling with their own socio-political contexts. Kiarostami’s legacy reverberates through the works of filmmakers from the Middle East and beyond. Filmmakers in countries with diverse sociopolitical climates have found solace in his narrative innovations, employing them to articulate their own stories of dissent, resilience, and societal reflection. For instance, the films of Nuri Bilge Ceylan from Turkey, such as Winter Sleep (2014), bear traces of Kiarostami’s influence in their contemplative exploration of existential themes and human relationships.
The influence of Kiarostami’s cinematic style goes beyond mere emulation; it undergoes a transnational transformation that adapts to local contexts. In Egypt, the film Clash (2016) by Mohamed Diab navigates the volatile sociopolitical landscape through a claustrophobic setting reminiscent of Kiarostami’s confined spaces. The influence here is not confined to narrative technique alone; it extends to the atmosphere of tension, reflecting Kiarostami’s ability to evoke powerful emotions through minimalistic aesthetics. Kiarostami’s ethos, characterized by a commitment to societal engagement, has found resonance in filmmakers like Jia Zhangke from China. His film A Touch of Sin (2013) employs Kiarostami’s techniques to explore the intersection of personal struggles with broader systemic issues, revealing the interconnectedness of individual experiences and societal challenges. These global echoes of Kiarostami’s influence underscore the universal nature of his cinematic language. His legacy has become a bridge between disparate cultures and contexts, a testament to the enduring power of cinema to transcend geographical boundaries and unite audiences through shared human experiences.
As we transition into the final sections of this exploration, it becomes evident that Kiarostami’s influence is not confined to a single nation or region. His cinematic innovations have become a rallying point for filmmakers across the globe, nurturing a transnational dialogue on protest cinema, resilience, and the indomitable spirit of change.
Conclusion: enduring legacy and protest cinema’s trajectory
Abbas Kiarostami’s cinematic legacy is a constellation of innovation, courage, and artistic audacity that continues to guide the trajectory of protest cinema in the region. His influence reaches beyond the screen, shaping the very essence of how filmmakers engage with dissent, societal reflection, and the human experience. As we reflect on his legacy, it becomes evident that his contributions have not only transformed the landscape of Iranian cinema but have also forged an enduring path for protest cinema to tread. Kiarostami’s cinematic toolbox, filled with narrative intricacies, allegorical brilliance, and the capacity to challenge norms, serves as a compass for filmmakers navigating the turbulent waters of societal upheaval. His techniques offer both an anchor and a sail, grounding narratives in a shared human experience while empowering filmmakers to set sail toward uncharted waters of narrative innovation. Following in the footsteps of a cinematic luminary like Abbas Kiarostami is a task that comes with both challenges and opportunities. The challenge lies in crafting original narratives that honor his legacy while forging unique paths of artistic expression. Filmmakers are tasked with striking a delicate balance between emulation and innovation, channeling Kiarostami’s influence to explore new dimensions of protest cinema. Opportunities arise from the vast canvas of Kiarostami’s legacy. Filmmakers can embrace his techniques as a springboard for transcending societal boundaries, using cinematic language as a bridge to address global issues of oppression, resilience, and hope. Kiarostami’s legacy invites filmmakers to engage with both the personal and the political, forging narratives that become catalysts for change, both within their own societies and on the global stage.
As we gaze into the future, it becomes evident that Kiarostami’s legacy is not a static monument but an ongoing dialogue. Contemporary protest cinema continues to evolve, absorbing his influence and transforming it into a powerful medium for reflecting on societal dynamics, political turbulence, and the innate human desire for change. Kiarostami’s legacy is not confined to a single era or nation; it transcends temporal and geographical boundaries to become a beacon that guides filmmakers toward the transformative potential of cinema.
Kiarostami’s ability to marry personal struggles with broader societal concerns resonates deeply in films that follow his footsteps. His legacy has been instrumental in nurturing a breed of filmmakers who harness cinema’s potential to dissect the complexities of Iranian society, amplify silenced voices, and ignite conversations that transcend geographic boundaries. As Iranian protest cinema continues to evolve,
Kiarostami’s legacy stands as a testament to the enduring power of art to inspire, provoke, and create dialogue.
In conclusion, Abbas Kiarostami’s legacy has become a prism through which we perceive the intersection of art and protest, narrative innovation, and societal reflection. His influence, evident in the techniques, narratives, and allegorical brilliance explored in this article, has enriched the fabric of Iranian and global cinema, igniting a flame of artistic exploration that continues to burn brightly. Kiarostami’s cinema is not merely a reflection of the past; it is a torch that lights the path toward a future where protest cinema remains a vital force, unearthing hidden truths, amplifying silenced voices, and speaking truth to power in the language of images and stories.
In this age of connectivity, the exchange of ideas and narratives is swift and profound. Kiarostami’s legacy reminds us that the power of cinema extends beyond entertainment; it has the capacity to transform societies, challenge oppressive regimes, and inspire individuals to strive for a better future. As we bid farewell to this exploration, we stand at the precipice of a new era of protest cinema, one that is enriched by the timeless wisdom of Abbas Kiarostami’s artistic legacy.
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Shiva, K. (2018). Iranian Cinema in a Global Context: Policy, Politics, and Form. Routledge.
Ehrlich, L. (2018). Being and Becoming: Iranian Women Filmmakers and the Islamic Republic. Rutgers University Press.
Eskandari-Qajar, M. (2020). The Circumstance of Politics: Iranian Filmmakers Discuss Their Work. McFarland.
Gugler, J. (Ed.). (2005). World Cinemas, Transnational Perspectives. Routledge.
Haghighat, A. (2017). Women and Politics in Iran: Veiling, Unveiling, and Reveiling. Cambridge University Press.
Keshavarz, F. (2011). Recasting Persian Poetry: Scenarios of Poetic Modernity in Iran. University of Utah Press.
Ranjbar, V., & Yahaghi, H. (2019). The evolution of Iranian cinema after the 1979 Islamic Revolution: A chronological review. In Iran’s Influence: A Religious-Political State and Society in Its Region (pp. 95-126). Springer.
About the author:
Dr. Hamed Soleimanzadeh is a film philosopher, film critic, filmmaker, researcher, and university lecturer, and he is currently an Einstein Junior Fellow at the Berlin University of the Arts (UdK).
© 2020 – 2024 Fantasize & Hamed Soleimanzadeh


Travis LaBella is a Director of Photography and filmmaker based in Los Angeles, CA.
He got his start shooting documentaries and was the recipient of the ASC Student Heritage Documentary Award for Language of the Unheard, which was featured in American Cinematographer, and screened at the Cannes Short Film Corner.
He now shoots a range of narrative, commercial, and documentary work. In 2019 Travis won an LA Emmy for his work on That Far Corner: Frank Lloyd Wright in Los Angeles for KCET / PBS. He has shot commercial spots for Toyota, Disney, Kia, MVMT, Ray Ban, and more.


I’ve recently finished watching HBO’s Rome on Amazon Instant Video, and even though I consistently knew the outcome of every major plot point well in advance it was still shocking and fantastic to watch. Rome ran for 2 seasons from 2005 – 2007. It is a historical drama that could be described as a historically accurate Game of Thrones for today’s viewers. I will warn you now that the following may contain SPOILERS because I feel like 2000 years is a long enough time to allow such things.
The show is centered around Rome’s turbulent transition from a Republic to an Empire. The story follows Titus Pullo and Lucius Vorenus, two fictional Roman soldiers, and their dealings with historical figures such as Julius Caesar, Pompey Magnus, Marc Antony, Octavian Caesar, and even Cleopatra. The depth of the characters is great and the actors portraying them are masters of their art. I found myself switching between loving a character and then hating them or vice versa. By the time the series had ended I had changed views on every character at least once or twice which just goes to show there are no blacks and whites of morality, just varying shades of gray. Continue reading HBO’s Rome: 2000 Year Old Spoilers


What do we do?
The Filmmakers Society of St Andrews exists with the aim to support filmmakers at all levels within the university by providing guidance, equipment and an opportunity to meet other creatives. The University doesn’t offer a filmmaking course; thus we are the only platform in the university facilitating hands-on productions.
We provide camera, sound and lighting equipment. We organise masterclasses in scriptwriting, directing, cinematography and editing to help our members get a better understanding of the specific roles during the production process. We also provide industry-related and internships workshops for students who are looking for a career in the film industry.
We have our very own online Actors Database where we display the profiles of actors and actresses around the university. We host Headshot Sessions where people come in and have a professional Headshot taken.
How does it work?
The production process is similar every semester:
- Scriptwriting deadline: Students are asked to submit their scripts. We host a workshop before to help them elaborate on their ideas.
- Production kick-off: People read the scripts and come together to create their teams based on script preferences and production roles.
- Auditions/ Actors Database: We either host a joint audition session for all production teams or producers are able to reach out to potential actors through the Database.
- Cinematography workshop: This includes a presentation of all of the available equipment as well as a hands-on session where people have the chance to play around with the equipment.
- Directing workshop: It depends on the individual who is running it. We aim to come up with interactive exercises to give people a better idea of the basics of directing.
- Editing workshop: We have installed editing software on university computers. Members are welcome to edit their films on these computers.
The Filmmaker’s Society of St Andrews was unofficially formed on the 7th of April 2017 following the screening of The Darkroom as a part of the On The Rocks Festival. Yet for the film to be shown and the announcement of the society’s creation to have been made, much had happened in way of circumstances. Originally The Darkroom, the first feature film of the society as well as the vehicle from which the society was formed, was a rejected theatric production for the Mermaid. Despite initial frustrations that naturally come with rejections, the production crew pushed on. They were intrigued by both the constraints and possibilities that a film could provide, perhaps bringing them closer to the original vision of the script than the play ever could.
Thus, after many months of planning, as well as bringing those both experienced and inexperienced in cinematography into the project, the crew filmed The Darkroom during the winter break of 2016. Of course, as with all first-time productions, there were many struggles, mistakes and inefficiencies that come naturally. Yet, this created even more interest amongst the group to pursue filmmaking further beyond one feature film. To accommodate for this desire, as well as to share the group’s passion for the process of filmmaking, the society was created.
We welcome all and encourage our fellow students to join us in our efforts to write the history of the society. In its opening, The Filmmaker’s Society looks towards a bright future, one in which like-minded students would be welcomed, where like-minded cinephiles would congregate, putting their minds together for future projects both personal and grandiose in scale. Though the history may be short for now, it is the hope of the society that its history will be expanded over time by the actions of its prospective members.


Behind the scenes theater tour and swimming!
Denver Center for the Performing Arts is our first stop. We'll take a private, behind the scenes tour and learn about the history of the space and theater in general.
From there we're headed to cool off at La Alma Pool. The slide, whirlpool, diving board and splash-ground make this a crowd favorite.
DROP OFF AND PICK UP LOCATION: 400 S Williams Street, Denver, CO, 80210
DROP OFF: 8:30 - 9:30 AM
PICK UP: 4:30 - 5:30 PM
PLEASE SEND YOUR KIDS WITH
- Water bottle


Introduction to Star Wars Jacket
The Star Wars franchise has been a cultural phenomenon for over four decades, captivating fans of all ages with its epic space opera storyline, memorable characters, and iconic costumes. From Jedi robes to stormtrooper armor, the clothing and costumes in the Star Wars universe are as much a part of the story as the characters themselves. One of the most popular and recognizable pieces of Star Wars fashion is the jacket. In this article, we'll take a closer look at some of the most iconic Star Wars jacket and how you can incorporate them into your own wardrobe.
Han Solo Jacket
When it comes to iconic Star Wars jacket, it's hard to beat the classic look of Han Solo's leather jacket. From his first appearance in the original Star Wars film, A New Hope, Han's jacket has become synonymous with the character's rugged charm and devil-may-care attitude. The jacket's simple yet timeless design features a button-up front, a wide collar, and a straight cut. It's made from high-quality leather, making it both durable and stylish.
To incorporate Han's jacket into your own wardrobe, pair it with a simple t-shirt and a pair of jeans. For a more dressed-up look, you can wear it with a collared shirt and slacks. You can also accessorize the jacket with a pair of boots or a classic watch to complete the look.
Poe Dameron Jacket
In the more recent Star Wars films, one of the most fashionable characters has been Poe Dameron, played by Oscar Isaac. Poe's bomber jacket is a standout piece of his wardrobe, featuring a bright orange color and a bold, asymmetrical design. The jacket is also reversible, with a darker orange color on the inside.
To emulate Poe's style, pair his jacket with a simple white t-shirt and black pants. You can also incorporate a pair of aviator sunglasses to complete the look. The jacket's vibrant color makes it perfect for making a statement and standing out in a crowd.
Jyn Erso Jacket
In the standalone film Rogue One: A Star Wars Story, the lead character Jyn Erso, played by Felicity Jones, sported a stylish and practical jacket that quickly became a fan favorite. The jacket's design features a high collar, asymmetrical zipper, and plenty of pockets, making it perfect for a rebel on the run.
To channel Jyn's look, pair her jacket with a simple black shirt and pants. You can also incorporate a pair of combat boots to complete the rugged, battle-ready look. Jyn's jacket is a great addition to any wardrobe, perfect for both casual outings and cosplay events.
In the latest trilogy of Star Wars films, the character of Finn, played by John Boyega, has become a fan favorite for his relatable and down-to-earth demeanor. His jacket, which he wore in The Force Awakens, has also become a beloved piece of Star Wars fashion. The jacket features a simple yet stylish design, with a stand-up collar, asymmetrical front zipper, and plenty of pockets.
To incorporate Finn's jacket into your own wardrobe, pair it with a simple white t-shirt and black pants. You can also accessorize with a pair of boots or sneakers to complete the look. Finn's jacket is a great choice for those who want to add a touch of Star Wars fashion to their everyday style.
In conclusion, Star Wars jacket are a fantastic way to show your love for the franchise and incorporate some sci-fi style into your wardrobe. Whether you prefer the rugged look of Han Solo's leather jacket.


Film Noir and the Cinema of Paranoia by Wheeler Winston Dixon
Noir. A shadow looms. The blow, a sharp surprise. Waking and sleeping, the fear is with us and cannot be contained. Paranoia.
Wheeler Winston Dixon's comprehensive work engages readers in an overview of noir and fatalist film from the mid-twentieth century to the present, ending with a discussion of television, the Internet, and dominant commercial cinema. Beginning with the 1940s classics, Film Noir and the Cinema of Paranoia moves to the "Red Scare" and other ominous expressions of the 1950s that contradicted an American split-level dream of safety and security. The dark cinema of the 1960s hosted films that reflected the tensions of a society facing a new and, to some, menacing era of social expression. From smaller studio work to the vibrating pulse of today's "click and kill" video games, Dixon boldly addresses the noir artistry that keeps audiences in an ever-consumptive stupor.
Film Noir and the Cinema of Paranoia [PDF eBook] Wheeler Winston Dixon
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45th Daejong Film Fest Invites Moviegoers
Actress Kim A-jung, left, and actor An Sung-ki are goodwill representatives of the 45th Daejong Film Festival.
The Daejong (Grand Bell) Film Festival ― Korea's equivalent of the Academy Awards ― holds its 45th edition with small film festivals May 24-28 in Seoul and Tokyo before the big award ceremony here June 27. Organizers announced the lineup of movies including 56 works that will enter the competition round in a press conference Tuesday.
This year a total of 56 works were submitted of which 30 will be selected for preliminary judgment beginning today through May 28. The final judgment will take place starting June 12 at Seoul Theater, Jongno-3ga, inviting ordinary citizens as jury members.
The jury will include nine film specialists and 50 civilians who will choose prizewinners for Best Film, Best Actors, Best Supporting Actors and Best New Actors. Anyone can apply for a spot in the jury through the Web site www.daejongsang.com. The award ceremony will take place June 27 at COEX, southern Seoul.
Unrelated to the awards, the Daejong Film Festival will take place May 24-28 at Sangam World Cup Stadium. Co-hosted by the Motion Pictures Association of Korea and Seoul City, the five-day film event will feature free screenings of competing films (both feature and short films); meetings with directors and actors; concerts; exhibition of movie posters and still photos; fireworks and other spectacles.
Moviegoers might be able to re-watch popular 2007 movies like ``D-War,'' ``The Happy Life'' and ``Le Grand Chef'' as well as critically acclaimed pieces like ``Secret Sunshine'' and ``Epitaph'' ― all candidates for the 30 contenders.
``Last year we showed two films everyday over a month, but it decreased the participation of cineastes. This year we organized a five-day festival where filmmakers and actors can meet with fans. Next year we hope to increase the timeframe to two weeks,'' said festival director Shin Woo-chul.
Movie fans in Japan will also be able to watch Korean films. This year, the Japan-based Korean Movie International Fan Association (KIFA) will also hold Daejong Film Festival Tokyo May 26-30 at Bunkyo Civic Center. The members of KIFA will choose five works from the 56 candidate films for the main competition here, and screen them during the five-day festival.
This year, veteran actor An Sung-ki and screen beauty Kim A-jung will represent the festival as honorary ambassadors.
``The festival started out as a small meeting of cineastes who got together for their pure love of cinema. It grew to see its 45th edition already,'' said An, a winner of multiple Daejong Awards including last year's for Best Actor and 50 Years of Acting the year before.
``I feel very close with the festival particularly after winning last year's award for Best Actress,'' said Kim, the star of the international hit movie ``200 Pounds Beauty.''
After her stellar big screen debut, Kim took a yearlong break. ``The rest allowed me to reflect upon things and to spend time with my family and friends. I'd like to visit the audience soon through my next piece, which is most likely going to be a movie,'' she said.


Matilda the Musical is looking for a Deputy Head of Stage and Automation to join the UK tour at the end of June 2018 until August 2019.
This is a full-time, fixed-term position.
As Deputy Head of Stage and Automation you will participate in the running of the department and performances to the highest possible standard. You will report directly to the Head of Stage and Automation, where you will take responsibility for the production's stage machinery, set and rigging as required.
The ideal candidate must have professional theatre experience with qualifications relevant to this post, and an understanding and practical knowledge of the principles of safe working practices of set construction and theatre rigging.
All applications should be made online using the RSC website.


Wandering Wednesday & Knitspiration
Happy Wednesday Folks!
Today I have something different: Wandering Wednesday & Knitspiration all in one!
Tonight (Wednesday, September 9th), the Sundance channel is going to have a documentary on Sonia Rykiel.
The Sundance channel is showing a four-part documentary series called The Day Before, directed by Loic Prigent. The documentary gives an inside look at the creative process and the drama that occurs prior to a runway show. Each night this week, in the spirit of Fashion Week, Sundance will play a part at 10pm, each part focusing on a different fashion designer.
The one set for tonight caught my eye because it is on Sonia Rykiel, who is also known as The Queen of Knits. I have heard of her, and after I Google searched, I found that I really dig some of her stuff. I will probably DVR the documentary tonight and watch it some time this weekend. If you can, try to catch a bit of it tonight and let me know what you think. Maybe I'll do a review... maybe....


Sophia N. Nahon is a recent graduate of Hofstra University having received her BFA in Theater Arts with a focus in Scenic Design. She has assisted and designed several shows while at Hofstra and has worked professionally as a Scenic Artist since graduating. Sophia's work experiences have given her the ability to work on a large number of productions while also growing her knowledge in many areas of technical theater. She has knowledge in: carpentry, drafting, scenic painting, light hanging, prop building and more. Sophia is eager to work, learn, and continue to as a theater artist.
Thanks for visiting - Sophia N. Nahon


If it worked the first time, might as well try again. Isle of Dogs, Wes Anderson’s second dabbling into the stop motion world, tells the story of Atari, a boy who goes searching for his dog on an island, where many dogs were exiled after an outbreak of the canine flu in Japan. He uses the assistance of the pack leader to somehow find him.
Anderson does a spectacular job with the stop motion yet again. It wasn’t a colorful as his first entry on this list, but the style has been upgraded and you can tell straight away that this is a modern stop motion film. The movements feel smoother, the story a bit better, and everything melds well together like a well-oiled machine. And yet again, this voice cast is amazing. Bryan Cranston takes on the starring role, alongside co-stars like Edward Norton, Greta Gerwig, Jeff Goldblum, and more.
Stream it on Disney+ here.Rent it here.
Now, if you’ve ever lost a dog, this one is certainly relatable. Frankenweenie, another great stop motion film by Tim Burton, is about a young boy using the power of electricity to bring back his dead Bull Terrier, but of course, the rest of the town finds out and wants to know his secrets.
Frankenweenie is not only a great parody of Frankenstein, but it also has a lot of heart. Anyone who has ever gone through the loss of a pet has surely experienced the wish to somehow bring them back. This story explores how that might happen and the consequences of those actions. For a kid’s movie, it goes surprisingly deep. Nerdy Doormat
Stream Frankenweenie on Disney+ here.Rent it here.
Chicken Run (Peacock)
Oh, Chicken Run. I have so many feelings about this movie but we’ll talk about that in a bit. Chicken Run, released back in 2000, centers around a group of chickens who all begin to follow a rooster named Rocky, as he might be their only way out of certain death of becoming chicken pies by their owners.
Chicken Run is a movie you might not expect to be good, but once you give it a shot, this is one of the funniest stop motion films you will ever watch. The jokes land consistently and will have you laughing throughout the movie, even though the lead characters are literally just a bunch of chickens. The voice cast is great as well, with stars like Mel Gibson and Julia Sawalha taking on the lead roles. Also, this movie grossed $224.8 million, which became the highest-grossing stop motion film. There has to be a reason for that, and I believe Chicken Run is most certainly worth the time to watch.


It’s CUFF’s sweet 16! Join us for the 16th annual Calgary
Underground Film Festival running April 22-28, 2019 at Globe Cinema.
Film info, schedule, and tickets: www.calgaryundergroundfilm.org
The Calgary Underground Film Festival has been dedicated to
elevating Calgary’s cultural landscape with the best in international
independent cinema. We’re now Western Canada’s premiere genre festival, and one
of Calgary’s most anticipated events for film fans. We challenge and entertain
our audiences with boundary-breaking films, compelling artist showcases and
Full lineup announced. Tickets to all films now on sale.


Written by: McKenna Ross
Rafiki is a lesbian love story that takes place in Kenya, and recently won several awards at African film festivals. The movie is currently banned in Kenya for promoting homosexuality, but it continues to be shown all over the world. Rafiki has recently been screened at several African film festivals, including the Pan-African film festival. Samantha Mugastia, who played Kena in the film, won the award for best female lead at the festival. This is a milestone moment because homosexuality is the main theme of the movie. In the past, many parts of of Africa have seen homosexuality as taboo. Winning an award at a Pan-African film festival shows that thoughts towards LGBTQ+ rights may be changing.
Being part of the LGBTQ+ community in Africa is tough. Before Europeans arrived, homosexuality was not talked about, but it was accepted. Women could have wives if they were rich, and there were once openly gay rulers. Colonizers brought homophobia to Africa and it stuck. Homosexuality is punishable by death in four countries, illegal in a further 33 countries and legal in just 17 countries in Africa. In many countries, even supporting LGBTQ+ rights can get one in trouble. Politically and socially, being LGBTQ+ is unacceptable. Families turn on against other and governments turn on people, throwing LGBTQ+ people in jail and isolating them from society. This is especially evident in Egypt, where people in the LGBTQ+ community reach out to others through online platforms. Government workers create fake profiles to locate people and arrest them. Not a lot of information is known about homosexuality in Africa, and what is known is usually negative, like the stigma that all gay men have HIV. More information needs to be transmitted about LGBTQ+ people in Africa, and movies like Rafiki are working to do that.
Rafiki is a movie about two Kenyan women that fall in love against their parents’ wishes. They are both getting ready to go to college and enter a new stage in life, when they find each other during the summer. Over dates disguised as hanging out as friends, they finally acknowledge their feelings for each other. They begin to see each other in private, meeting at a spot. When Kena and Ziki are finally discovered, they are both beaten by their communities. They break up, for their own safety and because their parents force them to, which results in Ziki leaving Kenya. The film ends several years later, with Kena now a practicing doctor and having a better life, even if people are still sometimes cruel to her because of her sexuality. Ziki has returned to Africa and the film ends with Kena turning towards Ziki in the spot they always used to meet in. Despite the efforts of everyone to keep them apart, in the end they are together.
This movie and others like it can have huge impacts for African society. By making movies showing LGBTQ+ people as regular people who fall in love, they humanize African members of the LGBTQ+ community. By awarding Rafiki with best lead actress, Africans across the world are showing their support for the LGBTQ+ community. It is a step towards making it legal to have any sexuality, even if most African countries are still a ways off from legalizing gay marriage. Though there are many activists for LGBTQ+ rights in Africa, they seem to be concentrated in countries like Egypt, where the government takes a strong stance against homosexuality. In comparison, homosexuality is taboo in East Africa. It is illegal to be LGBTQ+ and people do not support it, but there are no harsh death penalties. Activists are concentrated in areas like Egypt because of the more dire consequences of being LGBTQ+. Avtivism is more urgently needed in Egypt and Nigeria because homophobia is more extreme, going as far as corrective rape or the death penalty. In East Africa, people could be arrested but they are not killed. East Africa does not have as many activists and so movies like Rafiki are important for informing people about homosexuality. Even though Rafiki was banned in Kenya, people still find ways to view it illegally, and hopefully in the future films like it will no longer be banned.


Karen-Eileen Gordon is an American Actor, Voiceover Artist, Speaker and Coach who stepped memorably into public awareness with her completely improvised turn in the HBO comedy, “Curb Your Enthusiasm” opposite Larry David. Many projects later, her roles and sessions continue to win her global fans.
Born in Philadelphia, Karen-Eileen grew up in Hollywood, Florida, where her parents founded a residential real estate company. She holds an Economics degree from Harvard, where that student body voted her “One of the Ten Funniest People” on campus, thanks to her daily-changing outgoing answering machine messages. Passionate about the Wellness Arts, she is a long-time practitioner of both the Japanese energy healing art of Reiki and Restorative Hatha Yoga.
In the World of Television, Karen-Eileen was honored to be a Series Regular on the STARZ Original Drama “Magic City,” opposite that show’s leading man, Jeffrey Dean Morgan.
Her female lead in the independent comedy feature film “A Free Bird” won her rave reviews (currently available on Amazon http://goo.gl/c4OGNL and http://goo.gl/NnWF7s). She’s attached as lead to two features–her first horror film and her first political thriller–both set to go into production in mid-2020.
In the Voiceover Universe, Karen-Eileen is an active audiobook Narrator/Producer for authors and rights holders in both the US and UK. She brought multiple Latina characters to life in the Rockstar Games video game, “Grand Theft Auto V.” When not on-set, in-studio or on-stage, she adores coaching; she’s a Senior Instructress for the Backstage-award-winning “VOHeroes.com” Voiceover Curriculum.
Her love of theatre focused on solo shows. Karen-Eileen is a skilled playwright with extensive experience in one-woman performance; she’s currently in pre-production on an original show (inspired by energies she refers to as “angels” and “guides” that came through to visit, during her energy work sessions with clients), called “7 FROM THE LIGHT.”
One of her greatest joys is assisting fellow artists in finding their magic. To that end, she keynotes and workshops on “Radical Self-Care for Creatives,” joyfully sharing instantly-useable toolkits to help storytellers of all kinds thrive on their journeys.
Karen-Eileen is happiest whenever bringing powerful stories to life.


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Prince Edward Theatre London
Catch the award winning London show, Disney’s Aladdin at the magnificent Prince Edward Theatre! The popular story of a young boy, Aladdin revolves around daring, magic, devious sorcerers and entertaining genies. The mesmerizing London show is adapted from the 1992 classic Academy Award-winning movie. Disney’s Aladdin is a complete roller coaster joyride featuring beauty, comedy and breath-taking spectacle.
Enjoy the mesmerizing London West End production featuring breathtaking sets, mind-blowing special effects and over 350 lavish costumes. The must watch London production is directed and choreographed by The Book Of Mormon’s Casey Nicholaw.
The story revolves around a savvy street urchin, Aladdin who gets entangled in the nefarious plans of an evil magician. In the meanwhile, he also falls in love with a stunning princess, Jasmine. And also befriends a genie, who is funny and lives in a lamp.
Famous music composer Alan Menken confirmed a musical adaptation of the movie in the year2010. After four years, the musical had a grand opening on Broadway. The show has some heart touching chartbusting songs such as A Whole New World, Friend Like Me and Arabian Nights, along with new songs written specifically for the stage production. In 2016, Disney’s Aladdin made its debut in the London Westend Prince Edward Theatre.
The show is penned by Menken and Howard Ashman, The Lion King’s Sir Tim Rice and Elf’s Chad Beguelin, who also wrote the book. Jim Steinmeyer, the master illusionist who assisted David Copperfield created some brilliant Special effects.
The show has some of the most prestigious awards such as Olivier and Tony Awards. The show features sterling performances by Matthew Croke in the titular role, along with Jade Ewen as Princess Jasmine known for some great works like former Sugababe and In The Heights star. Trevor Dion Nicholas portrays Genie is a brilliant manner and has some of the scene-stealing turns in the New York production.
So, get set for a memorable weekend with your dear ones with award winning and blockbuster London show, Aladdin The Musical at the opulent Prince Edward Theatre!


Davis is a playwright based in Providence, RI, whose work has been produced in twenty-three states, Canada, China, Ireland, Jordan, and Scotland.
He is the Artistic Director of the theater company Strange News.
He writes weird dream plays and surreal farces.
Painting by Ashley Zipp, for Make Your Acquaintance at
the New York New Works Festival, 2015. ashleyzipp.com
Photos of me eating a burrito by scenic artist
Emily Baldasarra. emilybaldasarra.wix.com/scenicartist
© 2016 by Davis Alianiello. Created with Wix.com


Rose Upon the Altar- Hosted by Excelsior Masonic Lodge #113
Sunday, December 18, 2022 (12:00 PM - 3:00 PM) (CST)
This play is a “Scrooge” style performance based in a small town Masonic Lodge. Tickets can be pre-purchased via our website http://www.excelsior113.org.
Dinner & Play - $27.00, Play - $15.00


Alias Odium is a short film directed by and starring Jacob Doerr, and filmed and edited by Scott Pincus. It is a spin-off to Bread's Crumbs and takes place sometime after the events of The Biggest Fish of Them All. The film, which was released on August 30, 2014, stars Jacob Doerr as Justin Bartisto, a reconaissance bounty hunter who goes on one of many secret missions.
The film opens with Justin Bartisto (Jacob Doerr) walking out of a bush and up to the cameraman, as he prepares to sneak up on his next target. It is revealed that his mission is to infiltrate a secret headquarters housing people who are supposedly collaborating with Bread Nelson. Bartisto then runs out of the woods, engaging himself in several slow-motion sequences while the cameraman films from afar before being called back over by Bartisto, who is right by the target. The cameraman runs over to Bartisto and gets on the ground with him. The two hold a brief argument over the cameraman posing as a distraction, before Bartisto agrees to rework his plan and use his stealth skills as best as he can. He rolls sideways, signaling for the cameraman to stay quiet several times, before disappearing in the foliage up ahead.
As Bartisto spys on his targets, he believes that they almost saw them, and as a result runs into the pine trees. The cameraman moves further down the hill, waiting for Bartisto, until finally he completes the infiltration and emerges from the trees. He then jumps through the opening in the bushes and lands on the ground, disappearing once more, but reappears moments later. Bartisto then rolls down the hill as fast as he can, before getting up, running further down, dropping to the ground and sliding towards the cameraman. He remarks that the mission has been accomplished.
- This film, as well as Tea-Eee, are the only Bread's Crumbs films that don't feature or mention John Bacchus.
- Up until the release of Omega in April 2016, the LS100 cast and crew saw Alias Odium as a non-canon entry to the Bread's Crumbs series, mainly due to Jacob Doerr's character, Justin Bartisto, having no connection to the rest of the series. However, when he reprised the role for Omega, the film was definitely seen as canon - though it does stray far from the main storyline.
- Jacob's camo outfit he wears in the film is also the same one he wears in Jurassic Shark III: The Revolution. In the interquel Omega. which was released two years later, Bartisto wore an outfit similar to Owen Hawkins' in Jurassic Shark III.
- Initially, the film was meant to set up the character of Justin Bartisto for Bread's Crumbs 2: Electric Boogaloo. Unfortunately, in May 2015, Jacob D confirmed that he doesn't have any interest in reprising the role for the film. Jacob was approached to reprise the role in Bread's Crumbs 3: Scrub Slam, but declined the offer here as well. This makes Alias Odium the most distant from the other Bread's Crumbs films.


The Oscars are on and even Cablevision cannot prevent millions of households from viewing the broadcast that is simultaneously both the best and worst TV show of the year. Steve Martin, who hasn’t been funny since John Candy stuck his hand up his ass in “Trains, Planes and Automobiles” is awful as usual, and Alec Baldwin, who is still funny, cant seem to save the bad script as he is still recovering from being on the second worst TV show of the year, which was Jerry Seinfeld’s God-awful “The Marriage Ref.”
What is it with comedians over the age of 40 who think telling jokes about Meryl Streep who must be at least 70 by now will appeal to the 18-24 audience with an IQ that’s similar to their age?
Oscar Myth #1: All Dead Celebrities Are Created Equal
The “special Tribute” to dead director John Hughes (Ferris Bueller, The Breakfast Club, Home Alone, all those brat packers) at least cleared up one rumor; Molly Ringwald really is dead!
Molly and Matthew Broderick introduced the video tribute to the director who gave them their start and best roles to date, and we haven’t seen Matt look so uncomfortable since the media treated him like Sarah Jessica’s arm candy on the red carpet just a few hours before.
Molly Ringwald could barely get the words out of her mouth and Matthew looked like he wanted to run off the stage before her little red head exploded. She’as not dead in the flesh, just upstairs, and in why the hell was she so nervous? maybe because she hasn’t been on TV in 20 years? RELAX MOLLY, AT LEAST YOUR HAIR IS STILL RED.
So why did the Academy decide to make dead John Hughes more important than all the other dead celebrities? Answer: To get a YouTube/Twitter moment. And to get a close up of Macaulay Culkin’s Angelina Jolie-like puffy lips, always good for ratings.
Oscar Myth #2: The Academy Hates Black People
Sorry Spike Lee, the Academy is handing out Oscars nominations to black people faster than the NY Knicks give away turnovers. Precious is cleaning up, Mo’Nique won best supporting Actress, Sandra Bullock is the best-actress favorite for “The Blind Side” which is about a black guy, and “Avatar” (which features blue people) lead the field with 9 nominations.
Then there is Gabourey Sidibe in Precious, Morgan Freeman in Invictus, all serious actors in serios minded movies. They don’t hate black people. just black stereotypes–are you listening Tyler Perry???
Oscar Myth #3: Sarah Jessica Parker has no Boobs
Sarah Jessica either has a very tight dress on or she really does have boobs. Unfortunately Ferris Bueller doesn’t seem to have noticed.
Oscar Myth #4: Quentin Tarantino Really Is A Great Movie Maker. Really.
Which explains why he is getting shut out of all the major categories while Hurt Locker puts a hurting on his juvenile interpretation of movie making. One exception is best supporting actor for Christop Waltz, but we know that since Mel Brooks made The Producers Hollywood cannot seem to resist a good Nazi.
Oscar Myth #5: The Oscar Will Never Go To a Female Director or an Iraq War Movie
Wrong on both counts. Kathryn Bigelow for THE HURT LOCKER #Oscars won! See you next year Quentin T. Maybe if you make another gross ninja movie and cut off Uma Thurman’s head they will give you a nice statue.


Monday, July 14, 2008
Ashby to SF in No Time At All
I have to thank a commenter for this tip. Brett, you're the best. I had no idea about this footage, and all I can say is wow!
I've never seen the film "Escape from New York,"but I'll be sure to now. In a deleted scene from the start of the movie, Snake, the main character, robs a bank and escapes (or tries to) using--wait for it--MARTA!
It's not really MARTA in the film, however. Apparently the filmmakers envisioned a high-speed underground transport system linking the United States together by 1997. They were probably sorely disappointed. I know I am. Anyway, the movie debuted in 1981, and was probably filmed in late 1979/early 1980. That tracks with the scenes we see.
After he leaves the bank, when the code red is announced, he is in the Concourse A station of the Atlanta Airport People Mover. Hartsfield-Atlanta International Airport opened in September of 1980, so the filming could have easily been done prior to the Airport being opened.
The West Line (including Five Points) opened in December of 1979, so MARTA could have easily been used for filming before the commencement of service there. The initial scene was shot at the Ashby Station. Note that the train fills the platform, it's a full 8 cars long. MARTA doesn't do that very often.
On board, the seats are still padded. Because of a high instance of seat slashings, MARTA uses hard plastic seats now, and has for many years. This filming took place early enough in the system's history, however, that the pads were still alive and well.
At "San Francisco," the train arrives on the wrong side of the Platform, but that is the Omni Station. It's now known as Georgia Dome/Georgia World Congress Center/CNN Center/Phillips Arena. I think it's ironic that the station with the shortest name at opening now has one of the longest of any transit station in the country.
Since the directors were going for a futuristic dystopia, it made sense to use MARTA. At the time, it was America's newest subway.


‘Shikari’ is all about a software engineer Abhilash (Mammootty) who happens to read a novel named Shikari through his friend . Abhilash picturises the novel with the character having his own face. Shikari said the story of Karunan (Mammootty) a freedom fighter and his love story with Renuka (Poonam Bajwa). As the reading progressed Abhilash sees that the remaining pages of the novel is missing and then he is in a search for the remaining pages. And he finally reaches ‘Manjanaduga’’ an internal village region in Karnataka where the story of the novel was based. There he meets with Nanditha (Poonam Bajwa). The movie deals with the rest happenings of Abhilash’s life.
The movie took off brilliantly that without any lag it just enters into the heart of the story but since then the presentation pattern went down. Though the first half comes to an average presentation level the second half led the movie to a deep pit from where it could never return back at any point of the movie. with such a good and fresh theme the director failed to create an impression through the movie.
Direction of the movie was a pretty average one were Abhaya Simha failed to present a good theme in a convincing manner. Lack of experience of this young director could have done wrong. The music department was good giving some good melodious songs as well as some good background scores suiting the occasion. The scripting part of the movie was a big letdown. Cinematography by Vikram Shrivastava was also a pretty average one.
In this movie there is no big performances to show in the acting section except for that of Poonam Bajwas mesmerizing performance. Mammootty has given an ok performance but he could have done it better. Poonam gave a good show. She was apt for the role and did it brilliantly. She was also good to watch on the big screen. Tini Tom, Suresh Krishna and Innocent were also ok with their parts.
There was a huge expectation when Abhay Simha a previous National award winner signed with three time National award winner Mammootty . But Abhaya failed to use Mammooty to a great extent and also he failed to produce the freshness and greatness of the theme to the movie. This movie will be a one which malayalees will try to forget. However we have to wait a bit to see the impact of this movie at Karnataka. Maybe if the narration pattern suits Kannada movie background the movie may perform fairly well at the Sandalwood. Considering the crowd response this movie is getting it should bomb at kerala box office. But the movie which is produced for a low cost and since it is a bilingual one the movie should surely make profits.
"SHIKARI COULD HAVE BEEN A GOOD WORK IF THE THEME AND THE OUTLINE STORY WAS CONVEYED PERFECTLY"


BlakHat1, BlakHat2, BlakHat3..
Whenever a character in a capped movie wears a black hat, someone invetably refers to him as BlakHat1. He has carried the gag further, sometimes pretending to be a criminal mastermind in the style of GlitterRock. If more than one person in a black hat are in the screen, they are his cloned henchmen, BlakHat2 and BlakHat3 (and as many more henchmen as appears on the screen). Since he grew his clones to be dumber than himself so they would not try to overthrow the original BlakHat, they are constantly getting lost or distracted on the way to nefarious missions.


Mark Littman joined Trickle Up as a board member in 2018.
Mark is a founder and partner at Northern Lights, Mr. Wonderful, BODEGA, and SuperExploder. His career spans over 25 years of content creation, having directed commercials and branded projects for Microsoft, Allstate, Marriott, Aetna, and Food Network. He recently executive produced the feature documentary Chi-town, which premiered at SXSW and produced and directed the feature doc Red, White, and Yellow which won the Audience Award at The Hamptons Film Festival.
Mark works extensively with local and international nonprofits and social causes, such as Trickle Up, developing strategy and creating media and content, to generate awareness and increase donor contributions.
< Back to Board & Advisors page


14. Dumbo with Alex Dudok de Wit
Sam Clements is curating a fictional film festival. He'll accept almost anything, but the movie must not be longer than 90 minutes. This is the 90 Minutes Or Less Film Fest podcast.
In episode 14, Sam is joined by Alex Dudok de Wit, freelance film journalist, Associate Editor for Cartoon Brew and curator for Short of the Week. Alex has chosen the 1941 animated classic Dumbo (64 minutes), the fourth feature from Walt Disney Productions.
Sam and Alex discuss Dumbo's shoestring budget, the crow controversy, and why pink elephants were a safe choice in 1941.
We'll be back in a couple of weeks.
We have a new website! Check us out at 90minfilmfest.com
If you enjoy the show, please subscribe, rate, review and share with your friends. We're an independent podcast and every recommendation helps - thank you!
Bonus Link: Hear Dumbo's voice with the mid-80's oddity, Dumbo's Circus.


Plays in all DVD players including the latest up-converting players for Hi Def TVs.
HD Environments sent videographers out to film some of the most beautiful locations all over the world. What they ended up with is a series of 9 DVDs that might be best described as background or ambient audio-video. Set in locations like Hawaii, the Sacred Canyons of the American Southwest, Bali, and the Rocky Mountains, each explores the magnificence of its setting to a relaxing musical score. There is no narration to get in the way of your enjoyment.
|Stage||Early Stage, Middle Stage, Late Stage, Caregivers|
|Movie Title||Hawaii:Island Paradise|
|Movie Length||75 minutes|
|Sound||Dolby Digital Surround|


Johnson was a college football player. In 1991, he was part of the University of Miami's national championship team. He later played for the Calgary Stampeders in the Canadian Football League, and was cut two months into the 1995 season.This led to his decision to become a professional wrestler like his grandfather, Peter Maivia, and his father, Rocky Johnson. He gained mainstream fame as a wrestler in Annihilation Attitude Wrestling
Johnson's autobiography co-written with Joe Layden, The Rock Says..., was released in 2000. It debuted at number one on The New York Times Best Seller list, and remained on the list for several weeks. Johnson's first leading role as an actor was in The Scorpion King in 2002. For this film, he received the highest salary for an actor in his first starring role, earning $5.5 million.He has since appeared in several blockbuster movies such asThe Rundown, Be Cool, Walking Tall, Gridiron Gang, The Game Plan, Get Smart, Race to Witch Mountain, Planet 51, Tooth Fairy, Doom, The Other Guys, the Faster trilogy, Fast Five, and Fast Six.


A simple lunch turns into a catastrophe when Jasmine and Penn, a new couple with an uncertain future, find an anonymous suicide note at the home of the happiest couple they know.
Suicide Kale is an award-winning microbudget indie film, and is my first feature. Created by an entirely female cast and crew, the film was shot in 5 days for under $5,000.
> AUDIENCE AWARD FOR BEST NARRATIVE FEATURE - NewFest 2016 (NYC)
> AUDIENCE AWARD FOR U.S. NARRATIVE FIRST FEATURE - Outfest 2016 (LA)