The Revenant (Electro-Thrall Zombies, Book Two 2)
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In exhibition, was a year in which institutions and studios were called out for failing to represent and cater for a diverse audience. In the midst of the noise, a space has opened up for a new criticism that might adapt and reflect on this plurality. By Nick Roddick Captive audience: Netflix subscribers spend 77 per cent of their viewing time watching TV series like Orange Is the New Black and only 23 per cent on films I am writing this mid-way between the opening of SPECTRE, which broke several records for example, the biggest single- day gross in French box-office history , and the launch of the new Star Wars, which set advance-booking records pretty much as soon as tickets went on sale.
So all is well with the film distribution business, then? Well, maybe. For the cinephile, this is currently good news: a wider range of films is being made available. And for the cinephile happy not to be too purist about cinema, there is the excitement of seeing a new visual narrative emerge on those part TV series which is part soap opera, part epic. The Revenant Electro-Thrall Zombies, 2. In part two, the series continues with the death of Maggie, the gas-station beauty who's.
Look, for instance. Without a theatrical window, how are viewers going to know what they want delivered? You know language can be very subtly coded Arriving at the same time as Jason, she encountered a fellow time traveller, John Lafayette , and explained her situation. A new Amazon series. She found a source of medication and some weapons.
But oh noes, there's trouble. You need more than 90 minutes to do that.
A review of The Revenant of Rebecca Pascal (written by David Barker and W. H. Pugmire)
But will it last? And is video on demand really a friend to the movie business? A recent study of viewing habits by GfK USA suggests otherwise, claiming that Netflix subscribers spent 77 per cent of their time watching TV programmes including catch- up , and just 23 per cent on movies; the figures for Amazon were 79 per cent and 2 1 per cent; for Hulu 96 per cent and four per cent. We seem to be living through a transition period between distribution and delivery - from the top-down machinery on which Hollywood built its hegemony and through which it controlled what, where and when we see films; and the delivery of visual content as and when the consumer wants it, which is the hallmark of the internet era.
The question that remains unanswered is: without a theatrical window, how are viewers going to know - or even know about - what they want delivered? While enough has been written already about Room, The Assassin and Amp, I would like to highlight Aligarh, a gay drama from India which is a sombre look at the right to privacy or the lack thereof in the country. Son ofSaufs chillingly lucid depiction of the unthinkable genuinely rewrote the book on Holocaust cinema.
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And Anomalisa invented its own strange new form to soberingly demonstrate the way that our emotions are being overwhelmed by corporate language. My other two choices just exploded with exuberance - The Forbidden Room in an utterly personal manner.
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Inside Out in a way that triumphantly demonstrated the invention and intelligence that Pixar seemed to have forgotten of late. Lee full disclosure: I collaborated on a couple of his efforts. Even Ex Machinamanages to imply certain thoughtful critical commentaries about both the Tarkovsky Solaris and A 7.
It fractures sound, slows down images and zooms in on Myrtle, its central subject, with idolatrous, almost heretical fascination.
Outer- limit cinema at its most beautiful. The archival footage of Edinburgh is gloomily splendid, the interviews sharp and witty, the music still incandescent. There is alwaps a deliriouslp surprising turn in the waiting. In the presence of the real deal shall bloviated franchises and committee blockbusters scatter to the wind.
Each shot and scene is carefullp composed to pap homage to 30s cinema, pet infused with an emotional ambiguitp which feels decidedlp contemporary. These films, even more than many fiction features, left me thinking about how cinema tells stories, perhaps because they work backwards from existing facts and footage: everything is in the selection, the editing, the presentation.
You could say that of any Holocaust film, but the overwhelming point of view of Son of Saulmakes detachment impossible. The shallow depth of field results in a blurry background that underscores the notion of ungraspable horror. The characters are philosophical about their situation and the sights are beautiful in their strangeness.
Disturbing in a different way. The lyrical essay Heart of a Dog has an oneiric mood: Anderson meditates on the hidden blessings of grief, triggered by the death of her dog. With its masterful use of suspense. The Witch is both an accurate portrait of religious fanaticism and a supernatural tale.
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Not just haunting but downright eerie. There were many excellent movies this year, too many to narrow down to five. With so few. In the middle of World War I a young Bedouin boy, Theeb, embarks on a perilous desert journey with his brother to guide a British officer to a secret destination. Truly memorable. Are we looking at outlaws, or are they merely phantoms, figments of the imagination of a filmmaker who is no longer allowed to work? Available now on DVD and download. The journey is often challenging, but the rewards - heady, emotional, provocative and invigorating - are endless.
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Released for the first time in the UK. Here, she falls in love with a rebellious field slave who implores her to poison her white owners. Like a more esoteric forebear of 12 Years a Slave , Sankofa offers a stark immersion into the plantation experience for both central character and viewer. You find overseers, head slaves, you find plantation owners in a very advanced, sophisticated way. Unbowed, Gerima opted for the exhausting self-distribution route. To enable its release, the director, alongside his filmmaker wife Shirikiana Aina and sister Selome, set up the company Mypheduh Lilms in the basement of his home in Washington, DC.
The store still thrives, as I discovered on a recent visit. Its walls are lined with DVDs and books about black history and culture, while Gerima frequently hosts screenings in the parking lot and open mic nights for poets and musicians. In his downstairs editing suite Gerima showed me a series of clips from his current project. Gerima inherited the project from his father, the playwright and historian Abba Gerima Tafere, author of books such as Gondere Begashaw - a chronicle, written in Amharic, of anti-fascist uprisings during the Italian occupation of Ethiopia from Gerima has been recording the testimony of Ethiopian fighters for around 20 years, and intends to make his research available to historians.
The Children ofAdwa is a companion piece to both his award-winning historical epic Teza and, more specifically, Adwa , a lyrical documentary about the Ethiopian victory over Italian troops at the battle of Adwa in March , which ended the first Italo-Ethiopian war. Italians always say to me. It was at UCLA, however, that he developed his filmmaking skills.
This blend of verite-style docudrama and Brechtian agitprop centres on a black welfare recipient the charismatic Barbara 0. I wanted to use film against its own established legacy of what it had been doing to non-white people. This came down to the idea of intensely questioning the cinematic grammar itself.
That term was retrospectively coined by the African-American historian Clyde Taylor in Also, we were naive on the business aspect. Einding funding may not get easier as the years go by, but Gerima keeps busy, and remains an inspiration for all advocates of liberationist cinema. Shot in , it consists of an extended take which makes the viewer wait and watch, watch and wait, before a final riotous pay-off.
Rara music is a constant negotiation between anarchy and organisation. Groups typically feature marching drums, maracas, scrapers and improvised horn sections, the instruments often salvaged plastic or metal drainpipes which play a single note so that even the most basic riff needs players to alternate and interlock. But to begin with none of this is heard: Bounda pa Bounda is in the quiet of a sanctuary as he patiently applies lipstick, eye-shadow and glitter. An elaborate headscarf is tied and retied, and the enormous pink bustle of his gown adjusted and fussed over.
Ambient noise gradually leaks in - the shouts, murmurs and steady build-up of performers warming up. Sticks clatter and one-note rhythms ripple through the space.
His metamorphosis complete, Bounda pa Bounda emerges into the daylight, a butterfly in work- boots, and his group lets rip as he stamps, dances and sprays them with a fine mist of cane spirit in benediction. The stated intention was to eradicate disease, though this was against a background of intensive lobbying from the American pork industry. The resulting cull left thousands of Haitians worse off; a valuable source of income was lost, while the native pigs were replaced by American breeds which struggled to adapt to the Haitian climate and, unable to forage, required cripplingly expensive feed.
Gordon follows two protagonists. Juste is a Haitian rasta who grew up in Brooklyn: returning to the island to investigate the story of a local who tried to preserve the Creole breed, he finds himself shut out, mistaken for prying officialdom. Edgar is a Vodou priest with a conundrum of his own: years after the cull it is harder and harder to find the true Creole pigs his ceremonies require. But when he does find one, sacrificing it will only help to make them the scarcer.
Instead of music, the soundtrack is screaming livestock.
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Music has never been a major export for Haiti - unlike several of its near neighbours, Jamaica, Puerto Rico and Cuba. Unlike reggae or salsa, Haitian musical subcultures - twoubadou, compas, mini-jazz, rara - barely raise a flicker of recognition. The London-based record label Soul Jazz has a history with Haitian music, though, from which their move into film, with Iron in the Soul, is an organic development.lauren.reclaim.hosting/la-cada-del-muro-de-berln-el-fin.php
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Shot in black-and-white on a mid-century Rolleicord twin-lens reflex camera, these images were astonishing. Haitian carnival is far more confrontational than the celebrations found elsewhere in the Caribbean: it is a space in which to resurrect suppressed histories of slavery and dictatorship and confront the political present. Dancers cross-dress, assembling grotesque costumes and masks from bed sheets, cow horns, or dismembered toys.
The effect is stark, surreal and deliberately disturbing. The relatively flattening effects of video and digital compared with analogue film may not help. As the artists Celeur, Eugene, Claude and Guyodo speak to camera about their work they are surrounded by visual and sonic clutter, sounds from the street and other workshops bleeding in at the edges.