So I’ve been gone for a while due to a mix of lack of internet, schoolwork, and non-existent-soul-destroying job hunting. So if anyone feels like offering me a job out of the blue and you’re not a scam artist, I will greatly appreciate not having to fill out a form or write a cover letter. Seriously, fuck cover letters. I always sound like the most boring person in the world in them.
But anyways, today I am back with a rant because I saw Skyfall. Before I begin, let me say that I’m not overly familiar with James Bond. I’ve seen a couple of the old films and both the serious and the non-serious Casino Royale, but I don’t really remember any of them. I use the theme to warm up on my cello (along with the themes to The Pink Panther and the non-Marvel Avengers), and that’s about it. I knew going in that I was not going to like the way the women were treated because James Bond has never treated women well. But since it’s 2012 and some people believe women are humans now, I wasn’t expecting it to be so blatant. Since this is a rant, expect spoilers.
Now, before we get to the women, I just want to cover the homo/biphobia in this, since it will be short. If you make your villain psychotic and the only non-heterosexual person in the film, that is an offensive stereotype. There are tropes.
Moving on to how much this film hates women, Bond is rapey as hell. The scene where this is the clearest takes place after Bond has met up with the character of Sévérine by sneaking onto a boat she’s on. It has been established that Sévérine has a long history of sexual abuse and is still captive. So she’s in the shower and thinks Bond is dead (note that they’ve had one conversation ever), and Bond comes in naked. This puts her in a position where she cannot say no. She is on a boat full of hostile people, in the shower, and Bond just comes in behind her and grabs her. He even comments that he likes her without her gun and she responds “I feel naked without it.” You do realise that means she feels vulnerable, right? That is not sexy. And you know what happens the next morning after Bond is discovered on this boat? The other people on the boat take her away to be beaten and eventually killed for sleeping with him. How much use do you think they’d have been if she had caused a fuss the night before, especially since she told Bond what boat she’d be on in the hopes that he’d help to free her? The only option she has in the shower scene is to minimise damage.
(Further misogyny with Sévérine: When Sévérine dies, involving a glass of Scotch falling in the process, Bond quips “I think it’s a waste of good Scotch.” My boyfriend said he could see it as Bond attempting to unnerve Silva (who was holding Sévérine captive) and his men if Bond had bothered to look a bit sad about it later, but obviously Sévérine is never mentioned again. My friend who is actually named John says that this didn’t happen because Daniel Craig doesn’t know how to make a sad face.)
(Further rapiness and misogyny: Moneypenny comes to help Bond out with whatever. He decides to ask that she shave him, because that’s clearly the job description of professional women in MI6. While she’s doing this, he starts to unbutton her top. She tells him to stop, but she doesn’t really mind the sexual harassment there because the next shot is the fireworks of sex.)
This film also has serious issues with women doing their jobs. M is constantly referred to as a bitch and told not to be emotional. There is a female MP, Clair Dowar, which is impressive, but she is publicly humiliated for doing her job. Yeah, you know that scene where M is trying to justify the relevance of her department? What Dowar was doing was stating the case against it. I saw no sign that M wasn’t going to be allowed to speak. Honestly, it would be more useful to hear her out in order to understand what arguments would convince her. But no, Dowar is interrupted by a man of lower status in the proceedings and told that she is doing her job wrong. (And before anyone brings up the imminent attack, 1) they were not aware of this, and 2) do you you honestly believe that hearings interrupted by terrorist attacks don’t get rescheduled?)
(I also find the idea for Silva to consistently refer to M in maternal terms creepy, since, as far as I am aware, she doesn’t have children and isn’t too bothered by that. It’s weird to me for someone to force her into a maternal role, but since it’s the villain and no one else, it’s not really an issue other than the whole depraved bisexual thing.)
And then of course there is Eve Moneypenny. This was the one that really infuriated me. (Note that as I am not overly familiar with Bond films, this is the only representation of Moneypenny that I am familiar with. That doesn’t matter though, because it’s still offensive as hell.) Throughout the film, Moneypenny consistently struck me as more competent as Bond. She missed one very difficult shot and was going through the appropriate process to get back into the field. She never seemed particularly emotionally damaged over the whole thing. And yet Bond tells her she’s not cut out for fieldwork and she agrees and decides to become a secretary. Fuck you, Skyfall, fuck you. Can you get any pettier Bond? Don’t you realise you signed up to be disposable when you took this job? She didn’t fucking shoot you on purpose, and honestly, I wouldn’t even mind if she did, because you’re horrible.
Now, I know a lot of you are going to say “It’s a Bond film, what did you expect?” People already have. But why does Bond get a pass? If you don’t think these are appropriate ways to treat women, why is it okay when Bond does it? Because he’s a good agent? He’s really not, especially in this film. Remember all those tests he failed? Because it’s tradition? Since when was that an excuse? There are four women with speaking parts in this movie. Two of them die, two of them have sex with Bond (in ways that make me uncomfortable about the whole thing), and three of them are consistently reprimanded for doing their jobs, one of them publicly. There is also a fifth woman who only exists to sleep with Bond while everyone thinks he’s dead. This isn’t something to just smile, shake your head at, and say “That’s just Bond.” It’s not endearing, it’s not cool, and it’s not okay. As a society, we do our best to denounce blackface, the tradition of the black character dying first, and other racial stereotypes. In the same way, we must place a stigma on the use of sexist tropes in our stories. James Bond has to be irrelevant in any world where we treat women as equals.


Genevieve Valentine, “Sleepy Hollow Is Haunted in the Soapiest Halloween Ever" (io9)
“Half this letter is explaining that it’s a letter"….this review is GOLD
- sleepy hollow writer 1: There seems to be some confusion in certain parts of our viewership as to Katrina’s character and motives.
- sleepy hollow writer 2: really?
- shw 1: What about we show her clobbering Ichabod’s former betrothed over the head? And lie through her teeth about all of it.
- shw 2: That seems awfully on the nose.
- shw 1: Good point. Let’s make her the most unreliable narrator imaginable and let the audience decide.
- shw 2: …
- shw 1: but, but …
- shw 2: yes?
- shw 1: This might not get our point fully across. What about we show her softening up towards the headless henchman of evil who holds her captive with a teary eyed reaction shot foreboding a vast grey area of conflicting emotions. I’m on fire here.
- shw 2: hm.
- shw 1: And let’s put her in the most ungainly finery our wardrobe department can procure.
- shw 2: What has that to do with anything?
- shw 1: It sets the mood. We're dealing in sartorial subtext!
- sleepy hollow writer 3: What about ambiguity?
- shw 1: …
- shw 1: What?
- shw 2: Never mind.
I feel nothing for Hawley. Like… nothing.
I feel like they’re trying to model him after Duke from the show Haven, but failing miserably.
I totally see the Duke comparison. A resourceful scoundrel who lives on a boat and makes eyes at the strong leading lady who is destined to be involved with a loyal and gorgeous someone else.
Honestly I never cared one way or the other about Duke. Team Nathan from first five minutes of the pilot. And I feel the same about Nick. Ichabbie all the way.


EHSC says about the film:
Living Downstream depicts the powerful story of ecologist and cancer survivor Dr. Sandra Steingraber and her work to raise awareness about toxic chemicals in our environment and their impacts on public health. The film follows Steingraber's year-long journey across North America as she works to break the silence about cancer and its environmental links. After the film we'll discuss initiatives happening right here in Maine and nationally to prevent harm from toxic chemical exposure. The event is free, but organizers request RSVPs by email or phone 207-699-5799 so they know how many people to expect.
For further details, including a trailer for the film, visit the Living Downstream event page at EHSC.


A macabre massacre of a wealthy family brings DCI Christine Caplan to the Highlands in her first thriller in a new series!
In the small Highland village of Cronchie, a wealthy family are found brutally murdered in a satanic ritual and their heirloom, 'the devil stone', is the only thing stolen. The key suspects are known satanists - case closed? But when the investigating officer disappears after leaving the crime scene, DCI Christine Caplan is pulled in to investigate from Glasgow in a case that could restore her reputation.
Caplan knows she is being punished for a minor misdemeanour when she is seconded to the Highlands, but ever the professional, she's confident she can quickly solve the murders, and return home to her fractious family. But experience soon tells her that this is no open and shut case.
She suspects the murder scene was staged, and with the heir to the family estate missing, there is something more at play than a mythical devil stone. As she closes in on the truth, it is suddenly her life, not her reputation that is danger! Will Caplan's first Highland murder case be her last?


Taking one more step towards becominga progressive state, Saudi Arabia is all set to reopen it’s first cinema on April 18. It will be open in the capital Riyadh for both men and women.
This was probably not enough and now Saudi Arabia has announced that it will be participating in the Cannes Film Festival. A total of nine short films by young local filmmakers will be screened at the Short Film Corner during the festival on May 14 and 15, reported Variety.
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representational / reuters


5. Seinfeld. I know, I know…Seinfeld is on EVERYBODY’S favorite TV show list, but it deserves to be. “Who’s gonna turn down a Junior Mint? It’s chocolate, it’s peppermint, it’s delicious…it’s very refreshing!”
4. Justified. This show has THE greatest final scene from any tv show, ever. And Timothy Olyphant is just cool.
3. Arrested Development. Tobias (never nude) Fünke is one of the funniest characters ever on television, and how can you not love George Michael Bluth?
2. MacGyver. I’m not talking about the new, totally fake version. I’m talking about old school 80s MacGyver; I’m talking about saving the planet with a Ladybug wing, a #2 pencil and a dash of chili powder.
1. Parks & Rec. Ron Swanson, Andy Dwyer, Tom Haverford, et al. Never has a show struck such a sweet/funny combination, and never has there been a better tribute to a dead miniature horse than this one.
5. Saved By the Bell – Who didn’t have a crush on Zack Morris back in the 90’s? I HAD to watch every episode, multiple times!
4. Cheers – Great cast, funny and always entertaining.
3. Lost. My husband and I were hooked to this show! I loved all the characters and the plot twists.
2. Friends. I can’t think of one episode where I didn’t laugh. This was an easy show to love. I still enjoy watching old episodes on Netflix, for some reason this show just never gets old!
1. The Voice. This is my most recent favorite show. I think Blake Shelton is hilarious and the bickering between the coaches makes it a fun show to watch. It’s also pretty cool to see new talented musicians.


September 25, 2003
Films Noir At the Grand Lake!
Posted by peterme at September 25, 2003 10:48 AM
Starting Friday, the Grand Lake theater will continue it's repertory experiment with a two-week film noir fest.
don't forget the parkway!
it's in the same area (around the lake- park blvd & E. 18th), but has been hosting a film noir fest for years.
there are no repeats with the grand lake, either- so it's a boon for noir fans everywhere!
Hi,your homepage looks really good and gives great information!
Thank you very much!
Greetings from me!!


My Perfect Storm
out, ” she said picking up the telephone to call the security. How the heck did she get up here in the first place?
”Whats going on here? ” She heard Mr Marshall voice saying, coming out of his office. Mr Marshall turned to face the young lady in her front and he smiled, as in a real and genuine smile. ”Nora. ” He came close to the lady and hugged her close to him. Ashleys face was filled with shock, she was damn sure that her jaw was apart. ”Are you okay? why are you here? ” She could hear the obvious concern in his voice.
Damn, she was so loosing her job, she had being rude to her boss fiancee. Mr Marshall looked at her and she immediately bent her head in shame.
”Lets go in to talk Nora, ” he said leading her into his office.
”Youve gotta sack her Greg, she was rude to me, ” the girl whined cutely and for once her voice sounded like that of an innocent teenager, but only she knew best.
She sat still at her desk awaiting her boss call, but was she gonna get sacked? No she can get sacked now, this job pays too well and it was the only place where she felt genuinely happy. She started biting on her nails unconsciously, then like a movie the lady who is now known to be Nora came out of the office with a triumphant grin on her face which made her look a bit younger than she had first looked. And please this make-up was disgusting, she wanted to tell her, but she was her boss fiancee.
”He wants to see you in his office, now! ” she said with her grin still In place then darted off with a triumphant smile. And Ashley could say the lady looked like a stupid teenager. She really wanted to pull her head off but she controlled herself, Ashley saw her walk up to the private elevator which was supposed to be used by Mr Marshall, but she couldn complain, not when she still had another issue to focus on.
She tried to focus on the problem at hand and walked gently to the front of his office. She knocked lightly praying that he hears it.
”Come in. ” She heard his voice say gently from inside. Ashley opened the door and walked in head bent.
”Im very sorry sir, I didn mean to be rude to your Fiancée. I thought she was just some desperate leech trying… ”
Ashley stopped talking as she heard Mr Marshall burst into laughter, she looked at him not knowing what he found so funny. Now she was damn sure that her boss was definitely bipolar, like how could he be angry one minute and be laughing the next. Well she had to confess, his laugh was the most beautiful thing shes heard in all the twenty three years of her life.
”I don see anything particularly funny in this situation sir, ” she said curtly.
”She said that… ” Mr Marshall said amidst laughing, ”Nora is so damn funny…she said she was my fiancee? ”
”Yes, and I realized she was after the way you reacted at the hallway, ” Ashley said.
”Well never mind, but I won have you disrespecting her again. She is one of the very few important people in my life, ” he said now completely serious. ”Ill let you off this time and you make sure theres no next time. ”
”Yes sir, ” she said. Ashley was curious as to who the lady was, but she decided it was none of her business, but her damn curiosity got the better of her, ”who is she to you? ”
”None of your business Ashley, ” he said quite too coldly for her liking. She totally deserved it for being too nosy, this was a very bad habit she hadn been able to stop. She stormed off to her desk with a mental warning never to get involved in her boss issues again.


Tom’s Super Fans
When it comes to Harry Potter, there are fans around the globe and who can blame them. What a great movie right! So many lovable characters and hateable ones as well. This makes them great actors as you feel emotions towards them one way of the other.
Tom in particular has a few fans that follow him everywhere he goes. This is nothing new to a superstar, but what makes it a little different is that Tom wonders why the obsess as much as they do and is willing to go out and find out more. He actually cares enough to learn more. Not only that but he is filming it along the way and we will be following along side and filling you in.
One super fan in the video above dresses as Harry Potter every day. This would lead the normal person to ask, why? Tom actually goes to this guys house and finds out. After talking to him for a short while and digging a little deeper, we find out why. Sometimes we just need to connect with something that makes us feel good and empowered. The world has a way of beating you down and we all need a little pick-me-up from time to time. So people take this a little further.
Apparently after being bullied and made to feel less than most as in many cases, this boy found strength and connection in the Potter movies. After learning this, Tom takes a different look at the kid and realizes that he is not crazy, but just relating to the characters and pulling positive from the movie. This helps Tom ease up a bit and realize that we all are craving something and some of us go about that a little differently than others. Some do take things to the extreme, but in this case, seems to be in a positive light.


Wednesday, December 20, 2006
Sunday, December 17, 2006
So let's begin. I shall render my judgements. Feel free to comment on how I was wrong and didn't understand the myriad shifting subtleties of An American Haunting. I'll be employing the ***** rating system for easy skimming.
Hostel **- The buzz for this movie said intense gore and other such unpleasentries. It's not that gory, the torture parts are over quickly, and there really isn't a whole lot of anything scary. Not that I'm just peeing myself in anticipation of watching torture, but Spence and I went to be shocked and we were not. Shame on Eli Roth! Also, the plot writes itself, the acting is pretty bad, the dialogue stupid, and good lord someone buy the girls of europe some clothing. This movie advertised it's gore; it should have advertised it's teenage nudity as there was far more of it and they would've snared more frat boy movie-goers. This isn't the worst horror flick ever, and there are a few inspired touches (such as the roving bands of feral children, the american client wondering about how best to enjoy torturing his victim). So as a party rental, you could do worse. Or better.
Capote ****- Speaking of capturing characters, Phillip Seymour Hoffman's oscar-winning portrayal is the strongest reason to see this movie. While the film itself drags at times, the performances by Hoffman and Catherine Keaner are worth the price of admission alone. The shots are wonderful and the entire film has the feeling of Capote himself as he wrote In Cold Blood : obsessive, yet strangely detached.
Thank You for Smoking *****- This is one of those brilliant satires that is actually brilliant. I'm not going to go into everything this movie nails perfectly, or the smart and funny dialogue, or the great performance by the leading man. I'll just say see this movie, thank me later for reccomending it to you.
V for Vendetta ** - Spencer lent me the graphic novel a few years ago, and I think Buck has it now. The novel is fantastic, the movie is ok. Granted, it was better than I thought it was going to be, but as they say, you can take the Wachowski bros out of the Matrix movie production but you can't take the Matrix movie production out of the Wachowski bros. They do say that, right? Like the Matrix, there are slow-motion-obviously-cgi action sequences set to mediocre techno fare. Like the Matrix, this is a flashy and cool flick grasping at deeper truths whose surfaces it barely scratches. Where the graphic novel dealt with the complexities of the characters, and how ambivelent most of them were on a moral level, the move draws sharp black and white portrayals of good and evil that in the end seem almost arbitrary. I'll return to that criticism for Apocalypto. Entertaining, but shallow. 2 stars.
Brick ***** - So I was pretty sure Brick was gonna suck. It did not. In fact, it did the opposite of sucking. I was pretty rivetted for the entirety of Brick. It's a gutsy mashup of old-timey noir and modern day high school. Yes, some of it is a bit improbable. Yes, the dialogue is highly stylized. But it works, and it works well. Wonderfully written, acted, directed and shot, it gives me hope for the future of pseudo-noir type films. For the flipside of this, see the take on The Black Dahlia below.
Silent Hill *- Okay, so here's where things really start to go downhill (hill! get it?). Silent Hill is based on a video game series that I have no small fondness for. In fact, Silent Hill 2 is probably in my top 20 games of all time. This movie, however, sucked. Terribly. I'll say that they did a good job of capturing the wacky ambience of "The Hill", as the faithful fans call it. The environments are pretty true to the games, and some of the situations and characters are taken straight from one or more of the installments. Everything else about this movie was terrible, from the writing, the acting, the plot, the pacing, the special effects, and the very very stupid conclusion. Sean Bean's overacting was actually the high point of this god-awful movie. Play the games, don't see the movie.
An American Haunting *- So in all honesty I knew this was going to be terrible before we even got there. Cleo and I were bored one night and were all "Let's go out and see a movie, any movie". An American Haunting ended up being that movie. Instead of a long tirade on all the faults of this movie, I'll try to sum up the most glaring errors:
1. Soccer had yet to be introduced to the USA. That kid was CLEARLY playing goalie, and was in front of a makeshift soccer goal.
2. The movie claims it's based on the true story of the only case in US history where a man's cause of death is offically listed as murder by ghost. In the movie, his wife poisons him for molesting their daughter.
3. So the poltergeist is summoned by the girl to protect her, as an extension of her tortured adolescent psyche? Can you explain it's actions, then? Can you? You can't.
4. Wolves, even ghost wolves, can't jump that high. But it was kinda sweet in a stupid way.
5. Them is some fake sets and wigs.
6. The font used in the opening credits. Spooooooooooky!
The Proposition *****- This is a brilliant movie, probably my pick for best of the year. I say probably because it shares that distinction with a not movie further down the list. Written by the talented and all-around-awesome Nick Cave, this is a bloody morality play set in the Australian outback. It's the best western I've seen since probably Unforgiven. The movie explores the depths of human violence and depravity, and unlike other movies this year, actually treats the subject with depth and subtlety, not content to merely label villains and heroes. Even the worst of criminals are dealt with using sympathy and tenderness, a task that seems harder and harder for films to do in this day and age of labeling our enemies as mere animals. It's fabulously shot and fantastically acted. Do yourself a favor, if you have the stomach for it, and go find this on dvd.
Over the Hedge ***- Those sure are some emotional, flighty animals.
The Da Vinci Code **- I haven't read the book, other than the first page at the behest of my sister. The plot was muddled, the history was... fake, the acting was actually pretty terrible given the caliber of actors, and the dialogue was unreasonably expository. It was very long, yet in the end I felt like nothing had happened. The saving grace of this movie was Paul Bettany's homicidal albino monk, as his character had actual depth and his performance provided insight into his inner struggles and motivations. Then again... a homicidal albino monk? Can he have a robot arm?
X-men: the last stand **- So Cleo has this series as a bit of a guilty pleasure, since she was such a fan of the cartoon show back in the day. I've never really liked it, since I and a friend sat in the front row at the opening weekend of the first X-men movie and ended up just mocking it the entire time. This movie is interesting, since alot of big and emotional things happen in small and unemotional ways. It just dosen't work. Dialogue was also pretty awful. I'm convinced that Halle Berry is a hollowed out shell of a human, and Hugh Jackman is a walking sideburn. These are completely one-note characters. In fact, the only interesting relationship that this series had (that being Prof. X and Magneto's friendship/mortal rivalry) was downplayed and then eliminated halfway through, in a scene that comes out of nowhere and feels cheap and lacking in any emotional resonance. Also, this is a bit of a personal quibble, but I don't get how that kid can run through walls but dosen't sink through floors. And how the fire kid can keep having clothes on when they'd obviously burn up. And I like how you can tell who the bad mutants are from their leather, tattoos and piercings. Just saying. That may be superhero 101, but it keeps me awake at night.
Lady in the Water **- I really wanted to like this movie. I liked alot of M. Night's other work. There were parts of this that worked, such as Giamatti's always-great, jittery performance and Shyamalan's sometimes interesting ways of ratcheting up tension. Also, the very fake but very interesting shot near the end of the eagle picking up Narf Howard was great, as it was shot up from the bottom of the pool as rain fell on the water. Again, all cgi, but creative. Then again, casting yourself as a messiah figure writer in your own movie about how stupid people are who question the fantasy of others is generally a bad idea. Especially since the vast majority of the characters in your movie don't act like anything resembling natural humans... and the fantasy feels like you're making it up as you go along, from one handy loop to another. This is what it looks like when talent and ego cave in on themselves.
Little Miss Sunshine ****- We looked long and hard for a theatre in which to see this. It was worth it. This is a pretty dark and desolate comedy about a highly disfunctional family. Everyone begins lonely and closed off form one another, each nursing their private hurts, but a long, disasterous road trip causes them to open up and accept one another and life itself. My only complaint is that the dance scene at the end seems to be a bit corny, especially in comparison to the rest of this rather quiet movie. But that is a minor quibble in an otherwise wonderful movie. Oh, and it's very funny, too.
The Descent ****- Let's face it, modern horror movies are nearly uniformly either mediocre or awful. The Descent surprised me, though, as it was a movie with few gimmicks. A group of friends are spelunking, bad crap happens, people get eaten, etc. No nu metal, no crappy editing. In fact much of the copious amounts of tension come simply from the environment of the tight caves and the dangers inherently found in them. By the time the albino cannibal bat people show up, you're already on edge. It's certainly worth a look as it was my favorite new horror flick in years.
Snakes on a Plane **- HA! This was the year of Snakes! On! A! Plane! Everyone talked about it, nobody went to see it! Cleo, Brijoh and I turned up that saturday night hoping to see fashionable scenester teens having crazy fun times in the theatre. Alas, we were 3 of only 7 in the whole theatre, the day after it was released. And the movie? It's exactly what you're expecting. Exactly. No more, no less. It's fun as a little strange cultural event, and as an awesomely bad title/premise. But that's all. Them is some fake snakes.
The Illusionist ***- We were very excited to see the Illusionist. Long time have I loved Edward Norton. Paul Giamatti is also great, and he really had to do a good move it make up for Lady in the Water. Honestly. So this is a little movie about eastern europe or russia (i can't remember which), classism, currupt power, jealously, and MAGIC! Ooooooooh! The 4 leads do an excellent job of doing what their parts call on them to do, though only Giamatti seems to go above and beyond and make his character really seem to have layers, a guy who has his own agenda but still some sense of morality and "what the heck are these people doing"? I also enjoyed the post-production-feaux-lumiere-look. It's been done a few times recently, but I'm a complete sucker for it. The main complaint about this movie is that the supposed plot twist isn't really a twist at all. At the end I was shocked that the movie actually tried to play it off as a twist, when logically it was the only thing that could've happened. Cleo saw it again last saturday with some friends at a bargain theatre and she reports that there was actually guy sitting behind her who was audibly amazed at the ending. So perhaps we're just jerks. It's good, if forgettable flick that is fun enough for a rental.
The Black Dahlia - Yes, you're seeing that right. No stars. It fails at every single thing it tries to do. But that isn't to say you shouldn't see this movie. Where to begin with this absolute train wreck? Ok, this is a spiritual successor to one of my favorite films of all time, LA Confidential. It's based upon the work of the same author, writing about similar times and themes in Los Angeles. Josh Hartnett plays a scowl. Scarlett Johanson stands there with her mouth open a lot. The casting, acting, and scene blocking are terrible. You can seriously drive mack trucks through the pauses in some conversations. There are ridiculous close-up POV shots. The dialogue is atrocious, the editing is insane, the acting is some of worst I have ever, ever, ever, ever seen. It's as if everyone involved in this movie were drunk for a year and then woke up the next morning wondering "OH MY GOD WHAT DID I DO LAST NIGHT?". There is one character in here that figures heavily into the plot that is guilty of the absolute worst overracting I have ever been privy too. I would need several pages to go into detail about all the things this movie does so horribly wrong. It is a loud, audacious train wreck, like Olive's dance at the end of Little Miss Sunshine (but without the heart, honesty, earnestness and love). This is the work of a director with a singular vision and a lot of money, and apparently no one to tell him that it is the worst movie of the year, hands down. So that's why you should rent it. Watch LA Confidential and then watch this. Because you WILL laugh.
The Science of Sleep ***- Oh Gondrey! You crazy man!
The Departed *****- This movie was amazingly, surprisingly great. Every shot was well done, every actor giving it their all. This remake of Infernal Affairs set in the corrupt Boston police dept is like getting punched in the face repeatedly, and I mean that in the best way possible. Along with The Proposition, I say this is far and away the best movie of the year. From the credit montage set to "Shipping up to Boston", this movie goes straight for the throat and pulls no punches. Jack Nicholson, Matt Damon, Leonardo Dicaprio, Alec Balwin, Marky-Mark (or his brother, I always get them confused... I know I'm going to look on IMDB in a few minutes and feel very dumb), and just about everyone else turn in some of the best performances of their careers. There are jaw-dropping sequences and some truly great plot to be found here. The funny thing is, you know who's behind everything to entire movie... there are no hidden things really to speak of. But it is written and directed with such amazing intensity and (dare I say) nihilistic energy that it just burns itself into your brain. It's one of the only movies I've seen where weeks later, hanging with our punk friends at the hibachi joint, the only thing you could say was "My God, that was AWESOME." SEE. THIS. MOVIE.
Marie-Antoinette **- So this was another movie we sought out, thinking we were going to absolutely adore it. I mean, Sophia Coppolla did Lost is Translation, which is a wonderful, understated movie. Kirsten Dunst is an adorable, reliable actress. And it was supposed to be all 80's party girl themed, so that seemed to be interesting. The tragedy is that it was not! Like De Palma and his train wreck, perhaps Sofia was stuck in a place where no one would tell het how bad some ideas were, and that the characters were undeveloped and uneven, and there are only so many shots of shoes allowed in a movie, or that filming a bee for a full minute only to follow it up with another full minute of Marie feeding a sheep is no replacement for depth. The funny thing is, the movie seems to try to sweep away anything interesting that happend to Marie Antointte... these things are merely hinted at or are shown quickly, so the movie can get back to showing her gambling and stuffing her face. Yes, I understand that this could be the director trying to show that she herself was like that, but her character is not... at least not most of the time. In fact, her character oscilates between two extremes seemingly at random, as does the movie itself. The set design and costumes were exquisite, and that's obviously where the attention went. When we left this 3.5 hour movie, we found that it was in fact only a 1.5 hour or so movie. THAT is not a good thing.
Borat ****- Oh, the hype for this movie was intense. "Funniest movie ever!". It's not, but it's still pretty amusing and to an extent frightening. I'm a big fan of linguistically-based humor, such as poor translations and earnest attempts to communicate that go terribly wrong. That was actually the draw to this movie for me. Sure, there's alot of cheap, gross-out humor and the plot is almost nonexistent. But the extent to which Sacha Baron Cohen goes to in order to really become his character is wonderful. You never doubt the character or Borat for a moment. The real tragedy/comedy of the movie is not the penis jokes, the nude wrestling, or the poop humor, but the way in which the people in the movie act and react to Borat. It seems like I've known every type of bigot that feels comfortable enough to say horribly racist, sexist, wrong things when they feel that someone is agreeing with them. This movie is hilarious because the joke is on us, upon anyone who holds these ridiculous predjudices. Also, there is a bear.
Casino Royale ***- I've never really been a Bond fan, but this movie was a marked improvement. Character development! Interesting direction! Daniel Craig dosen't come off as a complete oaf! It's a good rental, especially if you're a Bond fan. Cleo liked it, so that's a stamp of non-Bond-fan approval. The Skull yelled at the screen when we saw it and that made it pretty great indeed.
Apocalypto ***- So I'm almost the only person I know who didn't think that this was the greatest thing ever. Mel Gibson dosen't do himself any favors, but he knows his way around a half-naked guy being tortured. Just saying, is all. With the opening quote you know what you're in for, but the movie only delivers on a very shallow level. It purports to be about depravity, brutality, and the decay of cultures. It plumbs the depths of human indecency, and come back with a story of clear-cut good guys and bad-guys. The bad guys are... bad. The good guys are... good. The violence dealt out by the good guys is good. The bad guys are bad for their violence and cruelty. A movie like The Proposition understands people, understands violence. This movie, like Braveheart,sees the world in black and white, that some people are just animals that should be killed, and some people are so heavily principled that whatever they do is right. This dosen't make for a bad movie, but Gibson very obviously thinks about his morals before hand and hammers them home with his movies. The sad thing is that if you are, say, a proponent of The Project for a New American Century, you will really connect with the themes. That is sad. However, this is a well shot, well acted flick with almost uniformly realistic effects. Did I mention, like all other Gibson flicks, this has a preponderance for gore? Yes, Mel really likes torture and graphic violence. Perhaps he's going for the Last House on the Left "let's show such brutal violence as to make an anti-violence statement, but I kinda doubt it. Oh well. Worth a watch, perhaps you'll like it more than I did, or find something in it that I did not. If you're just looking for a violent, crazy movie, then you could do alot worse. It's just the delusions of depth or possibly the absolutely wrong-headed ideals that ruined this a bit for me.
So there you have it, the new movies I saw this year. I hope you enjoyed skimming through them, and by all means, go see some of the better ones.


This is very squee-worthy... SFX magazine has just published the results of a poll of science fiction fans for Best Science Fiction Movie of All Time... and Serenity won. Woot!!! Take that Star Wars! How'd you like them apples?
Quoted in today's MX
newsgossip-paper, SFX editor Dave Bradley said,
The TV show may have been cancelled, yet the Serenity universe clearly struck a chord with fans, thanks to its likable characters, witty dialogue and amazing special effects.
The poll wasn't an open-ended poll: the ten movies were pre-selected by SFX, and naturally no Internet poll can be trusted as reliable. But even so, we have to take our little victories for good taste and sense however we find them.
The SFX top 10 movies are:
- Serenity (2005)
- Star Wars (1977)
- Blade Runner (1982)
- Planet of the Apes (1968)
- The Matrix (1999)
- Alien (1979)
- Forbidden Planet (1956)
- 2001: A Space Odyssey (1968)
- The Terminator (1984)
- Back To The Future (1985)
Putting my serious hat on for a moment, these polls are, by their very nature, biased towards recent and well-known movies. But then, I would hope that recent movies build upon old movies, giving them better ideas, better scripts, better acting, better effects... the alternative is that modern movies are going backwards and getting worse rather than better.
Actually... I'm not at all sure that we can say that recent movies are generally better than their forerunners. Looking at that list, it is obvious that the great bulk of the best SF movies are decades old. I'll have more to say about those ten movies shortly.


Baixar Filme Palunku 2006 online
Assistir filme Palunku online
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Assistir o Filme Palunku Online LegendadoLançado : 7 Setembro 2006
Grandes : 2h 55 atas
Orçamento : US$ 13,000,000 milhões
Ganhando : US$ 137,856,184
Produtora : Dream Team Productions, ZoaYSa N-Pictures
Resultado : 8.5 (96456 votos)
Edição : PT, EN, DE, PL, RV, NZ, NO, GN, VF, UK, QL, TN, MJ.
Etiquetas : Baixar filme Palunku HD completo, Assistir filme Palunku legendado, Baixar filme Palunku em portugues, Baixar filme Palunku, Assistir filme Palunku HD completo, Baixar filme Palunku dublado, Baixar filme Palunku online gratis, Baixar filme Palunku brasil, Assistir filme Palunku em portugues, Assistir filme Palunku brasil, Baixar filme Palunku legendado.


It is sad that meaningful cinema is only appreciated when there are known faces or better say star power is associated with it. Have you wondered how many great pieces of arts have you missed just because of the fact that those movies either didn’t had super stars or were not backed by heavy advertisements and marketing. “Listen Amaya” is one amongst those movies. This movie by Avinash Kumar Singh was screened at London Asian Film Festival and what else could it receive other than hoards of appreciation. I recently watched the movie over DVD and for 2 hours I only enjoyed each and every scene of the movie.
“Listen Amaya” revolves around two widowed individuals Jayanat (Farooque Sheikh) and Leela (Dipti Naval) along with her daughter Amaya (Swara Bhaskar).Leela runs a library cum coffee shop, named “Book A Coffee” with her daughter and Jayant is her routine customer, friend, admirer and what not. The story revolves around these three individuals and the complications, self-respect and egos associated with their relationships. The plot is based on very thin line where words don’t need to express anything but emotions do. It is remarkably dealt as well, on screen.
I have grown up watching Dipti Naval’s and Farooque Sheikh’s off beat movies, also known as parallel cinema of early 1980’s. Movies like Chashm-e-Buddoor, Saath Saath, Kissi Se Na Kehna, Katha and Faasle etc. were a complete revelation from mainstream cinema. Coming back to “Listen Amaya”, it simply touches the hearts of audience. There are many sequences where Farooque Sheikh and Dipti Naval express their emotions with extreme ease. Swara Bhasker (Amaya) expresses her uneasiness with flaw. The contradictory personalities can only be show-cased by a seasoned actress. She is another actress to look out for after Tabu, Nandita Das and Vidya Balan.
Music of the movie is very light. The beauty is that all the songs are situational (though movie’s length could have been decreased if the songs would be omitted). Direction is first rate and so is cinematography.
If you are looking forward to watch a simple, easy going, full of mature emotions movies then this one is the perfect one. “Listen Amaya” is all about emotions and performances. It is highly recommended for those who value quality cinema or let me say a meaningful cinema.
I would personally rate it 4/5 on the basis of story line, script, performances and close to reality.


Below is a 60 Minutes segment that shows a little more about both Nathaniel Ayres and Steve Lopez. The movie was an accurate depiction from my own personal point of view in many ways. The majority of the movie was shot in Los Angeles in the heart of skid row. There were many aspects of the movie that are missed by people that do not know the area. One of these is a scene in the movie where Nathaniel Ayres and Steve Lopez run with a filled shopping cart from the LAMP center to Disney Hall. Most people may think that this is a simple film edit cut from one scene location to another. In reality the run between these two places with a shopping cart is well within reason as these two diverse places are less than a ten minute walk from each other.
Watch CBS Videos Online
I took this photo sometime last month of LAMP. This spot is featured in the movie "The Soloist". Here is a typical shot during the day when there are no movie crews or reporters in the area.


Families together can often equal disaster. Ok, so films generally take the dysfunctional family to a whole new level, but who doesnÂ’t love the entertainment it provides.
But there's about to be a new dysfunctional family on the block with the release of Jason SegelÂ’s new film Jeff, Who Lives at Home, in cinemas from 11 May.
Still living at home in his motherÂ’s basement in his 30s, and with his brotherÂ’s wife on the brink of an affair, Jason Segel, Ed Helms and Susan Sarandon epitomise the classic dysfunctional family.
So to celebrate the film's release, we count down the Top 10 dysfunctional families that have made it to the big screen - and it's not just Jeff who should be worried.
We cover every family unit from the Heslops in Muriel's Wedding to the Griswolds, it could be worse Jeff!


Woman on the eve of destruction
The 1990s saw a theatrical renaissance in former Yugoslavia. We have only had glimpses of it on the London stage. Woman Bomb should begin to remedy that.
Review by Corinna Lotz
The UK premiere of Croatian playwright Ivana Sajko’s Woman Bomb naturally arouses some trepidation. How will she deal with possibly the most provocative act of all – suicide bombing?
How can the female of the species, she who gives birth and nurtures, become a weapon of destruction?
Will it make you weep, will it be exploitative, will it be too hard to watch? Will it make moral or political judgements?
Sajko is the most outstanding of a generation of playwrights from the independent scene which arose in Croatia during the war-torn 1990s, says producer Berislav Juraić. Known for her fearless and sophisticated approach to political subjects, she wrote Woman Bomb in 2003. But it took recognition in Germany and France to secure the first performance in her native town of Zagreb.
Director Maja Milatović-Ovadia is no stranger to hard-hitting drama. She positively relishes the challenge of theatre that blasts through audience preconceptions – both in terms of theatre and politics. She says that Sajko is best known for a multi-disciplinary approach and an experienced practitioner of auto-referential reading.
In this kind of 'meta-theatre', the writer becomes part of the story – a bit like the role of the Chorus in ancient drama or the device of the play within the play so often used by Shakespeare.
Thus Woman Bomb opens with the playwright herself “reading my agent’s notice that a theatre has cancelled a production of my play ‘RibCage’ “ due to undesirable metaphors of “individual resistance to formidable violence”.
Sajko wrote the play entirely without production guidelines or individual character delineation. Each new staging, therefore relies on the director and the actors to bring their own structure and sensibilities to it. Directors Milatović-Ovadia and Vanda Butković and the London cast have risen admirably to the challenge.
Nikki Squire and Laura Pradelska appear in the guise of fair priestesses, garbed in ivory-white plaited dresses of a timeless design, a pattern mirrored by the zigzag of bricks on the floor. The bricks snake up to support the playwright’s desk – the only furniture on the stage. The stark set, which includes projections on the screen by video-designers Mafalda Cruz and Dan Oki, focuses our attention on the stream of consciousness as the seconds tick by in the countdown to the moment of destruction.
Their musings inform us about the playwright’s researches as they leaf through sheaves of research notes. Far from being the exceptional in terms of suicide bombings, one third are by women. The two women are the writer’s alter egos – switching between the dry stating of fact and motivations and convulsive emotion as the tension builds up.
The effort to project into the mind and feelings of the bomber is so powerful that the playwright suddenly morphs into the bomber (Laura Harling) who rises from a seat in the audience to the sound of tick-tock, tick-tock as the watch counts the last minutes and seconds in the life of the bomber. Casting a blonde-haired English rose in the role is a coup de force, bucking the assumption that such acts of violence would surely only be carried out by dark-haired non-Europeans.
Harling is both a creature of the writer’s imagination and a force in her own right. The youngest of the three, she is casually dressed like a London student in leggings and boots – and bursting with anger and sarcasm against her political target.
It is both hard-hitting and shocking, as Squire and Pradelska acting as a double chorus, set out the whys and hows of suicide bombing. Meanwhile Harling prepares herself for the ultimate act of sacrifice. She turns her back to the audience and disrobes. Sitting on the floor, she begins to wash herself slowly and carefully as though in a ritual.
The three characters – three aspects of one mind – struggle with how the question of violence and what constitutes terrorism can depend on your point of view. Concentrated jolts in the narrative take us backwards and forwards – from history to immediacy, from outside to inside, from past to present, from observer to performer – challenging us to re-think what theatre can be. Previews have seen largely female audiences. Do men find the subject even harder to think about than women?
To stage it in a London still suffering the scars of the suicide bombing of 2005 takes some chutzpah – so all credit to the producers, the theatre and Westminster Arts.
10 March 2011


Breaux Bridge Community Christmas Celebrationhttp://techecenterforthearts.com/event/breaux-bridge-community-christmas-celebration/
Come celebrate the beginning of the Christmas season with us downtown Breaux Bridge. Lighting of the Christmas tree on top of FM Bank. Music by Brazos Huval, Yvette Landry and Friends. Entertainment by local dance teams and Coca Cola truck will be there for picture opportunities. Activities start at 4pm.
Christmas Movie and Popcornhttp://techecenterforthearts.com/event/christmas-movie-and-popcorn/
Please stop by during the annual Community Christmas Celebration for a movie, Free admission to movie. There will be popcorn and drinks sold during the movie.


Student Blog: Paula Cury Melo
Paula Cury Melo’s short film, Sins of Excess, recently screened at the Dominican Republic Global Film Festival. Here, Paula describes her experience presenting her short film to thousands of people.
My short film Sins of Excess was accepted as an official selection of the Dominican Republic Global Film Festival – the most important cinematographic event in the Caribbean, founded by the Dominican ex-President Leonel Fernández. Thousands of people from different parts of the world (especially Latin America) attend the Festival every year, including personalities such as Benicio del Toro, Zoe Saldaña, Geraldine Chaplin, and Irving Vincent.
More than 100 films in total are shown throughout the festival, which usually lasts one week. One of the sections of the festival is “Corto Global,” or “Global Short Film,” in which both international and national short films participate in a competition. This year, almost 300 short films were submitted, but only 11 were selected to be screened during the Festival and to compete for an award, including Sins of Excess or Exceso in Spanish. Although we did not win an award, it was a privilege to have been selected as a finalist in the most important Festival in the country, getting to see our work on the big screen, and having the opportunity to network with significant people in the industry. Apart from this event, I also had the chance to talk about the film and my experience studying abroad at SVA on live television and on interviews for popular newspapers such as “Listin Diario,” so it was great to see how even some of the most recognized people in DR are willing to support young filmmakers and hear about their experience.
When asked about SVA, I said it’s been a very gratifying experience since it has helped me grow as an artist. I mentioned the five majors that are offered in the film program (directing, cinematography, editing, documentary and screenwriting) and that I’m majoring in cinematography even though I’m also a writer/director, because I like being able to learn from every area in order to integrate my work in a more complete way.
I was also asked about how the film came to be – it all started when Alejandro Cortés, who was Director of Photography and Co-Producer on the film, asked me to write a short film that dealt with the theme of the Seven Deadly Sins, since that was his requirement for Dejan Georgevich’s class. We have collaborated on films ever since my freshman year, so as usual, he was DP on the film and I was Director. I did some research before writing the script, but what was clear to me was that I preferred to focus on one or two “sins” than to create a broad piece of work that dealt with the theme in a general way. I stumbled upon a website that claimed the sins of excess were gluttony, greed and lust, which seemed really interesting to me, and that’s where the title comes from. Essentially, the story combines the sins of greed and lust, but ends up being a film not about the sins themselves, but about the contrast between surface and reality in a superficial, broken marriage.


Brendan Joel is creative filmmaker from Perth, Western Australia. He has a passion for cinematography and sharing engaging, character-driven stories on screen, exploring worlds within worlds and letting his imagination roam.
Over the last ten years Brendan has worked on a diverse range of projects including films, music videos, factual projects and promotional video campaigns. He graduated from the WA Screen Academy in 2018, where he completed a Masters of Screen Studies specialising in cinematography.
Commercial / Promotional
Alongside film projects Brendan enjoys working with businesses, brands and local government to develop and produce cinematic, promotional videos and video content. He brings his artistic style, cinematography skills and creative ideas to the table resulting in creative, authentic and impactful productions with a focus on engaging storytelling.
© Copyright 2021. Brendan Joel Productions. All Rights Reserved.


By Steve Huffman
SPENCER -- The movie's release is months away, but the buzz surrounding the trailer for "Leatherheads" is considerable.
Especially at the N.C. Transportation Museum in Spencer and Salisbury Station, two sites where much of the movie was filmed.
"We saw the museum several times, which means we're going to be featured," said Natalie Alford, a spokeswoman for the Spencer museum, a State historic site.
She was referring to the trailer that's on the Universal Studios Web site and other Internet locations.
It's also being shown as part of the previews at movie theaters.
The movie, which stars George Clooney and Rene & eacute; Zellweger, was filmed at various sites throughout North Carolina and South Carolina this past spring.
Much of the filming took place in Rowan County, at both the Transportation Museum and Salisbury Station (the Salisbury train depot).
Jack Thomson, director of the Historic Salisbury Foundation, offices of which are housed in the depot, said there are at least two scenes in the trailer that were filmed at the depot.
"I'm excited," Thomson said of the buzz the trailer has generated. "I can't wait to see the interior shots."
He said set builders did considerable work inside the depot and much filming was done there.
"The last night, they shot a lot," Thomson said.
Some of those shots will surely make inclusion into the movie, he said.
From the Transportation Museum, there are at least two shots that made it into the trailer.
One is a scene where a group of football players are chasing a train. Another is a scene where Zellweger is riding a motorcycle and she dumps her male passenger.
In that latter scene, the Transportation Museum's backshop is clearly visible.
Alford, the museum's spokeswoman, said parts for a number of movies have been filmed at the site, though "Leatherheads" is surely the largest-budgeted production to make its way there.
She said there were apparently scenes for "Forrest Gump" that were filmed at the museum, though they never made it past the cutting room floor.
"Leatherheads" is scheduled for nationwide release in early April.
To view the "Leatherheads" trailer: http://www.leatherheadsmovie.com/
Contact Steve Huffman at 704-797-4222 or email@example.com.


Theatre of the Oppressed: A Creative Path Towards Deeper Reflection
Once community development workers have committed to participatory processes of problem analysis and have made a commitment to involving communities in the entire scheme of project management from defining the problem, to conceptualizing the grant proposal, to project implementation, monitoring and evaluation, it important to have an arsenal of tools to facilitate these participative processes.
We sustain that the “how” is much more important than the “what.” How communities go about determining their needs and developing proposed solutions to those needs is the most essential aspect, and popular education methodologies are often the best pathway towards helping communities fully participate and contribute to this process.
The theatre of the oppressed is one popular education methodology that has been used by communities, organizations and NGO´s around the world. This module will briefly explain the history and theory behind theatre of the oppressed and offer a quick "how-to" guide for facilitators. It will explain why theatre of oppressed is a unique methodology to facilitate autonomous forms of participation and explain how to facilitate these types of processes.
What is Theatre of the Oppressed?
The Theatre of the Oppressed was developed by Augusto Boal, a Brazilian playwright and social activist that sought to find ways to allow theatre to be utilized for a greater social good. Boal recounts that during his youth, him and group of young actors travelled to a rural community that was facing the systemic violence of the Brazilian dictatorship of the time. They put on a play to show how a theoretical community could respond to the violence they faced through joining the armed Revolution. At the end of the play, a community member thanked them for the presentation but urged them to take up arms with them to fight for their freedom and liberation.
Boal realized at that moment that giving solutions to communities without participating personally in those solutions was a fraud. From that point on he sought to develop a theatre-based strategy to help communities find and come up with their own solutions to the problems they identified.
Theatre of the Oppressed presents, through a theatrical presentation, the problems and specific oppressions identified by a community or a group of people. However, unlike most Hollywood movies, the play purposefully doesn´t have a “happy ending” but rather simply depicts the oppression that the group faces and the sometimes-tragic consequences and outcomes of that oppression.
Once the play is finished, however, the theatre of the oppressed seeks to turn the spectators into “spect-actors”; involving the audience in finding and imagining solutions to the problems and oppressions presented in the play. Instead of simply discussing these solutions, however, the community members insert themselves into the play, and imagine ways to transform the tragic outcome.
This “transformation of reality” is repeated several times and then debated until the community has identified several viable solutions to confront a problem of oppression, poverty, violence, or other obstacle to the community´s wellbeing. The tool of theatre is unique in that instead of simply defining proposed solutions theoretically, conceptually, and verbally, people use their bodies to enact creative solutions to the oppressions they face.
A Step by Step Guide to Theatre of the Oppressed
The most important part of the theatre of the oppressed is in the identification of a problem or oppression that a specific community or group of people face. If a group of actors who are outsiders to the community come and theatrically represent an oppression that they suppose the community faces, this results in “imposing” oppressions on a community.
It is necessary, then, to involve communities in a prior process of defining the oppressions they face. This can be done through a community consultation or simply participating in the life of a community as an active listener.
Once the specific oppression is determined, a group of actors then comes up with a play that represents that oppression. These actors can be outsiders (a professional theatre group, for example) or members of the community. Whoever acts out the oppression, it is essential to end the play in a somewhat tragic conclusion that represents the possible or actual effects of that oppression on the community or group. The idea is for the audience to relate to the tragedy of oppression on a personal and intimate level.
Upon completion of the theatrical representation, a facilitator (an NGO representative or a community leaders trained in theatre of the oppressed) then opens a public forum to analyze the oppression depicted in the play. After an initial discussion with the audience of what they observed, the facilitator invites individuals from the audience to come up with different scenarios wherein the oppression could be changed. For example, if the play represented scenes of gender based violence, the facilitator would ask the audience for ideas on how a specific actor or actress in the play could have done something different to change the outcome. The only rule related to these ideas for transformation of reality is that the audience cannot simply change the behavior of the oppressor, but rather has to come up with thoughts on how the oppressed person can challenge the reality they face. For example, instead of an audience member suggesting that an abusive husband could simply become more loving and understanding (not very feasible), they could suggest different ways in which the woman could stand up for her rights.
When members of the audience come up with specific ideas or proposals to transform reality, the facilitator invites them on stage to enact the scenarios they propose. The play is re-started from a certain point wherein the audience member assumes the role of the oppressed character and attempts to change the depicted reality. The other actors need to have the ability improvise and adlib according to the solutions presented by audience members. The actors who represent the oppressors need to find a balance between staunchly defending the oppression and yielding to the challenges presented by the audience member.
After each proposal presented by an audience member, the facilitator opens up a debate with the rest of the audience to see if the community thinks that the solution presented is viable and practical as well as looking at the pros and cons of each proposed solution. This open forum methodology continues until the audience agrees on one (or several) proposed solutions to confront the oppressions they face.
Theatre of the Oppressed as an Innovative Tool for Problem Analysis
Instead of pushing communities to “recognize” problems that us NGO´s want them to find; and instead of offering ready-made solutions to these problems that stem from a paternalistic and sometimes colonialist relationship between “impoverished” communities and “benefactor” NGO, theatre of the oppressed can fundamentally change the problem/solution analysis.
Through allowing communities to identify their own problem and respond, through theatre, with possible solutions, NGO´s can step away from simple, undemanding solutions and become an ally with communities seeking to conscientiously respond to the problems that stem from their specific realities.
Questions for Reflection
Why do you think that theatre of the oppressed could be a beneficial methodology to help communities confront the problems they face?
Do you think it is best to have community members act as actors or outside actors? Why?
What would you do if, after presenting a difficult oppression through theatre, a community couldn´t come up with or imagine any creative ways to respond to that specific oppression?
About the Author
Tobias has worked with a variety of community development organizations throughout Central America during the past 11 years. He currently works as a freelance consultant and writer while also managing his family´s agroecology farm in El Salvador and participating in a community eco-tourism cooperative.


A century before the film Manchester by the Sea was nominated for six Academy Awards, New England played many a starring role on the silver screen.
Connecticut’s own Katharine Hepburn created the iconic New England woman in 1933 as Jo in Louisa May Alcott’s Little Women. She spoke to the entire region’s unvarnished character (well, except maybe for Newport) with her pronouncement, “I loathe elegant society.” See the trailer here.
New Englanders brought the film industry to maturity as actors, producers, cinematographers, studio owners and financiers. And it was a New Englander who helped move it out west.
New England in Film
“From the early days of projected motion pictures, representations of New England appeared on screens wherever movies were seen,” wrote Karen Sheldon, co-founder of Northeast Historic Film.
Five major New England themes run through American films, according to Sheldon. They are small town life vs. city values; Yankee characters, often the sage rustic; family secrets; seafaring tales; and haunted New England.
Lon Chaney starred in the 1909 film The Miracle Man, in which New York con men try to use a faith healer to collect money in a small New England town. George M. Cohan, who considered North Brookfield, Mass., his home, wrote the screenplay. Watch the surviving parts of it here.
The Yankee rustic appears in the 1931 film Way Back Home. Philips Lord, a radio personality from Hartford, Vt., created the Seth Parker character, a clergyman and backwoods philosopher based on his real-life grandfather. Way Back Home was also the film debut of Bette Davis, who owned a farm in Sugar Hill, N.H., and often shopped at the Carol Reed shop in Littleton, N.H. (See a clip from Way Back Home here.)
Secrets, Sailors and Ghosts
Nathaniel Hawthorne’s The Scarlet Letter, a story about a family secret, was made into film for a third time in 1926 starring Lillian Gish, which you can watch here. It would be made for the big screen two more times, including the disastrous 1995 version starring Demi Moore. It was also made for television three times. (“This will not do,” wrote Roger Ebert in a review that gave the film one-and-a-half stars.)
Playwright Eugene O’Neill, took the family secret theme to new heights (or depths) with plays that were adapted for film, including Long Days Journey Into Night and Desire Under the Elms.
During the 1920s, at least a half-dozen films featured the salty New England sailor, presaging George Clooney in The Perfect Storm and Casey Affleck in The Finest Hours decades later. Rin Tin Tin foils bootleggers in 1924 off the Maine coast in The Lighthouse by the Sea. The Pearl of Love in 1925 was based on a Harriet Beecher Stowe novel also about the Maine coast. John Barrymore starred as Captain Ahab in The 1924 movie, The Sea Beast. (Watch the love scene here.)
Stephen King is only the latest in a long line of writers whose stories about haunted New England appear in film. The Salem witch trials happened here, after all.
Maid of Salem, starring Fred MacMurray and Claudette Colbert in 1937, is a story about a girl who falls in love with an adventurer and is sentenced as a witch. Watch it here.
The Movie Business
Before film production moved to California, there were dozens of film studios in New England, including the Eastern Film Corporation in Rhode Island, the Commonwealth Photoplay Corporation in Massachusetts and Dirigo Pictures and Pine Tree Pictures in Maine.
Thomas Ince, film’s first tycoon, was responsible in part for the industry’s migration out west.
A native of Newport, R.I., he invented the shooting script and the five-reel film, created the first movie studio and put the producer in charge rather than the cameraman and the director. Ince died in 1924 after a sojourn on William Randolph Hearst’s yacht with Charlie Chaplin and Marion Davies.
Another New Englander, G.W. ‘Billy’ Bitzer, helped bring the film industry out of its infancy with his innovative cinematography.
He was born in Roxbury, Mass., in 1872. Bitzer developed early cinematic technologies and techniques such as the fadeout, the soft focus and the close-up. Like other cameramen of his day, he traveled the country shooting scenes of real life. Seeing Boston By Streetcar on film in 1906 was once such film.
Louis B. Mayer, who co-founded MGM, got his start in the film business in Massachusetts with the purchase of a burlesque theater in Haverhill. It was nicknamed the ‘Garlic Box’ because it catered to poor Italian immigrants. Mayer cleaned up the theater’s reputation by showing a religious film when it opened in 1907. He bought more theaters, eventually controlling the largest theater chain in New England before moving west.
Joseph P. Kennedy, father of the president, only ran his movie studios from 1926 to 1930, but he is credited with launching the talkie revolution and creating the modern entertainment conglomerate. He was the first financier to buy control of a studio – actually, he bought three — rather than build it up.
This story last updated in 2022.


Future of E. Wichita movie theater in question after bankruptcy filing
WICHITA, Kan. (KWCH) - The future of a once-thriving east Wichita movie theater is in question. Cineworld Group, the parent company of Regal and the Wichita Warren Theaters continues to go through bankruptcy reorganization. A filing in a Houston bankruptcy court shows the company is trying to get out of its lease at the East Warren near 13th and Greenwich.
Speaking with moviegoers Friday afternoon at the East Warren, many said they were sad to hear the theater may be closing, pending a court decision on Regal’s lease. The filing last month shows Cineworld looking to end leases with 25 theaters across the country.
Moviegoer Vicki Lupar said losing the iconic Warren Theater in east Wichita would be “traumatic.”
“It’d be like losing Century II, that’s what it compares to for me because I really enjoy coming here and my boys do too,” Lupar said.
Copyright 2023 KWCH. All rights reserved. To report a correction or typo, please email firstname.lastname@example.org


THE DYBBUK / Der Dibuk
Join us for this special event screening of one of the
most important and influential Jewish films of all time.
In this mystical tale of star crossed lovers and supernatural possession, two friends tempt fate by betrothing their unborn children. Years later when the pledge is broken and the couple’s love is thwarted, Channon the young lover (Leon Liebgold, Tevye) turns to the dangerous power of the Kabbalah to win back his love (Lili Liliana, Kol Nidre). Made in Poland on the eve of WWII in a stylized, Expressionistic manner that has been called “Hasidic Gothic,” The Dybbuk, based on S. Ansky’s play, brought together the best talents of Polish Jewry.
“One of the most solemn attestations to the mystic powers of the spirit the imagination has ever purveyed to the film reel.” –Parker Tyler, Classics of the Foreign Film
“The Dybbuk is haunting and atmospheric, a chilling supernatural romance that functions as a privileged glimpse into the past, to a time when rabbis regularly performed prodigious miracles, when spirits of the dead wandered the Earth, and when tampering with the supernatural inevitably led to the most dire results.” –Kenneth Turan (LA Times and National Public Radio film critic), Not Coming To Theater Near You
See also: THE PRINCE AND THE DYBBUK
Director: Michal Waszynski | Poland | 1937 | 123m | Yiddish w/ new English subtitles
CO-PRESENTED BY: Jewish Arts Collaborative
PARTNER: Tauber Institute for the Study of European Jewry at Brandeis University


After finishing “Vagabonding” by Rolf Potts, I’m ready to take a month long trip to a foreign country. Now, to choose which one…
Happy birthday to you. Happy birthday to you. Happy birthday dear blog. Happy birthday dear blog.
Last night I watched the series finale of Lost. I can summarize it in one word: lame.
Yesterday I saw Iron Man 2. It was definitely worth the wait, but sadly, not as good as the first movie.


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"Taken" is a thriller starring Liam Neeson, Maggie Grace and Famke Janssen. Directed by Pierre Morel, the plot of this action-packed DVD centers on former CIA agent Bryan Mills who has left his job just to be close to his daughter Kim, living with her mom and step-dad. Extremely caring and possessive about Kim, he is not too keen to let his precious daughter travel to Paris all alone with her friend Amanda but caves in to his daughter’s pleadings. But never does he imagine in his wildest dreams that 17-year old Kim may be kidnapped; or worse dead. Bryan now has to revive all his skills as an Ex CIA officer to rescue his daughter from being forced into the vicious underworld of prostitution, in this sensational thriller. "Taken" is suspense-filled and moves at a breakneck pace with unpredictable twists and turns that keeps you on the edge of your seat. With sleek action sequences, right dose of violence and of course Liam Neeson’s smashing act as an ex-CIA, this DVD "Taken", is a must-watch.
Number of Discs: 1
Rating: PG-13 (MPAA)
Film Country: USA
"Morel directs much like his mentor Besson -- that's to say, very slickly, with an emphasis on glossy action sequences."
Sight and Sound - Geoffrey Macnab (11/01/2008)
"TAKEN is very much its own film, bolstered by director Morel's explosive, adrenaline-driven approach to staging action and a cleverly-constructed script..."
Box Office - Wade Major (01/28/2009)
"Neeson throws himself into this role, appearing in nearly every scene and making good use of a purposeful scowl that combines fury and disgust in equal measure."
Los Angeles Times - Kenneth Turan (01/30/2009)
"A satisfying thriller as grimly professional as its efficient hero, TAKEN pairs the ruthless hand-to-hand combat of the Bourne series with the potent child-in-peril plotline of a Lifetime original movie."
Washington Post (01/30/2009)
3 stars out of 5 -- "[T]his is an absolute hoot whose visceral, no-holds-barred fight and torture scenes...are brutal enough to make even Jack Bauer flinch."
Total Film - Neil Smith (02/20/2009)
3 stars out of 5 -- "Ex-cinematographer Pierre Morel brings much of the punishing brutality he injected into DISTRICT 13..."
"One of the biggest -- and most surprising -- hits of the year, TAKEN gooses a tired premise and turns it into a tense exercise..." -- Grade: A-
Entertainment Weekly - Chris Nashawaty (05/15/2009)


Wakanda, the Africa futuristic dream world via fictional Marvel Cinematic Universe’s comic adapted into one of the most successful Hollywood investment in decades. Black Panther, opened to record box office. A movie with a largely black cast is something new to Marvel, helmed by a black director, and set in a fictional African country, where the vivid art, costume, and makeup designs were all inspired by real-world African tribal traditions. Marvel deserves a lot of credit, especially since the story and characters were creating since the ’60s. Fan’s response has been almost universally positive and enthusiastic.
The film is part of a series of movies planned by Marvel. The all-hero battles of Captain America: Civil War, and the galactic adventures of Guardians of the Galaxy 2 and Thor: Ragnorak, are leading up to the Infinity War saga, but for Marvel to keep putting out two or three superhero movies a year, some of them have to drop down to a smaller scale. Like Spider-Man: Homecoming, Black Panther limits the focus to a hero fighting his own local, personal battles: in this case, King T’Challa (Chadwick Boseman), aka the Black Panther, facing a threat to his rule and to his technologically hyper-advanced kingdom of Wakanda.
Black Panther is a 2018 American superhero film based on the Marvel Comics character of the same name. Produced by Marvel Studios and distributed by Walt Disney Studios Motion Pictures, it is the eighteenth film in the Marvel Cinematic Universe (MCU). The film is directed by Ryan Coogler, who co-wrote the screenplay with Joe Robert Cole, and stars Chadwick Boseman as T'Challa / Black Panther, alongside Michael B. Jordan as Erik Killmonger, Lupita Nyong'o as Nakia, Danai Gurira as Okoye, Martin Freeman as Everett K. Ross, Daniel Kaluuya as W'Kabi, Letitia Wright as Shuri, Winston Duke as M’Baku, Angela Bassett, Forest Whitaker as Zuri, Angela Bassett as Ramonda, Andy Serkis as Klaw, Florence Kasumba as Ayo, Sterling K. Brown as N'Jobu, Atandwa Kani as old T'Chaka and his real life son acted in the movie as a younger version of T'Chaka. In Black Panther, T'Challa returns home as king of Wakanda but finds his sovereignty challenged by a new adversary, in a conflict with global consequences.
Wesley Snipes expressed interest in working on a Black Panther film in 1992, but the project did not come to fruition. #Wakanda #BlackPanther #Disney #Mcu #Marvel #SuperHeroes #AfricaAmerica #Africa


The Castores Union was a 30 week (Junior-Senior year) film project at DigiPen Institute of Technology.
Inspired by Coelary, it is a 2D animated trailer for a non-existent noir anime film.
I wrote the script and developed the style of the film, including characters, animation, and layouts. I contributed final environments and animation, performed all compositing and post-processing, and oversaw every element of the film to maintain a stylistic consistency across the film's 40 shots.
Exported frames from the completed film
The film is complete and will be posted publicly after being submitted to student film festivals.
Below, please enjoy a 5-page graphic novella written as a prequel to the events of The Castores Union.


Broadcasting from the LA Film Festival, BYOD spotlights some of the most lauded documentaries that have everybody talking. First we speak meet with Til Schauder and Kevin Sheppard, the director and subject of The Iran Job–a very entertaining account of a western basketball player taking a contract to play professionally in Iran. The discussion illuminated some of the bewildering circumstances that go along with working in one of the world’s most shadowy nations.
Then we speak to the makers of Call Me Kuchu, the story behind the struggle for gay rights in the hostile grounds of Uganda. An inspirational tale of life and death.
From all over the festival, it is a great light on what is going on in docs today.
Till Schauder, Director/Producer/Cinematographer/Co-Editor: Till got his start in Germany where he wrote and directed the award winning films STRONG SHIT, and CITY BOMBER. After earning a government grant for the arts he made his U.S. debut with the romantic comedy SANTA SMOKES which won several international awards, among them Best Director at the Tokyo International Film Festival and the Studio Hamburg Newcomer Award. DUKE’S HOUSE, about Duke Ellington’s Harlem home premiered at the Tribeca Film Festival. For THE IRAN JOB, Till ran one of the most successful Kickstarter crowd funding campaigns of all time together with his producing partner (and wife) Sara Nodjoumi. Through his company Partner Pictures Till writes, directs, shoots and produces for television and film. He has a side career in acting where he occasionally is cast in shows like HBO’s Mildred Pierce or a national American Express campaign. Till is a graduate of the University of Television and Film, Munich. He teaches film classes at NYU and has been a guest lecturer at various other campuses. He has also been invited to serve on film festival juries and panels, e.g. at the Munich Intl. Film Festival, Tribeca Film Festival, Bahamas Intl. Film Festival
Katherine Fairfax Wright graduated from Columbia University with a double major in Film Studies and Anthopology. She produced Gabi On The Roof In July, which premiered at Cinequest 2010, and won Best Narrative at the Brooklyn Film Festival. Wright has worked closely with Bent-Jorgen Perlmutt, Nelson Walker III, and Fellipe Barbosa. She associate-produced Perlmutt and Walker’s award-winning documentary Lumo, which aired on P.O.V., as well as Perlmutt’s Les Vulnerables, the closing short at the New York Film Festival 2007. Wright has worked in a producing role on several other films and she is an award-winning photographer. She is a Chaz & Roger Ebert Directing Fellow, and an alumnus of the Film Independent Documentary Lab and the Garrett Scott Documentary Development Grant.
Malika Zouhali-Worrall’s work as a print and video journalist has been published in The Financial Times and at CNN.com. She has reported for CNN.com from India, Uganda, China and the U.S. on politics, technology and LGBT rights. Zouhali-Worrall is a graduate of Cambridge University and holds an MA in International Affairs from the Paris Institute of Political Studies (Sciences Po). She is also a Chaz & Roger Ebert Directing Fellow, and an alumnus of the Film Independent Documentary Lab and the Garrett Scott Documentary Development Grant.


Full Free Watch Pirates of the Caribbean: Dead Men Tell No Tales (2017) : Movies Without Downloading Captain Jack Sparrow is pursued by an old rival, Captain Salazar, who along with his crew of ghost pirates has escaped from the Devil's Triangle, and is determined to kill every pirate at sea. Jack seeks the Trident of Poseidon, a powerful artifact that grants its possessor total control over the seas, in order to defeat Salazar.
|Release Date||:||May 23, 2017|
|Genres||:||Action, Adventure, Comedy, Fantasy|
|Production Company||:||Walt Disney Pictures, Jerry Bruckheimer Films, Infinitum Nihil, Moving Picture Company (MPC)|
|Production Countries||:||Australia, United States of America|
|Casts||:||Johnny Depp, Javier Bardem, Brenton Thwaites, Kaya Scodelario, Geoffrey Rush, Kevin McNally, Stephen Graham, Golshifteh Farahani, David Wenham, Orlando Bloom, Martin Klebba|
|Plot Keywords||:||sea, ship, sequel, artifact, period piece, pirate, swashbuckler, ghost, caribbean|


This year, Chapterhouse Theatre Company is proud to present the wild and tempestuous love story of Emily Bronte's Wuthering Heights, set on the beautiful and mysterious Yorkshire moors. This tale of passion and revenge has thrilled readers and audiences alike for generations and now, in an adaptation by award-winning writer Laura Turner, is set to entrance Chapterhouse audiences for an evening of theatre beneath the stars. Can Catherine and Heathcliff’s love endure, or will the forces of nature tear them apart?"
For more information go to the Stirling Castle website at stirlingcastle.scot/events.
Arrive 6.45 pm for a 7.30 pm start.
|Friday 19 July 2019 a 6:30 pm||3 Hours||Stirling Castle||phone email language|


Eponine Films is a boutique production company dedicated to producing distinctive feature films, television series, documentaries, short films and commercial entertainment. Established by award winning filmmakers Jim Lounsbury & Behren Schulz, we are committed to producing compelling stories that engage audiences in new & dynamic ways.
From our award winning short films, to our forthcoming feature Love is Now, Eponine has a reputation for helping everyone we work with do their best work. We believe it starts with strong collaboration, in front of and behind the camera.
We have collectively shot over 30 hours of documentary in over 20 countries over the past 10 years, and feel that documentary is a solid foundation for understanding how to capture any story in a vibrant and authentic way.
We like to think of what we do as more than just product placement, it is distinctive, targeted communication that makes an emotional connection with the audience. Something we like to call Brand Inspiring Content.
Eponine is Jim Lounsbury and Behren Schulz, a Director/Producer team who love spinning a yarn. WE WORK WITH A WIDE RANGE OF EXCITING TALENT ACROSS ALL DISCIPLINES OF FILM AND TELEVISION PRODUCTION.
From 1996-2006 Behren worked as a producer and manager of large broadcast production facilities. He was head of production for several advertising agencies, in a role of providing planning and management of advertising ideas, strategies, resourcing, creative and executions across multiple channels of media.
In 2007, he launched Eponine Creative Pty Ltd with Jim Lounsbury, and grew that into a successful production house that services the growing demand for high quality entertainment online. Recently Behren was announced as one of Screen Producers Association of Australia’s inaugural ‘Ones to Watch.’
Jim has built a career in Sydney over the past 10 years in commercial entertainment, documentary, and film. His comedy, 'Early Checkout' played at over 20 festivals worldwide, including Sundance, and won best film at The New England Film Festival, the shoestring award at Rochester International Film Festival, and was selected as the 'Best of Fest' at the Palm Springs International Film Festival.
He also penned the short film ‘Gravy’ which was selected to play at Brooklyn International Film Festival and won best comedy at the Fox Comedy Channel Film Festival. Jim was also part of the directing team of the BAFTA Award winning series Lockie Leonard for the Nine Network, and directed the feature documentary ‘The Aussie Who Baffled The World’ for National Geographic.
GPO Box 1234, SYDNEY NSW 2001, AUSTRALIA
We believe our success lies in the people we work with, and the creative spirit in which we work. Eponine Films is always looking for down to earth people who want to be a part of a close group of collaborators. If you think you would be a valuable addition to our team, please send us a link to your CV/Reel and give us a few paragraphs about yourself and we'll get back to you as soon as we can.


+44 (0)20 7404 0606
Head of Department (Film & TV Production)
Keith specialises in Media Law with a particular emphasis on film work. He has worked extensively with film producers, financiers and distributors, both domestically and internationally. Keith was called to the Bar in 1989 and has been briefed extensively in a broad range of contentious media matters including: satellite distribution; video distribution; co-production agreements and breach of confidence. In the course of his non-contentious work, he has dealt with every aspect of the contractual process involved in film financing and production. Keith is an Adjunct Professor of international copyright and EU Law at Pepperdine University in the USA. He is also a regular speaker at international conferences and has written extensively for leading specialist publications.
He was an Executive Producer of the feature film "The Last of High Kings" for Miramax Films Inc. He has also performed the same role on a number of films including "Honest" directed by Dave Stewart (who is also one of the writers along with Dick Clement and Ian La Frenais) and "These Foolish Things" starring Angelica Houston, Lauren Bacall and Terence Stamp. At Goodman Derrick LLP, Keith works with colleagues forming a specialist film finance and production team including the Firm’s media group and corporate and banking specialists. One of the aims of the team is to develop financing schemes for media projects. For example, it has handled a broad range of film and television sale and leaseback transactions for a number of clients.
The Professional Guides:
Legal 500 (2011) Keith Northrop is recommended for his "excellent customer service, attention to detail and practiciality".


Gracie, a young Tamil woman living near Madras, has been having behavioural disorders since the day she was married. The memory of her French friend Catherine, who died in unresolved circumstances, seems to be haunting her. Catherine's grieving ex-husband, Joseph, decides to go to India to meet Gracie and possibly, during his journey, fix his mistakes - because Joseph has a lot to be forgiven for...
The wife of a barbaric crime boss engages in a secretive romance with a gentle bookseller between meals at her husband's restaurant. Food, colour coding, sex, murder, torture and cannibalism are the exotic fare in this beautifully filmed but brutally uncompromising modern fable which has been interpreted as an allegory for Thatcherism.
Extraordinarily detailed and beautifully drawn animation of a bizarre and surreal world; the domestic life of a fat man, his wife, a sort of oversized obese chicken, and their child/pet, a slug-like creature with a human head. This expressionistic and interior vision of Soviet animator Kovalyov is like an animated Eraserhead.
Forensic accountant Monica Bolland tracks down white-collar criminals, but when her husband Josh, an undercover agent for the FBI, is killed, she goes undercover herself to find his murderer. She gets a bookkeeping job with a criminal cartel but her cover is blown just as she discovers the devastating truth about her husband and the forces that brought him down.
Epidemiologist Cliff Claybourne (Robert Taylor) falls in love with Rita Wilson (Barbara Stanwyck) in a gambling house. They want to marry but Cliff's brother is convinced Rita is no good and forces Cliff to fulfil his agreement to do research in Africa in exchange for paying gambling debt. Rita, Cliff and brother are furious with each other, but Rita and Cliff are still in love.
A stranger comes to work at widow Halla's farm. Halla and the stranger fall in love, but when he is revealed as Eyvind, an escaped thief forced into crime by his family's starvation, they flee and become two of the many outlaws of Iceland's mountains.
A shared love of fish leads to a variety of romantic predicaments in this offbeat comedy from writer and director Doris Dörrie. Otto (Christian Ulmen) and Leo (Simon Verhoeven) are two men from Germany who have launched a successful business in which they import koi, the beautiful Japanese fish, for collectors in their native land. While on a business trip to Japan, Otto and Leo meet Ida (Alexandra Maria Lara), a German tourist who is studying fashion design. Ida begins traveling with the two men, and surprisingly develops an infatuation with the rumpled Otto instead of the handsome Leo. When Ida discovers she's pregnant with Otto's child, the two marry, and upon their return to Germany, Ida attempts to join in the business by creating a line of scarves decorated with koi patterns. However, the honeymoon proves short-lived, and Ida's presence creates a rift between Otto and Leo, as the latter sets up his own concern, raising koi with his new bride, Yoko (Young-Shin Kim).
Mąż swojej żony (English: Husband of His Wife) is a Polish comedy from 1960 directed by Stanisław Bareja. The story of a newly married couple, Michał Karcz (composer) and sprinter Jadwiga Fołtasiówna-Karcz. Michał has to adjust to Jadwiga being much more famous and her fame and needs dominating their lives.
Philosopher-eccentric Chuang Tsi comes across a woman fanning the newly built grave of her dead husband because she desires to marry again. On returning home, Chuang Tsi decides to put his wife to the test - he fakes his own death; the wife is grief-stricken and goes into mourning. While funeral arrangement are in progress, a handsome young man come to call on Chuang Tsi. Later, there is talk of marriage between Chuang Tsi wife and the man. However, the young man falls ill; his servant says that taking the human brain is the only medicine to cure him.
Mrs. Strong, by reason of a good right arm, is absolute manager of her husband and his finances. While on a shopping expedition she collides with a passerby, spilling the contents of her purse. After they are restored to her, she misses her husband's pocketbook, and thinking the gentleman who bumped into her took it, she gives chase and succeeds in taking a pocketbook away from him. She relates the incident to her husband. He discovers his purse on the dresser. The restoration of the pocketbook to its rightful owner is very amusing. —Moving Picture World synopsis from IMDB
A tragic story of love and loneliness - this is the unknown life of the great Russian writer Ivan Bunin. The confused love story that involved Bunin, his wife Vera, the young poet Galina Plotnikova, opera singer Marga Kovtun and literary man Leonid Gurov. A work of great honesty and piercing psychology.
Showing room at the military prison at Rennes in which Dreyfus the accused is confined. He is visited by his counsel, Maître Labori and Demange, with whom he is seen in animated conversation. A visit from his wife is announced, who enters. The meeting of the husband and wife is most pathetic and emotional.
Two young men, Ye-joon and Jae-moon, have been close friends since doing military service together. Ye-joon has lately worked his way up to becoming a successful financier, while the unambitious Jae-moon has opted for a much less conspicuous route. He now works as a cook and is enjoying family life with his wife Ji-sook and their new-born son. Ji-sook tolerates her husband’s attachment to his friend, but everything changes after the tragic death of the child, caused by Ye-joon. Ji-sook was in Paris when the tragedy occurred and isn’t aware of the circumstances; she even starts an affair with Ye-joon when her husband is imprisoned after taking the blame for his son’s death. Relationships which were originally crystal-clear begin to grow distinctly cloudy.
A wretched piece about a promiscuous woman, Darcy, who has affairs with every man she meets, including her daughter's boy friend. She is terrorized by a motel parking attendant, Grapes, who chases her and one of her lovers on his motorcycle. The lover is killed but Darcy lives. Grapes and his psychotic friend, Anthony, continue harassing Darcy and her daughter, Hart. The two women are attacked but the police arrive and kill Grapes and Anthony.


© 2021 University of Florida
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Personality of Yokosawa
Yokosawa is a character in the Netflix anime Aggretsuko. He is depicted as a laid-back and easy-going person who is often seen hanging out with his friends. He is also shown to be quite perceptive and insightful, often offering advice to his friends when they need it.
Yokosawa’s Relationship to Other Characters
- Aggretsuko: Yokosawa is a close friend of Aggretsuko and is often seen hanging out with her and her group of friends. He is supportive of her and offers her advice when she needs it.
- Haida: Yokosawa is also friends with Haida and the two of them are often seen hanging out together. He is supportive of Haida’s crush on Aggretsuko and offers him advice on how to win her over.
- Tadano: Yokosawa is also friends with Tadano and the two of them are often seen hanging out together. He is supportive of Tadano’s business ventures and offers him advice when he needs it.


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