Contemporary Online Magazine Media With An EDGE
Actor Frankie Ray holds his own in the entertainment world for sure. Born in Las Vegas, Nevada, raised in Oakland, Ca, serving the U.S. Army for 3 years in Germany, touring in Japan, teaching ballroom, and now living the dream as an accomplished actor.
Coming from a large family, Frankie Ray learned early on as a child that entertaining people was quite easy. His family, friends, and teachers knew he had something special going on. Serving the military, later becoming a ballroom dance instructor, avid with martial arts, DJ, poker dealer, scuba diver, playing musical instruments, being a stuntman, and golden radio voice became beneficial toward his acting craft. Frankie Ray continues to broaden his craft by pursuing directing, which is truly remarkable to watch such talent push to the next level in the Hollywood limelight.
After finishing up his three years of service, he joined a band in Tacoma, Wa. called “Lamoor.” Without income from the band he started teaching Pro Ballroom and Latin Dancing at Fred Astaire Dance studio in Tacoma, Wa. After teaching and honing his skill for over 10 years at various studios around the country, allowed him to finish his ballroom dancing career at Arthur Murray’s in Beverly Hills. After finishing a Japan tour as the lead dancer, singer in the production of “Hello America Hello” Frankie found himself homeless. He lived under the bank in Century City.
While teaching Salsa at HY’s he heard of a film at the salsa class, crashed the rehearsal, and booked his first job as a dancer in the film “Mambo Kings”. Frankie Ray started his film career homeless, broke and damn near starving, living on the dirt under the bank in Century City. On a recommendation of a friend ,Frankie ray crashed the rehearsal and booked his first speaking roll in a film called “Prison Planet,” which was directed by Armand Gazarian. Mr. Gazarian hired Frankie Ray for his next two films.
Over the years, Bourgeois Magazine La has had the chance to go through a life journey in “The Day And Life Of Frankie Ray.” Discovering that Frankie Ray is on a true mission and not giving up. We watched him from going on auditions, performing on commercials, movies, videos, using his DJ skills at (nightclubs, birthdays, weddings, company parties, and private party events), traveling, and adventure activities. Even at the age of 51, he does not want to grow old yet. His comical humor projected to everyone he comes across leaves everyone with a smile on their face.
Frankie Ray’s recent commercial Gieco Dracula can be seen all over the TV screen. Even without costumes and make-up, Frankie Ray is recognizable to his adoring fans all over the world. Frankie Ray has worked with the most broad range of acting talent on movie projects, such as Marlon Brando, Billy Drego, Michael Jackson, Robert Rusler, Wesley Snipes, Sandra Bullock, and many more.
Having spent years developing a huge list of skills to apply to his craft, Frankie Ray is known industry wide by casting to always deliver and always commits 100% to his characters. He believes that a character actor should dress for the audition and he maintain’s a huge wardrobe of just about every conceivable kind of character he may be called in for. If he does not have the outfit for the audition, he buys it to be a step ahead of the game.
He is truly loyal strong with his first agent Hugh Loen at Coast to Coast talent group for over twenty years. After twenty-one years as a Sag actor he still does student films and loves to do shorts. Frankie Ray believes in lending his skills and giving back to those that are just starting out. After 16 years of being sober, Frankie shows he can handle anything that comes his way. With over 31 national commercials numerous features and TV credit’s, he has the good fortune to be re-hired by many he has worked with before.
From struggling and making his mark in Hollywood living under a bank parking lot, to living comfortably and happy, Frankie Ray really knows how to push himself with such drive and force. “Climbing The Hollywood Ladder” as actor Frankie Ray puts it, stands true of all entertainment talent of every medium. The undoubtedly talented actor Frankie Ray delivers an outstanding range of performances throughout his body of work, which keeps you drawn to his true ability to deliver across the screen.
Recently Bourgeois Magazine LA personally requested Frankie Ray to be the spokesperson for The Legend All Star Rock Charity, which he graciously extended his time for this wonderful event. He also just did a footage video for Bourgeois Magazine LA on legendary keyboard player, Brian Chatton and did a video for Brian Chatton.
Expect to see “When Kings Battle” at the 2013 Hollyshorts Film Festival. The Festival runs August 15-22, 2013 at The Chinese Theaters on Hollywood Blvd in Hollywood, CA. Frankie Ray has new commercials out this fall and a movie project too.
Bourgeois Magazine LA wants to extend a deep thank you for giving us the chance to capture moments behind the movie screen, special events, and being a spokesperson for the Brian Chatton project. We look forward to capturing more moments in the life of Frankie Ray! Keep an eye out on this extraordinary talent for sure! See Frankie Ray’s IMDB at http://www.imdb.com/name/nm0712826/?ref_=sr_1
(VIDEO BY GABRIEL GRAN)


By: Aristophanes, adapted by David Stuttard
Directed by: James Albrecht
Company: aod (Actors of Dionysus)
Venue: Rose Theatre, Kingston
Date: Tuesday 8th November 2011
This is the no-nooky play, or ‘How the Greek women won the Battle for Peace’. We’ve seen it done before, in masks, and with an all-woman cast. This version, which uses modern dress and (very) contemporary references, had a cast of five – three women, two men – and was a lively romp through the sexual farce and political arguments of the original. They want to tour it, and although we found it patchy, I do hope they get the chance to show it to a wider audience.
The set was nice and simple. There were three plinths of varying sizes dotted round the stage, and a stepped dais with two pillars centre back. A couple of large banners were attached to the balcony – only one of them unfurled today – and there were various props at the sides of the stage – Zimmer frames, shopping trolleys, etc. When the Treasury sit-in started, placards were slotted into the plinths on either side, and the women strung crime scene tape between them and the pillars to create the sense of a barrier. There was also a folding lounger, an inflatable mattress, a pillow and a sheet used in one of the scenes – more on that story later.
The story was told in a succession of scenes, some of which worked better than others. Before the start, we could just make out a news broadcast talking about the war between Athens and Sparta. Unfortunately, many in the audience didn’t realise that this was relevant and kept chattering, which made it hard to hear. We did make out some of the information, including the scheduled summit meeting, and then after the news section there was a brief mention of a new play opening in Athens that night – Lysistrata by Aristophanes – a nice touch. With the news bit starting up again, at a much louder volume, the lights went down and we were into the opening scene.
Lysistrata, or Lucy as she’s called here, entered on her own, and started pacing up and down on the stage, looking at her watch. After the clock struck several times, she told us how disappointed she was that no one else had turned up. She’d summoned all the women of Greece to meet her here at this exact time, and nada. Nobody’s bothered to turn up. Well, actually one woman did turn up a few seconds later – Cleo. Fanny arrived a few minutes later, and then success! The Spartan women turned up, accompanied by the Thracian women. We only got to see the leader of the Spartan women though, played by Joseph Wicks (times are hard) and as she posed on a plinth we can see she’d been working out. She looked rather fetching in her red top and shorts; she was well padded in the tits department but her midriff needed some serious waxing.
With all the women gathered, Lucy was urged to tell them all her proposal. After making sure that all the women were keen to see not only their husbands come home from the war but also their lovers, Lucy finally screwed her courage to the sticking point (they used a lot of Shakespeare quotes in this section) and suggested they all withhold ___ from their husbands. What, they all asked? She was too nervous to get it out the first time, and they had to work really hard to persuade her to have another go. They swore they’d make all sorts of sacrifices to get their men back safely. But when she did finally explain the details of her plan, it was a step too far for these ladies. Give up cock? No way! I even found myself agreeing with Cleo that we couldn’t do without sex (sitting next to an aisle can get you into all sorts of trouble). Still, these women weren’t getting enough as it was, and they did want their men folk back….. Eventually Lucy inspired them to see it through, and when they heard the signal that the Treasury had been taken, the revolution was well and truly under way.
The next section involved a couple of elderly men bringing sticks and a bin on stage to make a fire and smoke the women out of the Treasury. It ended in ignominious defeat for the lads, as the women fought them off with frying pans and plastic doodads (including plastic ducks). I couldn’t make out much of the dialogue in this bit, but it seemed to mainly involve the two men saying dick instead of stick and suchlike.
I think the next scene was a debate between Lucy and an official, where the male view was that women were incapable of serious thought, never mind running the treasury! Lucy did her best to argue against him, but couldn’t overcome the ingrained attitudes of the ancient Greek mind. Despite the modern dress, the prejudices were distinctly old-fashioned, though still depressingly present at times today.
The biggest challenge to the women’s position came in the shape of Dick himself, Fanny’s husband, sporting a massive erection in a tasteful shade of pink. Having seen The Trackers of Oxyrhynchus years ago, we weren’t surprised by the size of the member, though it was used in an unusual way. Wrapping a cloth around it, Dick claimed it was Fanny’s baby which needed her help. She had to come down from the balcony, but of course it was a trick. Mind you, she handled the situation very well, despite her own sexual yearnings. She worked Dick up into a frenzy of sexual excitement (and he wasn’t far off it to begin with) then delayed the moment of pleasure by insisting on a bed, then a mattress, then a pillow, then a sheet. At the end, when she couldn’t delay anymore, she tied her bra over his face, and while he was waiting for her to get on with it, she snuck off back to the treasury building. How cruel! (and very funny)
Eventually the total lack of action got to the men, and they started to consider giving the women what they wanted – peace. The Spartan and Athenian representatives came together to discuss the problem, and their problems were so ‘up front’ they could compare sizes as well (Sparta won). With every incentive to sign a treaty, the men still held off until finally Lucy forced their hand. This was done in the form of a game show, with the ‘contestants’ asked a series of questions, and then given an ultimatum – sign the peace treaty or else. They didn’t fancy the ‘or else’, so they signed, pronto.
There was another scene with two old couples before this, but I couldn’t make out much of it, and I don’t remember how they ended the play either; as I said before, it was patchy. But we did enjoy enough of it to feel happy with our afternoon, and since this was only their second performance, I’m sure it will come on fairly quickly if they get a reasonable run at it. Compared to the Carry On brand of sexual innuendo, the humour was more direct, and I reckon this worked better with so many teenagers in the audience. Nothing wrong with innuendo, of course, but it’s refreshing to have the knob jokes so ‘in your face’, as it were.
There was a short post-show afterwards, and the problem of updating the piece was discussed; the cast found it hard to deal with some of the events, such as the men who signed the treaty being allowed into the Treasury to have sex with any woman they want. The pressure of having so many quick changes made it harder, but also gave the production extra energy; in one scene, the two male actors played two parts each, dragging their own injured characters off stage. And they said men were no good at multi-tasking!
There were plenty of references to Greece’s current financial problems – very topical – and the two or three scenes that worked well made up for the ones that didn’t. I do hope they get a chance to continue with this show.
© 2011 Sheila Evans at ilovetheatre.me


From eHostela to Uzalo, DiepCity and Isitha, entertainer Thobani Nzuza has situated himself as the go-to driving individual for the vast majority nearby creations – yet it was difficult.
On the e.tv. daily drama Isitha, he is once more starring in a multifaceted role as Lazarus Ncuma.
“Being a craftsman has forever been something that I needed to do. The 30-year-old actor stated, “I played lead in the majority of our performances when I was in primary school.”
“Based on their personalities, the majority of the roles I’ve played are not too dissimilar. I played a gangster obsessed with protecting his mother on eHostela, and on Uzalo, I played a KwaZulu-Natal inkabi concerned about his music career.
“Be that as it may, presently, I play a man who carries on with two lives. He is a finance manager who is family orientated and would do anything for his friends and family however moonlights as a road criminal, who is enamored with a more seasoned lady who he seized in Eswatini.
“Even though he walks around with a fake ID and I don’t, I enjoy portraying both personalities because they feel more like they are a part of me.” “Lazarus is a very complex character that is both challenging and emotionally draining to act out.”
Nzuza was brought up in Umlazi, KwaZulu-Natal (KZN). He had always had a deep passion for performance art. After secondary school, he decided to concentrate on show and creation at the Durban College of Innovation.
“There isn’t a lot of inspiration in terms of actors in this profession where I come from.” Being a taxi driver or working in a field other than acting or the entertainment industry is all you can hope for.”
Nzuza spent his early years living with his grandparents in the northern part of Kranskop, KwaZulu-Natal.
He stated, “When I started high school, I went back to Umlazi to stay with the family on my father’s side until I finished varsity.”
“When I was 19 years old, I started my career in the theater. My most memorable theater creation was in 2012. I was extremely energized and thrilled to play out my most memorable play before a crowd of people.
“At our community arts center and again at a large Newcastle festival, I played a miner. In 2017, when I was 24, I did my absolute first expert play which occurred at the Baxter Theater Center drove by the College of Cape Town… I will not fail to remember my premiere night since it occurred on my birthday – May 4.”
Nzuza won the Simon Mabhunu Sabela Film and Television Awards for best actor in a drama in 2018 and again in 2017. Additionally, he has been honored with a prestigious SA Film and Television Award (Saftas).
“Awards mean a lot to me because they serve as some sort of validation for your work and craft. “Acting is hard work, and when you get the recognition you deserve, it means you are seen and will get more work,” he said.
“However, the drawback is that you’re more expensive, which might make it harder for you to get acting jobs, but I always reinvent myself to make producers like me more.”


This fund aims to support film festivals and increase the range and diversity of films available to audiences in Scotland. Apply for up to 2 years support, and up to £70k per year. No deadlines.
The Film Festivals Fund aims to increase the range and diversity of films available to audiences in Scotland. Projects supported through this fund should help to promote cinemagoing and cinemas in Scotland, and to raise the profile of film, especially specialised film.
Film festivals play an important role in bringing diverse stories, representations and audiences together. We will prioritise support for festivals that improve the diversity of film programmes and audiences, including socio-economic and geographic diversity as well as protected characteristics; and we will also prioritise support for projects that offer engagement with film in locations that have limited access to cinema.
We will also consider support for other film exhibition projects, other than festivals, that have the potential to meet these aims. These projects might include film tours, or programmes taking place over an extended period.
For more information you can read the news release accompanying the launch of the fund here:
To access the guidelines and application forms, go to our website here:
For more information, please visit: http://www.creativescotland.com/what-we-do/latest-news/archive/2018/6/new-600k-fund-launched-to-support-scottish-film-festivals


We are really excited to be offering Drama Club once again this year, taught by our expert Drama teacher, Georgia Lee-Bowers. Georgia is currently a Teaching Assistant in Year 4, but has also worked at the Valley Community Theatre and taught Drama for many years.
Due to Covid restrictions, Drama Club will initially be for Year 3 only, although we hope to be able to other year groups soon as well.
If you would like to sign your child up for Drama Club, please fill in the form below giving the following details:
Your e-mail will go directly to Georgia so that she has an up-to-date list of children who are attending.
Please send details of your child and use this form for any other questions or comments about Drama Club.


ABOUT THE FESTIVAL
The Cowichan Valley Film Society brings the Travelling World Community Film Festival to the VIU Cowichan Campus in early November each year.
Thought-provoking documentaries on local & global issues
The Festival has run successfully in Courtenay, BC since 1990. The annual collection of documentary films now travels to many communities across Canada. The films focus on environmental and social justice issues around the globe and cover a wide range of topics. They are sure to educate, entertain and inspire.
The Duncan screening takes place at the beautiful VIU Cowichan Campus, screening films in the state of the art lecture theatre. We prepare and serve local organic savoury and sweet items, fruit and beverages.


Find upcoming events and things to do in Buffalo. Search by category,date or keyword. Categories include live music, bars and clubs, night life, theatre, comedy, sports, kids and family, free events and many more.
FREE Buffalo Film Society Preview Screening: THAT'S MY BOY, Adam Sandler - GoFoBo Code in Buffalo on May 31, 2012 7:30 PM
FREE Buffalo Film Society Preview Screening: THAT'S MY BOY, Adam Sandler - GoFoBo Code
Buffalo, New York, United States- Get Directions
THAT'S MY BOY
starring ADAM SANDLER
This movies is Rated R
There are 75 pairs of passes (each pass good for 2 people): first come, first served
When you register for this screening, you will receive an EMAIL with a Special Buffalo Film Society CODE.You must go to GOFOBO and enter the RSVP code. The original email is NOT the Ticket.That will unlock the actual screening ticket which you must bring to the theater to be admitted.
PRINT OUT the GOFOBO TICKET and BRING IT TO THE SCREENING.There are a limited number of tickets. When they are gone, the code will no longer work.
Each code is good for a maximum of TWO TICKETS.
If we find people registering twice we will drop them from our mailings.
We hope you can make it!Cheers,Buffalo Film Society, Niagara Falls Film Society & Buffalo - Niagara Film Society
While still in his teens, Donny (Adam Sandler) fathered a son, Todd (Andy Sandberg), and raised him as a single parent up until Todd's 18th birthday. Now, after not seeing each other for years, Todd's world comes crashing down on the eve of his wedding when an uninvited Donny suddenly shows up. Trying desperately to reconnect with his son, Donny is now forced to deal with the repercussions of his bad parenting skills.
(If you haven't already, you must register on Gofobo before entering the code. Registration is free and is very quick).
Tags: eventbrite.com, film, meetings, movies, tickets, Film, Buffalo


We are extremely excited to announce that Toonocalypse has been selected for the Warsaw International Film Festival as 1 of 7 animated shorts competing in the Short Film Competition. The winners of the Short Grand Prix,Best Live Action Short and Best Animated Short will have the privilege to compete for the Oscar in the Best Short Film category.
In addition, Callum and I will be attending the festival for a week to catch the 2 screenings of Toonocalypse and see what else is on at the festival. We will be making a video diary while we're out there, showing our time in Warsaw and updating you on all the new festival news, so keep an eye out for that next month!
Also, Toonocalypse will be showing at the Edinburgh Short Film Festival in November! Anyone who wants another chance to see the film on the big screen will be able to get tickets from their website. We'll announce more when the tickets are available.
Secondly, we found out Toonocalypse was a finalist at the Dragon Con Film Festival. A full list of winners and finalists can be found here.
Finally, Toonocalypse has been nominated for 2 awards at the Hyperdrive Sci-fi & Fantasy Independent Charity Film Festival - Best Animation and Best Director. For a full list of nominees check here.
More to come soon!


DIRECTOR: Travis Milloy
WRITERS: Travis Milloy
RUN TIME: 1H 43Min
GENRE: Sci-Fi, Thriller
Infinity Chamber came up in my Netflix recommended list, With nothing better to watch I decided to give it a try and I am thankful that I did.
There is little to no introductory world building, Everything the movie wants you to know, it tells you in a very organic method. There is a little bit of cursing, but other than that no real violence of questionable content. This movie strikes me as a less pretentious Inception.
A man wakes up in an unfamiliar place with only one other person to talk to, but not everything is as it seems.
This is one movie I will not spoil because to spoil the movie would undo the entire thing. The whole movie is one giant plot thread and to tell you what that ending is would basically remove the need for you to watch the film. So let's move right into the different facets that make a film
Sound Design: Very Good, there was nothing out of place in the soundtrack or the Folley work. The only "gripe" I could have is that sometimes the dialog felt like it was dubbed or was ADR, but it was nothing as egregious as Justice League.
Artistic Design: Simple, It was a very Futuristic minimalist design. There was nothing that was out of place and all the set designs were well placed
StoryTelling: Amazing, The story flows smoothly and makes you question what is and is not real, there is no forced storylines or forced dialog it feels very organic.
Character Design: Perfect, There are very few characters in the movie, but they are all very well cast and have the range of emotions that are needed for this project.
Freshness: Crisp, Very few movies have even attempted the "It was all a dream" aspect and have executed them well. This Movie executes and tells a very clean and simple story that makes you really stop and think.
Go watch this movie, You will not regret it. It is a very enjoyable movie from the first moment to the last frame. With minimal questionable content, it is a ok movie to watch even at work


Screened at the Dublin Film Festival 2013. Screenings at the Moscow Irish Film Festival and The Toronto Irish Film Festival, Eat My Shorts and more TBC in 2013. Broadcast on RTE Short Screen, 2013.
This short was watched over 25,000 times on Vimeo and 250,000 times on Youtube within a week of being uploaded.
Writer & Director: Dave Tynan
Producer: Kathryn Kennedy
Cinematography: JJ Rolfe
Score: Gareth Averill
Edited: Michael Donnelly
Camera Operator: Burschi Wojnar
Sound Recordist: Fiachra O'Hanlon
Trainee: Laura Danaher
Security: Fred Nolan


Bachelor of Fine Arts is a practice-intensive concentration giving students an exceptional range of creative skills to visually express ideas through film and performance. These include abstract problem-solving, critical thinking, performing, creative visioning, digital storytelling, and other professional practice skills related to visual and performing arts. This interdisciplinary concentration prepares students for professional careers in film and theatre, as well as a wide variety of creative storytelling- and communication-related roles through digital and social media, and it represents a richly diverse ecosystem of philosophies and practices.
For more information on admissions requirements, please visit the Office of Admissions website. https://www.augusta.edu/admissions/
Progression & Graduation Requirements
- Students are expected to earn a C or better in their major coursework, and to fulfill all curricular requirements, including FITH 4800 Creative Expression through Multiple Media (capstone), in order to graduate.
Program Length: 4 Years
CIP Code: 50.0101
Program Code: 1BFA-DIVS


"Resonant, vivid and beautifully shot...pregnant with images and ideas
A film made with real artistry." PETER BRADSHAW, GUARDIAN
130PM Hyde Park Picture House, Leeds, UK
followed by a musical Q&A with Annie Hughes & Luke McManus
The Irish box office hit of winter 2022 - still in Irish cinemas two years after its world premiere in March 2022.
The winner of eight festival awards, including the Denton Thin Line Festival Best Sound on Screen award, the American Cinematographer Award at Salem Film Festival 2023 and the FIPADOC 2023 Grand Prix for Best Musical Documentary.
North Circular is a multi award-winning documentary musical that travels the length of Dublin's North Circular Road, from the Phoenix Park in the west to Dublin Port in the east. On the way it encounters some interesting characters and explores contemporary and historical narratives of the city and the nation.
Music is one of the storytelling devices of North Circular and the film stars many of the leading lights of the new Irish folk scene including Lisa O'Neill, John Francis Flynn, Ian Lynch, Willa White, Eoghan Ó Ceannabháin, Séan Ó Tuama & Gemma Dunleavy.
North Circular is written & directed by Luke McManus


3rd – 12th Grade Drama 2019-2020
Wednesdays, 1:00 – 3:00 PM *FULL*
Wednesdays, 8:30-10:30 *Possible class if at least 10 students register*
Instructor: Mileah Lorenz firstname.lastname@example.org
Class Tuition: $400 per year or 10 equal installments of $40
Supply Fee: $80 per year, due at registration
The class supply fee pays for the following supplies: scripts, costumes, props, copies, programs and treats for class. Difficult to find, or specific costumes pieces needed may require online ordering which adds shipping costs. Students may be asked to provide some of their own costumes and props, and it is customary for theater students to purchase their own makeup.
*NOTE: There is a minimum of 10 students required for this class to progress; maximum is 20.
Class Description: This class is for students interested in public speaking, theatre and acting. During the fall semester, students will learn theatre basics including terminology, theatre etiquette, and on-stage skills. They will also perform a short show for their families on the last day of the fall semester to display the skills they learned. Throughout the spring semester, students will rehearse a full-length play including props, costumes, and sets to perform in the end-of-year CPC Fine Arts Program.
During both semesters, students will participate in fun, skill-building games in addition to developing and performing mini-skits in class. This class is dedicated to aiding students in becoming more comfortable performing in front of others, honing theatre skills, and emphasizing teamwork by providing opportunities for students to work together to develop and perform a play. Students will be exposed to all aspects of bringing a show to an audience from being onstage to behind-the-scenes work. Students should be expected to work on assignments at home at least 1-2 hrs each week.


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Join ACT Expo for an electrified brewery tour around the Long Beach and South Bay area. Participants will have the opportunity to “hop” between local breweries on electric buses, networking with other attendees, exploring the locale, and sampling local beers.
Scribd is the world’s largest social reading and publishing site.
Star Wars (later retitled Star Wars: Episode IV – A New Hope) is a 1977 American epic space opera film written and directed by George Lucas.It is the first film in the original Star Wars trilogy and the beginning of the Star Wars franchise. Starring Mark Hamill, Harrison Ford, Carrie Fisher, Peter Cushing, Alec Guinness, David Prowse, James Earl Jones, Anthony Daniels, Kenny Baker, and Peter.


Language is our most valuable tool, and I wield it like a swiss army knife. From web copy to stage plays. From academic research to screenplays. From journalism to children's stories. I treat writing like the inexhaustive vehicle it is to drive the content clients want to its final destination.
With over 10 years of writing across various genres/formats, my work adapts to your needs.
Find a selection of my works below.
A review of the horror classic, "The Exorcist."
A review of Villeneuve's "Sicario."
A review of Tarantino's "The Hateful Eight."
A review of FX's "The People v. O.J. Simpson."
A review of F. Gary Gray's "Straight Outta Compton."
A review of Marvel's "Ant-man."
A review of Iñárritu’s "The Revenant."
The acrylic medium continues to shape the future of abstract art.
A look into the history of abstract art through a contemporary abstract artist.
A look at creativity through the lens of an abstract artist.
A call for more "monster" content over "zombie" content.
A look at Rooker's career and characters over the years.
A look inside the new Netflix vampire movie and its mysterious box.
Confronting the blockbuster's lack of compelling, substantive female characters.
A look at the children's cartoon's positive messages on inclusion.
An exploration of video game culture's place amongst interactive art.
A meditation on the temperamental nature of art.
An examination of profanity in news media.
An examination of an author's voice within documentary subject matter.
An analysis of the historic clash between film and television.
A pilot about a struggling artist that stumbles upon the holy grail of creativity.
A short play about two parting lovers.
A short play about a slave and his "master."
First act of a feature length screenplay about a group of teens' prank that goes too far.


Inside OutAug 15, 2018
I'm totally in love with Pixar's movie, Inside Out. Both the story and the visual effects delighted me. It presented such a simple and quite accurate demonstration of how our conscious and subconscious minds work. I especially loved how it shows us how we get "triggered" into automatic responses.
Psychologist, Dr. Janina Scarlet, reviewed the film and said this...
"The movie is about an 11-year-old girl, Riley, originally from Minnesota, who moves to San Francisco with her parents. The leading characters of the movie, however, aren’t Riley and her family, but Riley’s primary emotions – Happiness (Joy), Sadness, Fear, Anger, and Disgust. These emotions demonstrate what it might be like in the mind of an 11-year-old girl who struggles with having to move to a different city, away from her friends, away from her hockey league, and has a hard time pretending to be happy for her parents."
"What’s really powerful about this film is how accurate it is to cognitive, developmental, and clinical psychology. The 5 emotions used in this film are in fact 5 of the 6 scientifically validated universal emotions (the 6th one being surprise). Psychologist and scientist, Paul Eckman, is most known for his work with universal emotions as he traveled around the world and found that these were present in every culture and presented in the same way through the same facial expressions around the world. Eckman’s work has been used for psychology research, as well as for the US government, and even inspired the popular television series, ‘Lie to Me’."
"This is a movie I’m going to be assigning to many of my patients and doctoral students as a way to demonstrate important psychological principles."
In Reality Crafting sessions with my clients, I found that the movie provides a great platform for visualizing the inner workings of the mind. My clients found it even easier to find and dump limiting beliefs and transform painful memories.
Thank you, Pixar for making my job easier and more fun.
Check out the trailer here. And hurry up and see it on the big screen. It's worth the trip.
Copyright 2018 Suzanna Kennedy


SpeakEasy Stage Company's New England premiere of the off-Broadway stage adaptation of Todd Haynes' paean to Douglas Sirk, "Far From Heaven," is a gorgeously designed affair filled with rich, challenging compositions -- but a dreadful tendency toward some sort of hybrid between opera and musical theater.
I enjoy twelve-tone compositions and music with dissonant elements, so the complaints I've heard from others who don't like Scott Frankel's score strike me as slightly unfair (to the play, as well as to music director Steven Bergman, who allows the music, at its best, to sound magnificent). Like the play's themes, Frankel creates music that offers a shiny, melodious surface, but roils underneath with discord. This illuminates the characters' moods and the power of their fear, lust, shame, and anger, but it also goes a little too far sometimes, telegraphing to the audience not just what the characters are feeling but how we are supposed to feel, as well. In that way, the music works against the actors, who would usually have the role of layering emotional responses, motivations, and thought processes into a unified and human whole, and who are challenged here with a need to carve out their own interpretations inspired of the music's emotional dictation. They're swimming upstream, sometimes against an overpowering current.
Jennifer Ellis rises to the task wonderfully, and proves herself a fine actress and singer. Maurice Emmanuel Parent is just as good as the show's male lead. The two play Cathy -- a Connecticut housewife in the 1950s -- and Raymond, her gardener, who might work with his hands but who also enjoys putting his intelligence to use. The two carry the show, which is to be expected since the plot primarily concerns their forbidden sexual attraction. It is the 1950s, after all -- and while Cathy is white and privileged, the very definition of the homemaker in the prosperous Eisenhower era, Raymond is African-American and looked down upon for his work and even more so for his skin color. The fact that she speaks to him as a fellow human being is taken as extraordinary by the local social columnist; the fact that the two dare to discuss modern art at a gallery or enjoy lunch in the "wrong" part of town inflames the local gossips.
But still more scandal lurks below suburbia's rosy gloss. Cathy's marriage is faltering; it's something she feels and responds to, or so the costume design hints when we first see Cathy, strutting around happily with a shopping bag in her hand and clad in a scarlet coat and matching gloves. This is a woman, we feel at once, who isn't all about the goods she can afford to buy. She needs more; she needs a man that wants her. She might not even quite realize it herself, but the fact is her husband Frank (Jared Troilo) isn't interested in a family life... no more so than he's aroused by his secretary's salacious come-ons. When hubby's away at work, Cathy wears red -- in a couple of scenes, not just the one. When she dresses up for night out with Frank, though, her expectations shift. She wears a prim blue dress.
The effect is striking. Yes, it's autumn in New England; but all that red (echoed prominently in Frank's necktie) speaks of more than surface beauty and change in the air. For that, costumer Charles Schoonmaker could just as easily have chosen something in orange. Unconsciously, primally, Cathy's starting to yearn for what her husband can't give her, and while she's shocked to find him in a passionate embrace with another man one night, it's a shock that quickly wears off -- even as her friendship with Raymond warms up. (For his part, Raymond is attired in yellow and brown, colors sensible and warm, grounded and vibrant: He's not immune to passion, but he doesn't lose himself in its flames, either.) Head and heart come into conflict against a backdrop of social and sexual repression and brittle morality, and neither knows how it's all going to turn out; this is the very stuff of Sirkian melodrama.
All of this comes through in the score, as does Frank's terror and shame and the prurience with which gossip-monger Mona (Ellen Peterson) spreads every drop of juicy outrage she can wring from the interracial friendship between Cathy and Raymond. However, so much of the dialogue is sung -- when it could just as well be spoken -- that the conceit starts to get irritating. Is it all supposed to sound like a recitative?
The stage production is, necessarily, a very difference experience than Haynes' movie -- or the Douglas Sirk melodramas Haynes was saluting. What's problematic is the way the melodrama here slides into schmaltz and even, at the end, schlock. Ellis sells it all beautifully, but the play's hollow notes can't help but sound like what they are -- varnish without substance, when Richard Greenberg's book and Michael Korie's lyrics strive too hard for heartache and nobility in the face of disaster.
But the play has numerous merits, too, starting with the supporting cast. Aimee Doherty -- another of Boston's finest actors and singers -- plays Cathy's concerned friend Eleanor, who tries to be supportive but who just can't make the sort of progressive and humanistic leap that comes naturally to Cathy. Will McGarrahan appears in a couple of different, and highly contrasting roles; it's a pleasure to see him take on so successfully. Terrence O'Malley makes a splendid Stan Fine, a red-blooded male of the old school and one of Frank's colleagues at work. Tyler Lenhart also appears in contrasting roles -- as a vice cop and an assignation of Frank's that turns into something more. The cast is rounded out with, among others, Michael Levesque, Kerry A. Dowling, Jennifer Mischley, Carolyn Saxon, Rachel Gianni Tassio, and Sophia Mack, who plays Raymond's daughter Sarah. (It's upon Sarah that an especially vicious revenge falls for the social sin of interracial romance between her father and Cathy.)
Director Scott Edmiston has created a production of autumnal beauty that partakes of gloss and artifice as well as earthier elements. Eric Levenson's scenic designs lend an extra dimension to the text, with picture frames -- some small, one giant -- gliding onto the stage, where they create a sly partition that suggests a voyeuristic peek through warmly lit windows, and, later on, turn a scene set in a gallery into a comment on the period, and the people who lived in it. In still another context, those frames act as invisible class barriers that do not allow -- except ever so briefly, and at great risk -- genuine contact between the people they separate. It would be easy to overlook Karen Perlow's lighting and Noah Thomas' sound design, not because they aren't well done, but because they fit so well with the production's more attention-grabbing elements.
This is not a perfect play, but it is what it is; this production may be its perfect execution.


Jayne Mansfield (born Vera Jayne Palmer; April 19, 1933 – June 29, 1967) was an American actress in film, theatre, and television. Mansfield became a major Broadway star in 1955, a major Hollywood star in 1956, and a leading celebrity in 1957. She was also a nightclub entertainer, a singer, and one of the early Playboy Playmates. She was a major Hollywood sex symbol of the 1950s and early 1960s and 20th Century Fox's alternative to Marilyn Monroe. She was also known for her well-publicized personal life and publicity stunts, such as wardrobe malfunctions.
While Mansfield's film career was short lived, she had several box-office successes and won a Theatre World Award and a Golden Globe. She enjoyed success in the role of fictional actress Rita Marlowe, both in the 1955–1956 Broadway version and the 1957 Hollywood film version of Will Success Spoil Rock Hunter?. Her other major movie performances were for The Girl Can't Help It (1956), The Wayward Bus (1957), and Too Hot to Handle (1960). In the sexploitation film Promises! Promises! (1963), she became the first major American actress to have a nude starring role in a Hollywood motion picture. Mansfield's professional name came from her first husband, public relations professional Paul Mansfield. In 1967, Mansfield was killed in a car crash at the age of 34, along with two others.
In August 1963, Jayne Mansfield decided to convert to Catholicism. Although she never actually converted, she did attend Catholic services when she was in Europe, and followed Catholic practices when she was involved with a Catholic partner (including Hargitay, Sardelli and Cimber). In May 1967, her performance at the Mount Brandon Hotel in Tralee, Ireland, was canceled because Catholic clergy condemned it. She wanted to marry Cimber in a Catholic ceremony, but was unable to find a priest who would perform the ceremony. While involved with Brody, she also showed interest in Judaism. In San Francisco for the 1966 Film Festival, Mansfield visited the Church of Satan with Sam Brody (her lawyer and boyfriend) to meet Anton LaVey, the church's founder. LaVey awarded Mansfield a medallion and the title “High Priestess of San Francisco's Church of Satan”. The Church of Satan proclaimed Jayne a pledged member, and she displayed a framed membership certification in her pink bedroom. The media enthusiastically covered the meeting and the events surrounding it, identifying her as a Satanist and romantically involved with LaVey. That meeting remained a much-publicized and oft-quoted event of her life, as well as the history of the Church of Satan. Additionally, Karla LaVey confirmed in a 1992 interview with Joan Rivers that Mansfield was indeed a practicing Satanist and that she had a romantic relationship with Anton LaVey. Her funeral ceremony was conducted by a Methodist minister.
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In light of the growing success achieved by Emirati cinema year after
year, locally, regionally, and internationally, especially with the
increasing number of local feature films, and the continuous efforts by both
filmmakers and official bodies to develop the film sector and establish
a solid film industry in the UAE, the ECC will work to achieve the
1- Raise the public awareness of Emirati cinema, in all its diversity.
2- Enhance the interaction with films made in the UAE all year long.
3- Build more filmmaking careers.
The Emirati Cinema Campaign seeks in the long term to establish a
continuous interactive base between the Emirati film movement and the
society. It also aims at creating a link between the cinematic,
cultural, educational, and various media entities in the country.


It not just enough to be versed in weddings, but more important to be learned in your art form. This is why we find our talented cinematographer, editors, and core production team from within the film and media industry, not just the wedding industry. We look for individuals with the mindset of “the production has to be done right the first time”. They have to understand production and event logistics, while the other half of their perspective works on the creative and inspirational end. When we marry the two, we come to find that we’re able to create these beautiful pieces of art we have come to define as Wedding Films. Something New Media is based in Tempe, Arizona but has teams in Chicago, Illinois for our mid-west couples.


- Mr. Sanjeev Kumar
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Spectacular scenery, wonderful light and cost-effective locations are attracting film and television productions to Finnish Lapland.
Finnish Lapland is attracting increasing international interest as a unique, secure and cost-effective shooting location for film and television productions. During the past year six films, six television productions and four international commercials have been shot in Lapland, including programmes by BBC, NBC and Czech Television.
The Finnish Lapland Film Commission has been marketing the region to international production houses for the past five years, and inquiries have increased by 800% during this period. In 2012, the film and television productions brought about EUR 1 million in direct expenditure to the region.
A unique and secure location
Thanks to its northern climate, distinct seasons and unique landscape, Finnish Lapland has a great deal to offer international film and television productions as a shooting location. During the summer months daylight is available around the clock which makes it possible to shoot a lot of material in a short period of time. During the long winter snow is available for 200 days a year.
Lapland offers very safe shooting conditions and an unusual silence – in many locations there is no ambient noise at all to be removed in post-production. In addition, under the Finnish Everyman''s Right Act, filming licences are often not required as crews can roam freely on public and privately owned land as long as they do not harm the environment.
According to the Finnish Lapland Film Commission, visiting productions have also praised the local resources available for being skilled, efficient and flexible. The commission’s website includes a directory for local crew and services and more information about Lapland.
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Flickerfest Showcase Screening
A feature of the upcoming Australia now Malaysia – Virtual Australian Film Festival, will be the Flickerfest Showcase Screening. The Showcase will comprise 12 Australian short film highlights from Flickerfest.
Proudly presented by the Australian High Commission in Kuala Lumpur, Flickerfest is Australia’s Academy Award and BAFTA accredited short film festival, and the Showcase Screening will be followed by Q&A with Rebekah Jackson, ‘For the Girl in the Coffee Shop‘ and Erica Eng, ‘Farewell‘.
Come and celebrate our shared love of film and Australian screen excellence in Malaysia, and be dazzled by an impressive array of Australian films.
Follow the High Commission’s Facebook page for more information and joining details.


Serbia Film Commission gathers industry leading film professionals, production and post-production companies working on feature films, TV commercials, television and animation projects. Our Commission includes trusted partners in business and tourism that make the industry supply chain with over 60 cluster members.
We offer support to international filmmakers who choose Serbia as their next filming location because of its cost-effectiveness and competitive filming incentives of 25% cash rebate.
The Commission is dedicated to serving as a liaison between business, public and civil sector, as we nurture up-to-date film production practices, organize continuous industry training and foster a film-friendly environment in Serbia.
Products/Services: Providing B2B opportunities for production of feature film, TV series, commercials and animation from location breakdown to final postproduction.
CGA Belgrade conference – annual regional conference of computer graphics and digital arts combining education, technology advancements and business of film, gaming, and digital arts. Within the conference umbrella runs business track CGAlliance that provides platform for closer collaboration between different industry stakeholders and growth opportunities with B2B sessions as well as business mentoring. CGAlliance ambition is to become main market event for doing business in CG in Eastern Europe.
Production capacities: SFC represents cluster of companies – 23 production companies and film studios; 14 studios specialized in VFX, 3D animation, and post-production
Export markets: US, India, MENA (UAE, Egypt, Liban, Israel, Turkey), Scandinavia, UK, Germany, Russia, China
SERBIA FILM COMMISSION
A: Kralja Milana 4, 11000 Belgrade, Serbia
P: +381 11 40 59 961


Interdoc was first set up in 2007 by Rachel Wexler (Bungalow Town Productions) and Ian Davies (Initialize Films) to help develop feature length documentaries. Two films that came out of the inaugural programme: The English Surgeon by Geoffrey Smith, and Andrew Lang’s Sons of Cuba went on to win many awards at leading film festivals.
In 2008 Initialize and Rachel teamed up with Scottish Documentary Institute and Skillset to deliver a more comprehensive programme over 8 days. The 2008 edition raised more than £500,000 development & production funding for 10 projects in 12 months.
In 2010 Scottish Documentary Institute & Initialize Films relaunched Interdoc II, which took 5 ambitious Scottish documentary producers with a feature doc in development to international markets and help strategise their finance plans, meet commissioning executives and co-production partners.
The programme took place over 3 sessions (6 days Hotdocs, Toronto & 4 days in Edinburgh/ EIFF & 2 days in Galway Film Fleadh in May, June & July 2010). The selected producers got a chance to pitch their project at the Edinburgh Pitch, received in depth one to one feedback on their project development as well as a pass to participate at SDI’s inaugural Docweek during EIFF. 2 Irish Producers participated to foster co-production possibilities between Ireland and Scotland.
In 2011 Scottish Documentary Institute & Initialize Films launched Interdoc+, a highly bespoke and tailored programme for a select group of producers aiming for the North American market.
The programme took place over 3 sessions (Edinburgh, Hot Docs and Aarhus for Nordisk Panorama). In collaboration with the Danish Film Institute, the Swedish Film Institute, the Finnish Film Foundation and AVEK (Promotion centre for Audiovisual Culture in Finland), four Scandinavian producers were integrated, in addition to three Scottish producers, a way to facilitate and encourage productive collaborations and a dynamic exchange of expertise.
The 2012 edition of Interdoc+ joins again leading filmmakers from Scandinavia and Scotland for 3 sessions (Edinburgh, Hot Docs and IDFA), thanks to the support of Creative Scotland, the Danish Film Institute, the Finnish Film Foundation and AVEK (Promotion centre for Audiovisual Culture in Finland), The Norwegian Film Institute and the Swedish Film Institute.


The wait for the Avenger’s endgame is over now. Now you catch watch them on your nearest theatres. But if you are reading this I am sure that you will not care much about spoiler, because this is movie review. So i will tell you everything about the movie.
Avengers : end game will run for 3 hrs and 10 minutes. The movie contain lot of suspense and climax in it. The first climax comes in just 10 minutes. Where everyone was expecting a tough fight between avengers and the Thanos and thanos will be killed at the end of the movie. But marvel have overruled everyones mind. Avengers kill Thanos in just first 10 minutes. And what next then? This question was in everybody mind. But when the Avenger’s get to know about that Thanos have destroyed all the stones then the story begins. Avengers started planning how they will get those stones,and then Ant man gives idea of the time machine.
Then Tony start making time machine and he got success in that. Then they divided the teams, and decided to travel to the past to get the infinity stones. And here you need knowledge of pervious marvel movies. Back widow will sacrifice for the soul stone. The first half is stroy building or you can say that planning part, there is not fight in first half. But in second half you will get the feel of the Avenger’s as when the Thanos of past get to know about their plan he attacked on them.
Here you will see intense fight between avengers and Thanos army. This fight completely steals the whole show. And at the end of the fight iron man takes the infinity stones from the thanos and undo all that Thanos have done. But this costs iron man’s life and it is the saddest part of the movie. And captain America also decided to live the life of a common man and he lives his life through the help of time machine and gets older at the end. Captain america gives his shield to falcon, as he will be no longer do fight with them. So at the end we lost our two superheroes captain america and iron man. Now you will say that what thor has done. He steals the comedy part of the movie.
And at the end you will feel sad but marvel has to finish it one day. So you will get full enjoyment watching this movie. This movie will worth your money. Movie contains everything from action scenes to emotional scenes. So i will suggest to you watch the movie as if you have read the full article, you almost know the whole story but there is huge difference between reading and watching. So I will suggest you to watch.
Thanks for reading the article.


Did you know we're featured in the film Obvious Child, which came out back in June? Obvious Child, directed by Gillian Robespierre, is an unorthodox romantic comedy, a love story about an abortion. The main character Donna, played by Jenny Slate, is a 28-year-old stand-up comedian who works in a West Village bookstore -- that's right: us! -- until she's told it's going out of business. (No worries though -- in real life, we're in for the long haul.)
Check out these two more recent articles by the GVSHP and New York Observer that testify to how our store keeps people laughing as soon as they see the name on the screen!
West Village Bookshop Steals the Show in 'Obvious Child'
“Audiences laugh so hard when the sign pops up. Either they know the store or they just chuckle because the name is so great,” Ms. Robespierre told Off the Grid. “I’ve never been in a screening when the awning to the shop doesn’t get a laugh.”
The Unconventional, Extra-Ordinary Village Bookstore That Movie Directors Can't Resist
“The narrative in the movie of the store shutting down was very much a deliberate comment on the struggles that independent businesses face, especially in New York City with rents being astronomical, as well as the general decline in actual books being sold and the advancement into the digital age,” Robespierre wrote us in an e-mail. “I grew up in New York City in the ’80s and ’90s when the city was only mom-and-pop stores. Starbucks didn’t rule the streets and banks were not on every corner. We always wanted Donna to work in a small bookshop where the environment felt very familial (that’s very much the vibe of Jim’s shop).”
If you haven't seen Obvious Child, it's still playing at the Angelika theatre. It's truly a great movie, so go check it out (and keep a lookout for us!).


If I learned anything from binging 86 films over eight days during Seattle’s Queer Film Festival, it’s that the 90s are back when it comes to fashion.
Okay, so I may also have learned a whole lot about the lives of queer folk from around the world, but the overalls and scrunchies made my heart happy. Produced by Three Dollar Bill Cinema, the 26th annual Seattle Queer Film Festival was hybrid this year, playing at theatres in Seattle and online for audiences in Washington, Oregon, Idaho and Alaska from October 14-24.
There was a time in queer history, not even so many years ago when queer people were so desperate to see images of themselves on screen that it almost didn’t matter if those images were overwhelmingly negative.
In fact, gay activist Vito Russo spent years watching popular and forgotten films in order to write “The Celluloid Closet,” which critiqued the way Hollywood portrayed queer people on screen, and the way those stereotypes and sometimes downright mockery shaped peoples’ perceptions of gay, lesbian, and transgendered people (forget the other identities, they weren’t even included in the imagery back then).
Even just 15 years ago, when I was first starting to understand my own sexuality, I had no idea where to turn in order to find stories that would resonate with me. Too bad I didn’t know about the Seattle Queer Film Festival then.
Suffice to say, I was giddy at the glut of queer films offered on the 2021 festival slate and I’m not ashamed to say I gorged myself. I didn’t make it all the way through the 39 Feature films and 100+ shorts, but 86 ain’t bad.
Here Comes Everyone
One of the most impressive features of the program was how inclusive it was.
Many props to the Three Dollar Bill Staff and volunteers who obviously made an effort to include as many different types of stories from as many different types of queer folks as they could find.
There were trans men, trans women, non-binary people, bisexuals (like me!), people living with HIV, people living with disabilities, wealthy people, two-spirited people, slam poets, regular poets, dancers, indigenous people, and drag queens galore!
There were films from our home, Seattle, and all over the USA and Canada; also Brazil, China, Cuba, France, Finland, Estonia, Switzerland, Germany, Ireland, India, Spain, Puerto Rico, Peru, Namibia, Israel, the UK, Taiwan, and even a bit filmed in Cameroon.
Unlike mainstream Hollywood films, at least half appear to be directed by women.
And, for someone obsessed with gay history, I personally appreciated the historical documentaries, but the range of timeframes was wide, from the early 20th century far into an imagined queer future. There were stories of people as young as six to so late in life it was time to say good-bye forever.
There were sexy stories and sad stories (gay folks are good with the sad stories), and scary stories (we’re not great with these yet), and happy-get-off-the-couch-and-dance-around stories (these are new but we’re finding our groove).
Two types of stories I was looking for but didn’t find (either because they weren’t part of the lineup or I just didn’t get a chance to see them) were about people who are born intersex and people who are asexual. But, there’s always next year.
There were some excellent movies which I rated 5 out of 5 stars.
My favorite feature was The Best Families (2020), a Peruvian film directed by Javier Fuentes-León. It was the story of three intertwined families who come together for a meal and begin to uncover many long-buried secrets. It deals with class issues, sexuality, and family acceptance—and it’s a complete riot to watch. Special shout outs to Moon Manor (2020) directed by Machete Bang Bang and Erin Granat, and My Fiona (2021) directed by Kelly Walker.
My vote for best feature documentary was A Sexplanation (2020), by Alexander Liu which is about the failure of sex education in the U.S. (I think I related to it a little too much).
I also really enjoyed Baloney (2021), directed by Joshua Guerci which tells the story of San Francisco’s popular all gay, all male review (fun fact: it is neither all gay nor all male.).
My favorite shorts set was 10 Ways to Survive a Pandemic which included almost universally incredible films but I specifically want to mention “Dreamer,” directed by Stephanie Osuna-Hernandez and “Disconnected: The Musical,” directed by Dickie Hearts.
My favorite documentary short was part of the Black & Queer in America set and is titled “Out of the Dark: Akeem,” directed by Sarah Klein and Tom Mason.
Also, special love to my second favorite narrative short that was part of the Girls Grrrls Gxrls set titled “The Only Beautiful Thing,” directed by Elizabeth Irwin.
If you get a chance to watch any of the incredible films, take it.
Audience Choice Awards
Are my favorites the same as what was revealed through the Audience Choice awards? Nope! But I can’t disagree with my fellow viewers’ choices and I’m happy to share the names of those films too.
The SQFF audiences’ favorite narrative film was Bliss, a German film directed by Henrika Kull. Even though it was only my second favorite, I gave it 5 stars too because the characterization and acting were incredible, and I thought the director created a tremendously accurate portrayal of the realities of prostitution.
The SQFF audiences’ favorite feature documentary was Gemmel & Tim, a film directed by Michiel Thomas which is about the lives of two gay black men who overdosed in the apartment of a gay white man, and the struggles their friends and families were willing to undertake to make sure justice prevailed in a society that doesn’t value queer black lives the way it should.
Other audience and staff favorites included Mascarpone, directed by Alessandro Guida and Matteo Pilati; Firebird, directed by Peeter Rebane; No Straight Lines: The Rise of Queer Comics, directed by Vivian Kleiman; and Sweetheart, directed by Marley Morrison. All are films (except Mascarpone which I’m sad I didn’t have time to see) I rated highly and recommend.
Workshops and Events too!
There were in-person workshops and events, though due to distance, I was only able to participate in the virtual “How to Be an Effective Ally” workshop, led by Anastacia-Reneé, whose poetry and acting skills were showcased during the festival in her short film, “Alice in Parts.”
The workshop was interactive and full of useful advice including the formula for being an ally: a + a + a=ally. Translated: acknowledge + apologize (within reason and if you were the wrongdoer) + take action.
Whether your hopes are to be an ally to LGBTQIA2+ persons or an ally for racial justice or for folks with disabilities, we learned that an ally is someone who takes actions to support the rights and dignity of others who are being mistreated either personally or systematically.
Next year I’m hoping I might be able to take part in even more of the in-person events like the Opening Night Party or the Queer Trivia Showdown.
Thanks SQFF–I’ll See You Next Year
I am already looking forward to next year’s SQFF. Until then, I’ll spend time catching up on all the great queer movies I haven’t seen yet.
If you’d like to know more about Three Dollar Bill Cinema, sign up for their newsletter, or see a full list of the many films that were part of this year’s program, visit their website at threedollarbillcinema.org. They have some other great programs coming up too, including a Virtual Indigenous Showcase, a Mommie Dearest Audience Participation Screening, and Translations: Seattle’s Transgender Film Festival 2022.


Ever since I first saw the movie Office Space, I’ve wanted a red Swingline stapler for my desk. According to the trusted (Yeah, right!) Wikipedia site, the company received so many requests for the red stapler from fans of the movie, they added it to their product line. Well, folks, for the first time in years, my stapler allegiance has shifted. I now covet this solid wood version I first spotted at Mighty Goods. I love the clean lines and simple design, and the use of wood, of course — unexpected and a tad whimsical. –Erica P.


Week In Dork: The Walking Dead season finale, Midnight Special, Planet of the Apes, Raiders of the Lost Ark
This Week In Dork the Turtle Dork talks the season finale of The Walking Dead. WifeDork talks Midnight Special and seeing Planet of the Apes on the big screen at the Alamo Drafthouse and MouthDork talks Raiders of the Lost Ark on the big screen as well. The DiscoDork is still watching Batman v Superman.
We Mingle On Social Media before wrapping up. Follow the podcast on Twitter, Instagram and Facebook @ITMODcast. Don't forget to leave us a review or a comment. And as always, thank you for listening!


Film and video products take a huge variety of forms from modest training or promotion audio-visuals to blockbuster feature films that earn very large amounts of money from worldwide distribution. Production and distribution for any film or video product involve an extremely wide array of commercial interests often with quite different strategies.
This study focuses on commercial entertainment products and production and distribution of films and television programs. It analyses the impact of digital content creation, distribution and use on value chains and business models of the film and video industry and explores the policy implications of these changes to identify how digital content may affect the function and position of participants in the industry along the value chain.
Chapter 1. Introduction
Chapter 2. Film and Video Production and Markets in OECD Countries
Chapter 3. The Evolving Structure of the Film and Video Industry
Chapter 4. The Value Chain for Filmed Entertainment Products
Chapter 5. Technical Change and Value Chain Evolution
Chapter 6. Digital Film and Video Content and future Value Chain Evolution
Chapter 7. The Policy Framework
Appendix A. North American Statistical Definition of the Motion Picture Sector
Appendix B. The Indian Motion Picture Industry
Readers can access the book choosing from the following options:


Everyone has Skeletons in their Closet but, what happens if one day the Elephant in the Room decides to make the Skeleton in the Closet bring the truth to light? The Skeleton isn’t one to confess to his crimes so easily. Mayhem ensues in this power struggle with a world full of idioms.
This film was done by Amanda Koh and Mollie Helms at Ringling College of Art + Design. If you have any questions, feel free to visit my website at amkoh.com


hey, I collect coins and love history and foreign languages and culture and art and film. I'm learning Chinese, planning to major in Mass Communications: Film and Visual Media and minor in Asian Studies.
I want to travel, see the world, study abroad, share understanding, interest and acceptance.
I'm going to be an exchange student in Nanjing, China this summer and going to college in the mountains of North Carolina this fall! I've had two internships and one job editing with a video production house and currently am working on a SAG short film that I scripted and will be editing.
I'm in your fandoms quietly sobbing and sometimes writing essays because I love stories so much and these characters give me all the feels. Alright then :) It's nice to meet you, come say hi!


Music and Theater is a high school performing arts elective. It is not meant to be an introductory course in acting, but rather a music course which focuses on singing with storytelling and character-portrayal in mind. Neither is this a course specifically on vocal technique or music reading. In this program, all students will learn and perform solo and ensemble repertoire from the musical theater, opera, and ballad traditions. Throughout the year, the class will explore how to develop a character from text and music, how to interact with musical accompaniment, and how to overcome various physical tensions that interfere with vocal health and expression. Students will frequently perform and critique each other on monologues, solo pieces, and scenes in school events such as Black History Month celebration, Multicultural Night, and School Plays.


Magdalena is a German musician and filmmaker, currently living in London.
A classical music education and a passion for film, music, and painting have formed her as an artist over the last fifteen years and led her to diverse experiences in the world of art, such as being the lead singer of a German electronic band or writing and producing short and feature films in the UK.
She studied Vocal Performance with Sylvia Greenberg and Wolfgang Brendel at the University of Music and Performing Arts in Munich and was part of the CD production of "Missa Katharina" by Jacob de Haan with the Bavarian Broadcasting in 2007 as the solo soprano.
Recently, she played the lead role in the short drama "Sacrifice". A feature adaptation of the film is in development for 2020.
Besides her ongoing film and performance work, Magdalena has released several ambient music EPs as Madil Hardis, and is currently working on her first opus, a short modern opera merging classical and electronic elements.


Academy of Music, Northampton
To avoid inheriting the family curse, whereby the baronet of Ruddigore has to commit a daily crime or else die an agonizing death, Sir Ruthven Murgatroyd has fled his ancestral home transferring the curse to his younger brother Despard. To conceal himself he has settled in the local fishing village of Rederring disguised as a farmer named Robin Oakapple. Here he has fallen in love with Rose Maybud but, being too shy to speak to her, he calls upon Richard Dauntless, a sailor and his foster brother, to court Rose for him. Overcome by Rose's beauty, Richard sets about capturing her for himself and nearly succeeds in doing so until Robin finally declares his love for her and wins her back. However, Richard reveals to Despard his elder brother’s subterfuge and Despard exposes Robin to the whole village as the true baronet of Ruddigore. As the rightly restored cursed baronet, Robin finds that he is very ineffectual as a bad baronet. His ancestor Sir Roderic and all the other ancestors in the family portrait gallery leave their frames to give him a taste of the torture that awaits him if he does not conform. Roderic suggests that he mend his ways by carrying off a lady from the village. Robin agrees but his valley-de-sham Adam chooses Dame Hannah as his abductee. She is furious at her treatment and threatens Robin with such violence that he has to call upon Sir Roderic for protection. Answering his call for help Sir Roderic is amazed to come face to face with his “Little Nannikins”, the girl to whom he had once been engaged. In a sudden epiphany, an idea occurs to Robin; a baronet of Ruddigore who refuses to commit the daily crime must die and, therefore, to make such a refusal is tantamount to suicide; but suicide is a crime in itself. Consequently, Sir Roderic should never have died and the curse should not have been handed on. By this logic Sir Roderic is now free to marry Dame Hannah, all of the ancestors may come back to life to marry the bridesmaids, Rose may Robin, and Richard may settle for Zorah. The crowning joy of the show is that Mad Margaret marries her beloved Despard, and all end happily.
Photos by Phillip Helzer.


Unraveling myths is messy … but the lies have to die for humanity to survive.
Twin spirits born a decade apart, Velia and Virgil are bored by their trivial teenage lives, sensing they’re meant for so much more.
Velia’s mother wants to wrap her in a straight jacket of protective love, while Virgil’s father wants him to follow in his violent footsteps.
But the arrival of a mythical video game and the forced exile to a wilderness camp for troubled kids will turn their worlds upside down. Neither teen knows this is a test to see if they’re ready to fulfill their destiny and join humanity’s secret alien ally in preventing the end of the universe.
Desperate for a life on their own terms, Velia and Virgil must complete brutal trials to learn why they’re uniquely capable of saving all life in the universe.
Will their families hold them back? And what about the sadistic one-eyed man determined to stand in their way? If he doesn’t kill them, the truth will.
Their lives have been a lie …, but they’re about to learn that the truth is even more dangerous.
Coverted is an introductory novella to the Subsumption Series, a story about humanity’s pivotal position between two warring alien empires. If you enjoyed Ready Player One, Stranger Things, and Jean-Claude Van Damme movies, then Coverted and the Subsumption Series is for you!


Tonight's book/movie pick was "Red" starring Bruce Willis, Hellen Mirren and a lot of other really good actors, all having a wonderful time. It is a violent movie (offscreen, except for lots of guns shooting) but in a very tongue-in-cheek fashion. Willis plays a retired CIA assassin who wakes up one night to find a hit squad in his house. After he foils that in a suitable nasty style, he goes on to gather some frineds to help him find out why.
The movie is very different from the book, which is a graphic novel that contains maybe 1/4 of the characters, 1/8 of the plot and none of the humor.
In a lot of ways, the movie reminded me of an older film, "Hopscotch", which starred Walter Matthau and Glenda Jackson, in which he is a CIA agent who decides to retire and write his memoir. His former employer doesn't like either idea and therefore chases him around the world, always a step or two behind and not nearly as skilled. The female leads (Mirren and Jackson), the Russians (Brian Cox and Herbert Lom) are very similar in both movies, and equally fun.
You can catch Hopscotch on TCM occasionally and really should. Both it and Red are well worth the time.


So I just got in from seeing a late night showing of 'The Town' with my sister and her boyfriend and thought I'd do a quick post in case any of you are wondering what to do for the rest of your weekend.
Go see 'The Town.'
I really enjoyed it and would say it's probably my favourite movie of the year (so far).
No fancy CGI stuff. No highly unbelievable story line. Just a good ol' fashion gritty heist flick with really solid acting, just enough action, drama and suspense. (There were even a a few laughs..appropriate for the movie not jokes). Affleck is definitely back and Renner's performance was solid. I found him really believable. (Not that the others weren't). And I don't watch Mad Men but I read that the guy who plays the main FBI agent is from it...and Blake Lively's in it too. She's practically unrecognizable (which I think is a good thing and will come in handy if she wants to have a career beyond Gossip Girl...which I've never watched either).
So if you're wondering what to do on this Sunday - go see it. Then tell me what you think!
& if you need any more convincing just do a quick google search. Every review I've read has been positive and some even talk about Affleck for a best director nod at the Oscars....


PLEASANTVILLE- Fall 2018 Creators’ Co-op Program: Acting: The Actor’s Craft on Camera @ Jacob Burns Film Center
Fall 2018 Creators’ Co-op Program
Acting: The Actor’s Craft on Camera
Explore the essential filmmaker-performer relationship through original scenes as well as existing scripts, and discover what makes a performance work on screen. Valuable for aspiring actors and directors alike!
In Creators’ Co-op, high school students deepen their craft by collaboratively producing original projects as members of a production crew, attending workshops on specific aspects of filmmaking, and taking advantage of our state-of-the-art facilities and equipment. With individualized mentorship and the support of a peer network, the Creators’ Co-op community offers a dynamic experience for every student.
4 MONDAYS, November 19 – December 10, 2018
Class size: 10
$268/$242 (JBFC members film family-level & above)
For information on all our high school offerings, view the Creators’ Co-op informational page.
The Jacob Burns Film Center (JBFC) is a nonprofit cultural arts center dedicated to teaching literacy for a visual culture; presenting the best of independent, documentary, and world cinema; and making film a vibrant part of the community.
914-773-7663 x 8 (M-F, 9 am–5 pm)
364 Manville Road
Pleasantville, NY 10570


I’m not really a big fan of comic books. Most of my exposure to comic books have come through other mediums, like movies and cartoons. When I was a kid, I loved the Superman movies. Unfortunately, I don’t think those movies have aged terribly well, but they were fun in their day. I used to faithfully watch the old Wonder Woman show with Lynda Carter. I also loved the Supergirl movie, despite how silly and campy it is. My husband and I watched it a few years ago (he had never seen it) and it was just as bad as I knew it would be. I will admit that I still love the moment when she first realizes she can fly. Who wouldn’t love to be able to fly?
Well, Supergirl returns to the screen again, this time on CBS’ fall lineup. Yesterday, the channel released a lengthy preview for the show. I started rolling my eyes as soon as they showed Kara walking through the city, balancing coffee and looking exactly like an opening for a romantic comedy. Fortunately, the tone changed and suddenly improved when she started to fly. Yay for flying!
A few other thoughts:
- Calista Flockhart’s character seemed very annoying. Yes, that type of character worked great in “The Devil Wears Prada,” but Flockhart is not Meryl Streep.
- I just don’t care about office politics.
- I really like the actress who plays Kara. From what little I’ve seen of the comics, Supergirl has always seemed like a more fun version of Superman. The actress definitely brings a sense of fun and lightness. She actually enjoys her powers.
- The special effects amaze me considering it’s just the first season of a new television show.
- The beginning of the trailer really does remind me of Saturday Night Live’s Black Widow trailer.
- So, a possible love triangle…zzz.
I think the show is definitely worth watching, at least the first few episodes. I’m hopeful that the preview isn’t a full representation of what the show will be like, especially with regards to the office parts. It saddens me that the female superheroes from the comics are woefully unrepresented in other media forms, leaving fans to take what little they can get. I still can’t believe that we won’t see Wonder Woman (in her own movie) on the big screen until 2017! I can only hope that this show will be the start of more female superheroes on the screen.


Viva Freedom! (Jayumanse) (1946)|
Director : Choi In-Kyu
Production Company : Korea Film
Date of Theatrical Release : 1946-10-21
Running Time : 60 min.
Opening Theater : Kukje(the old Myeongchi) Theater
Genre : Martial-Melodrama
Screenplay(Adaptation) : Jeon Chang-Keun
Producer : Choi Wan-Kyu
Executive Producer : Choi Wan-Kyu
Director of PhotoGraphy : Han Hyeong-Mo
Gaffer : Kim Seong-Chun
Music : Park Tae-Hyeon
Art Director : Kim Jeong-Hang
Editor : Yang Ju-Nam
Hwang Yui-Hee, Jeon Chang-Keun, Yoo Kye-Seon, Jeon Taek-Yi, Ha Yeon-Nam, Kim Seung-Ho, Han Eun-Jin
August 1945. Choe Han-jung (Jeon Chang-keun) is a Korean freedom fighter who is serving time in prison after being betrayed by Japanese collaborator Nam-bu (Dog Eun-gi). He succeeds in escaping from prison and takes refuge in the home of Hye-ja (Hwang Yui-hee), who is a nurse at a university hospital. Han-jung's underground organization proceeds with its plan for an armed uprising, but Park (Kim Seung-ho) gets captured by the Japanese military police on his way back from acquiring dynamite. Han-jung rescues Park and hides out in the apartment of Nam-bu's girlfriend Mi-hyang (Yoo Kye-seon). While giving Han-jung shelter, Mi-hyang falls in love with him and goes to the basement housing Han-jung's underground organization in order to purvey information and funds. However, she is followed there by Nam-bu and the military police, who shoot and kill her. Han-jung is also wounded and moved to the university hospital. Hye-ja, who has secretly been in love with Han-jung, helps him to escape from the hospital while the military policeman on guard has dozed off.
"A full-fledged dramatic film made with the participation of representative figures in the Korean film industry immediately after the liberation of August 15, 1945, Viva Freedom! is a significant film in the history of Korean cinema in that it takes the anti-Japanese struggle and the restoration of Korea's independence as its main subjects." (Chung Jong-wha)
Viva Freedom! is one of the earliest dramatic films to be made after Korea regained its independence in 1945. Two figures who represented the Korean film industry during the Japanese colonial period, Jeon Chang-keun and Choi In-kyu, wrote and directed the film, respectively. In addition, the film enjoyed the participation of Han Hyeong-mo, who had returned after studying cinematography in Japan; Kim Seong-chun, Korea's first-generation lighting director; and Yang Ju-nam, the first editor in the history of Korean film. At the time of its release, it also enjoyed tremendous commercial success thanks to the response of an audience still elated by the nation's recent liberation. Viva Freedom! affords glimpses into both the thematic consciousness of the time and the early interest of Korean cinema in the question of genre. Viva Freedom! deals with the themes of resistance against Japanese rule and the fight for independence using the generic conventions of the melodrama and the action movie. That is, if the relationship between freedom figher Han-jung and the two women who love him proceeds according to the plot conventions of the melodrama, the chase and gun fight scenes involving the Japanese military police, for which the technique of cross cutting was attempted, demonstrate the visual characteristics of the action movie. While Viva Freedom! is important for its historical value as a film about national independence, it is also interesting as an early example of the action-melodrama in Korean film history.
Director Bio: Choi In-kyu (1911-?)
Born in Yeongbyeon-myeon, Pyeonganbuk-do. Although he entered Pyeongyang High School, he quit to study on his own and in 1935, established Goryeo Film Studios along withhis brother Choi Wan-gyu. He married Kim Sin-jae around 1937 and learned film recording as an assistant to Lee Phil-woo. In 1939, he made his directorial debut with the film Frontier (Guggyeong), produced by Chunil Film Studios. Afterward, he directed Tuition (Su-eoblyo) (1940) and Homeless Angel (Jib-eobsneun cheonsa) (1941). At the end of the Japanese colonial reign, he directed pro-Japanese films such as Children of the sun (Tae-yang-ui a-ideul) (1944), Vow of Love (Salang-ui maengseo) (1945), and Sons of the Sky(Sinpung-ui adeuldeul) (1945). After Korea became independent, he directed his Independence Trilogy - Viva Freedom! (Ja-yumanse) (1946), An Innocent Criminal (Joe-eobsneun joe-in) (1948) and The Night before Independence Day (Doglibjeon-ya) (1948)- in an attempt to make up for his pro-Japanese films. Afterward, he directed documentary films such as Dance of Jang Chu-Hwa(Jang Chuhwa mu-yong) (1948), The Town of Hope (Huimang-ui ma-eul) (1948), and Pasi(Pasi) (1949) and was kidnapped to North Korea during the Korean War. Choi In-kyu's greatest accomplishment is in the fact that he taught important directors in Korean movie history such as Hong Seong-ki, Shin Sang-ok, and Chung Chang-wha and is considered the Father of Korean Film after the Korean Independence.
(References: Kim Jong-won and others, The Dictionary of Korean Film Directorspublished by the Korea Film Directors’ Society Incorporated, Kookhak Community Corporation)


Win Awesome STAR WARS™ Merchandise And £250 To Spend On eBay
Star Wars fans, eBay is here for you!
To celebrate the release of Star Wars: The Rise of Skywalker in cinemas Thursday 19th December, eBay’s proud to unveil a whole range of exciting merch featuring characters and vehicles from the film.
If you can’t wait any longer, bag models of the LEGO Star Wars Millennium Falcon™, the LEGO Star Wars Kylo Ren's Shuttle™ and the HASBRO Screamsaber alongside tens of other collectibles from eBay’s dedicated Star Wars online store – and they’re available now, before the film’s release.
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Star Wars: The Rise of Skywalker
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Unfortunately, this promotion has now ended.
For more great competitions and games, please visit the Capital FM website


* 1982 in Worcester, US, lives and works in Los Angeles, US
Wu Tsang’s films, installations, performances, and sculptures move fluidly between documentary, activism, and fiction. Inspired by questions of cultural identity in Hong Kong and the genre of kung fu, Tsang’s new short film and installation Duilian (2016) takes the narrative form of an illegitimate “wild history”. While set in the present, film stages a fictitious love story between Chinese revolutionary poet Qiu Jin (1875–1907) and calligrapher Wu Zhiying (1868–1934). The protagonist Qiu Jin was executed as a traitor during the Qing dynasty and has been alternately heralded as a nationalist martyr, communist hero, and feminist icon. Tsang crosses time periods and genres, focusing on the intimate female relationships that ultimately shaped Qui Jin and her legacy. The title Duilian refers to a traditional form of couplet poetry, in which language is bound by tonal structure; it also refers to a dueling category in wushu (“martial arts”), a Chinese fighting style that mixes performance, competition, and rule-based dance. The story depicts the love and loss between Qiu Jin and Wu Zhiying, who form a powerful bond that escapes the confines of time and language.
List of works
HD-video, color, sound, loop, 26′; mixed media
Courtesy Wu Tsang; Isabella Bortolozzi Galerie, Berlin
Commissioned and produced by Spring Workshop
Co-comissioners Centre d’Art Contemporain Genève für for BIM 2016; ArtHub Asia; Berlin Biennale for Contemporary Art
With the support of Nottingham Contemporary


SAN ANTONIO — Authorities are investigating allegations that Tedesco girlfriend Jennifer Hiller questioned the sheer awesomeness of a new movie starring Italian actors Al Pacino and Robert De Niro by asking: “Who cares?”
Hiller, 28, is suspected of making the hurtful comment in front of her boyfriend, John Tedesco, 25, who is recovering from his emotional injuries at Santa Rosa Hospital.
“From what we can gather, Mr. Tedesco was at the home of Ms. Hiller watching TV when the crime occurred,” Detective Robert Martin told reporters at a press conference today.
“A trailer for the movie ‘Righteous Kill‘ starring Al Pacino and Robert De Niro came on,” Martin said. “Mr. Tedesco immediately recognized how totally kick ass this movie will be, considering it is the only film since ‘Heat’ that stars both Pacino and De Niro. In accordance with all local and federal statutes, Mr. Tedesco notified his girlfriend of the movie’s historic importance and mind-blowing awesomeness.”
According to a recording of a 911 call released today at a press conference, Hiller replied with hurtful questions, asking what the big deal was and why anyone should care.
“Obviously, Mr. Tedesco was shattered,” Martin said. “Poor guy.”
Authorities say Hiller has a long track record of disparaging kick-ass movies.
On May 29, 2008, Hiller was investigated for rolling her eyes and saying, “Do we have to watch this every time?” after Tedesco was channel surfing and discovered “Goodfellas.” No charges were filed against Hiller.
Hiller was also accused of failing to dutifully watch each episode of “The Godfather” and its equally kick-ass sequel, “The Godfather II,” which are on TV on almost a weekly basis. The findings of that investigation are pending.
“Clearly, there’s a pattern of criminal behavior here,” Martin said.
Hiller’s attorney told reporters that if this is the only thing Tedesco can complain about, then Hiller must be a pretty good catch.


Have you seen Peter Jackson’s Lord of the Rings trilogy? Sure, The Hobbit films were decent, but nothing tops watching Aragorn and co charge into legions of orcs or a horseback Gandalf quell the darkness of a burgeoning evil with his white staff. The Lord of the Rings has influenced a bevy of fantastical stories and video games. And while it’s easy to attest the trilogy’s critical and commercial success to visual effects, acting, and a genuinely epic screenplay, you can’t ignore Howard Shore’s musical contributions. The three-time Oscar winner left his mark on the fantasy genre forever and might continue his victory lap with the upcoming Lord of the Rings television series. Shore is in talks to return to the franchise, and I think he’d be a welcome addition.
An exclusive Deadline report states that Shore’s inclusion could be a significant development for the series, considering that the filming of season one officially concluded in New Zealand – the location where both of Peter Jackson’s original trilogies took place – last month. A Twitter post from the official Lord of the Rings on Prime account announced that September 2022 would mark the start of the new series.
Not much is known about the show’s premise. We know it takes place thousands of years before the events of The Hobbit and The Lord of the Rings films. I, for one, am excited to return to Middle Earth alongside a new ensemble cast and a new (or age-old?) evil. I’ve got nothing against Sauron, but it’d be cool to see other antagonistic forces in Tolkien’s expansive universe. The Amazon prime show is filled to the brim with talent, including Morfydd Clark, Nazanin Boniadi, Cynthia Addai-Robinson, Owain Arthur, Ismael Cruz Cordova, Charles Edwards, Robert Aramayo, Maxim Baldry, Markella Kavenagh, Joseph Mawle, Lloyd Owen, Dylan Smith, Leon Wadham, Benjamin Walker, Sara Zwangobani, Sir Lenny Henry, Ema Horvath, Tyrone Muhafidin, and Sophia Nomvete.
What do you think the television show will be about? And what characters do you think will be making a return?


Theater Amsterdam – ANNE Theater Play
Theater Amsterdam is an airy glass-walled playhouse which sprang up on the Waterfront of Amsterdam’s Westelijke Houthavens district in early 2014 as a home for ‘ANNE’, a critically-acclaimed theater play exploring the life of Anne Frank.
The theatre’s 45,000 square-foot auditorium means huge, impressive sets, and a multilingual translation system lets visitors follow the action in eight different languages.
Restaurant “Boven de Planken” serves up hearty meals, light bites and organic wines before the shows. Theater Amsterdam is easily accessed by boat, car, public transport and bike.
ANNE Theater Play
ANNE is a theater play based on the life of Anne Frank. It covers the two years spent by Anne and her family in the Secret Annex as well as the events of the times before and after.
Anne’s words – poignantly reflecting the tensions and tragedy of their existence during these times – come alive against the backdrop of a life-size set, allowing spectators to experience Anne’s life journey that leads the lonely little girl towards writing and womanhood in the midst of terrible oppression. ANNE is the first ever theater performance based on all the versions of her diaries, including the uncensored ones, edited by Anne Frank herself.
ANNE was created at the initiative of and in cooperation with the Anne Frank Foundation in Basel. This fund, established by Otto Frank, is the sole heir of the Frank family and any income yielded by the Frank estate is redirected to fund educational and charitable purposes, worldwide.
ANNE is produced by Imagine Nation under the leadership of Robin de Levita and Kees Abrahams, in collaboration with the National Theatre under the artistic leadership of Theu Boermans. The play was written by Jessica Durlacher and Leon de Winter. Bernhard Hammer designed the stage set and Paul M. van Brugge composed the music.
ANNE is playing at Theater Amsterdam until June 30, 2015
ANNE features a multilingual translation system
Theater performance ANNE features a multilingual translation system that can be booked free of charge, allowing visitors to choose between a written translation and a synopsis of all scenes.
This system is available in:
Written text/subtitles: English, German, French, Spanish, Italian, Russian, Portuguese and Dutch.
Audio/dub: English and German (it is possible to combine written text and audio in English and German).
Preferences can be changed at any time during the performance. For the English&German audio earplugs are needed. You can bring your own or buy a set for € 1 at the cloakroom of Theater Amsterdam before the performance starts.
The system makes use of a tablet, which is attached to the seat and can be reserved up until the day of the performance via the web site, by phone or via an authorized partner. Please pre-book the translation system during the booking process.
How To Get to Theater Amsterdam?
Bus 48 from Station Sloterdijk bus stop: Hempoint
Bus 48 from Amsterdam Centraal Station bus stop: Oostzaanstraat
From both bus stops it takes 20 minutes to walk to Theater Amsterdam.
Bus 22 stops next to Theater Amsterdam (bus stop “Koivistokade”). The travel time from Central Station is 15 minutes.


Posted On: 26 Oct 2018 10:55:24 AM
PRESS INFORMATION BUREAU
Government of India
Pratishtha Bhavan, Maharshi Karve Rd, Marine Lines, Mumbai
022-2206 9413 http://firstname.lastname@example.org@PIBMumbai /PIBMumbai
October 26, 2018
Registration for International Film Festival of India 2018
The 49th International Film Festival of India would be held from November 20 - 28, 2018 in Panaji, Goa. The International Film Festival of India (IFFI) aims at providing a common platform to the cinemas across the world, in celebrating and honouring the excellence of the art of film making. IFFI is at once India’s most prestigious festival and the first International Film Festival to be held anywhere in Asia.
PIB invites media persons interested in covering IFFI 2018, to register for the festival as a media delegate, at this link: https://my.iffigoa.org/
The application will remain open until November 10, 2018. The distribution of Cards will be from November 16, 2018.
For further details, please contact Press Information Bureau Goa - email: email@example.com, Telephone: 0832- 2226929.
Dheep Joy Mampilly
Media Announcement Id: 257
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[This article was originally published in The Jamaica Sunday Observer. This online version has been slightly amended from the original article.]
A month after the passing away of writer and director Perry Henzell, Sarala Estruch ventures behind-the-scenes to discover the reasons behind the phenomenal success of Jamaica’s first feature film.
People, people, everywhere! Young people, old people, rich and poor; they all flocked out and flooded the Carib theatre in Crossroads at the heart of Kingston. The cinema had never witnessed such commotion. Outside the queue was so long you couldn’t see the end of it, inside was utter chaos! Ram-packed – no one was able to move an inch. Not even the Prime Minister was able to get through the hoard of bodies. And what was all this in aid of? It was 1972 and Jamaica’s first feature film was just about to be premiered on home ground: The Harder They Come.