VFX icon and “Mad God” director Phil Tippett is working on a new stop-motion feature titled “Sentinel,” which will be pitched for the first time at this year’s Frontières section of Cannes’ Marché du Film.
Variety has been given exclusive access to the first plot details and set images from “Sentinel,” which shares a visual fidelity with “Mad God.” However, in terms of production, things will be very different this time around.
“Mad God” was a project that Tippett worked on off and on for thirty years. A similar timetable isn’t realistic for “Sentinel,” as the director would be over 100 at the film’s premiere. So, Tippett and producer Colin Geddes (Ultra 8 Pictures) say they’re pursuing a more conventional development and production plan with their new project, including a clearer narrative focus. Tippett has already begun filming bits of the film, and his team will be...
Variety has been given exclusive access to the first plot details and set images from “Sentinel,” which shares a visual fidelity with “Mad God.” However, in terms of production, things will be very different this time around.
“Mad God” was a project that Tippett worked on off and on for thirty years. A similar timetable isn’t realistic for “Sentinel,” as the director would be over 100 at the film’s premiere. So, Tippett and producer Colin Geddes (Ultra 8 Pictures) say they’re pursuing a more conventional development and production plan with their new project, including a clearer narrative focus. Tippett has already begun filming bits of the film, and his team will be...
- 5/9/2024
- by Jamie Lang
- Variety Film + TV
It’s been Donald Trump’s terrible, horrible, no good, very bad week.
The past and potentially future leader of the free world spent most of it in a dingy Manhattan courtroom, no longer the master of his domain. It’s a place where he dutifully sits down when the judge tells him to sit, where he’s unable to say whatever he wants, where he’s not allowed to use his phone. And worst of all, where there’s no red button for him to push when he wants a Diet Coke. And according to him, it was bitterly cold — “freezing,” in fact, sounding like your elderly uncle at Thanksgiving. Forget a legal defense; someone needs to give him a sweater.
The criminal hearing in which he’s facing 34 felony counts is not the trial we deserve. That would be either the Georgia election interference case, the federal classified...
The past and potentially future leader of the free world spent most of it in a dingy Manhattan courtroom, no longer the master of his domain. It’s a place where he dutifully sits down when the judge tells him to sit, where he’s unable to say whatever he wants, where he’s not allowed to use his phone. And worst of all, where there’s no red button for him to push when he wants a Diet Coke. And according to him, it was bitterly cold — “freezing,” in fact, sounding like your elderly uncle at Thanksgiving. Forget a legal defense; someone needs to give him a sweater.
The criminal hearing in which he’s facing 34 felony counts is not the trial we deserve. That would be either the Georgia election interference case, the federal classified...
- 4/26/2024
- by Frank Scheck
- The Hollywood Reporter - Movie News
Cinephiles will have plenty to celebrate this April with the next slate of additions to the Criterion Channel. The boutique distributor, which recently announced its June 2024 Blu-ray releases, has unveiled its new streaming lineup highlighted by an eclectic mix of classic films and modern arthouse hits.
Students of Hollywood history will be treated to the “Peak Noir: 1950” collection, which features 17 noir films from the landmark film year from directors including Billy Wilder, Alfred Hitchcock, and John Huston.
New Hollywood maverick William Friedkin will also be celebrated when five of his most beloved movies, including “Sorcerer” and “The Exorcist,” come to the channel in April.
Criterion will offer the streaming premiere of Wim Wenders’ 3D art documentary “Anselm,” which will be accompanied by the “Wim Wenders’ Adventures in Moviegoing” collection, which sees the director curating a selection of films from around the world that have influenced his careers.
Contemporary cinema is also well represented,...
Students of Hollywood history will be treated to the “Peak Noir: 1950” collection, which features 17 noir films from the landmark film year from directors including Billy Wilder, Alfred Hitchcock, and John Huston.
New Hollywood maverick William Friedkin will also be celebrated when five of his most beloved movies, including “Sorcerer” and “The Exorcist,” come to the channel in April.
Criterion will offer the streaming premiere of Wim Wenders’ 3D art documentary “Anselm,” which will be accompanied by the “Wim Wenders’ Adventures in Moviegoing” collection, which sees the director curating a selection of films from around the world that have influenced his careers.
Contemporary cinema is also well represented,...
- 3/18/2024
- by Christian Zilko
- Indiewire
Premiering almost exactly 10 years after the launch of the first season and almost exactly five years after the Mahershala Ali-centric third season — time being a flat circle, as the now-punchline goes — True Detective: Night Country is perched precariously in conversation with, and in contrast to, the show created by and steered by Nic Pizzolatto.
Created by Issa López, who wrote or co-wrote most of the season and directed all six episodes, Night Country is, in some ways, a throwback to the first season, bringing back the uncomfortable intersection of true crime narrative and supernatural undertones. The season also includes direct nods to imagery and dialogue from the first season — generally unnecessary citations that feel like a sop to the Pizzolatto-worshipping corner of the fandom, since otherwise Night Country is at odds with the previous seasons in terms of theme and overall perspective.
Night Country pushes aside Pizzolatto’s trademark...
Created by Issa López, who wrote or co-wrote most of the season and directed all six episodes, Night Country is, in some ways, a throwback to the first season, bringing back the uncomfortable intersection of true crime narrative and supernatural undertones. The season also includes direct nods to imagery and dialogue from the first season — generally unnecessary citations that feel like a sop to the Pizzolatto-worshipping corner of the fandom, since otherwise Night Country is at odds with the previous seasons in terms of theme and overall perspective.
Night Country pushes aside Pizzolatto’s trademark...
- 1/2/2024
- by Daniel Fienberg
- The Hollywood Reporter - Movie News
They say "don't judge a book by its cover" but maaaaaan what a cover... British distributor Curzon has been releasing some pretty great Blu-ray boxsets of collected films by the same director, so when they announced a Lars Von Trier boxset I was interested. The outer slipcases of these editions look like embossed coarse burlap fabric, which is mighty stylish (especially if you have several different-colored-ones in a row) but... well, by themselves not pretty enough to get an article yet. Until now. And that has to do with the inner slipcase, for which the company used an absolutely stunning piece of artwork in the style of medieval "crazy" painter Hieronymus Bosch. The set itself doesn't suck either, it's a 14-disc collection which has almost...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 10/29/2023
- Screen Anarchy
Writer/Director Álex de la Iglesia, co-writing with Jorge Guerricaechevarría, launched a unique biblical horror story in “30 Coins,” unfurling an overarching battle of good versus evil over the powerful set of silver that Judas once received in his betrayal of Jesus. By the inaugural season’s conclusion, the rural town of Pedraza was left devastated, its residents scattered or worse, and our protagonists in dire straits. “30 Coins” Season 2 hits the ground running in the first two episodes screened for critics at Fantastic Fest, plunging viewers into the deep end of Hell as it lays the groundwork for a densely packed season with apocalyptic stakes.
Season 2 picks up immediately where Season 1 ended, with the restored collection of silver scattered once more thanks to the sacrifice of rogue priest Father Vergara (Eduard Fernández). His body gets collected by a black arts practitioner who sets about prepping his body for a resurrection ritual.
Season 2 picks up immediately where Season 1 ended, with the restored collection of silver scattered once more thanks to the sacrifice of rogue priest Father Vergara (Eduard Fernández). His body gets collected by a black arts practitioner who sets about prepping his body for a resurrection ritual.
- 9/28/2023
- by Meagan Navarro
- bloody-disgusting.com
Ever since breaking through internationally with Dogtooth in 2009, Yorgos Lanthimos has been making uniquely strange films. But there’s strange, and then there’s the nonstop bonkers brilliance of Poor Things, an audaciously extravagant adaptation of revered Scottish writer Alasdair Gray’s novel, spun out by the Greek director and his screenwriter, Tony McNamara, into a picaresque feminist Candide. Stuffed with rude delights, spry wit, radical fantasy and breathtaking design elements, the movie is a feast. And Emma Stone gorges on it in a fearless performance that traces an expansive arc most actors could only dream about.
Stone already scored one of her best roles in The Favourite, Lanthimos’ first collaboration with Australian writer McNamara. But she gets an absolute corker of a character to explore in Bella Baxter.
An Alice in Wonderland reanimated on the operating table of eccentric scientist Dr. Godwin Baxter (Willem Dafoe) in a highly theatricalized version of Victorian London,...
Stone already scored one of her best roles in The Favourite, Lanthimos’ first collaboration with Australian writer McNamara. But she gets an absolute corker of a character to explore in Bella Baxter.
An Alice in Wonderland reanimated on the operating table of eccentric scientist Dr. Godwin Baxter (Willem Dafoe) in a highly theatricalized version of Victorian London,...
- 9/1/2023
- by David Rooney
- The Hollywood Reporter - Movie News
By Palomo Lin-Linares
The genre of “Ero Guro” is often characterized as a diptych of the erotic and grotesque. Upon its creation, it shocked contemporary audiences, yet many accepted it because of its rebellious, counter cultural aesthetic. Among them was Edogawa Rampo, a writer whose subjects often stray into Ero Guro territory, with such stories as “The Human Chair” and “Caterpillar.” Many years later, in 2007, one of his more notable works: “The Ttrange Tale of Panorama Island” was adapted into a manga by Suehiro Maruo, a contemporary torch carrier of the Ero Guro movement.
on Amazon by clicking on the image below
The manga follows the same plot as the original novella: Set in the 1920s, a novelist named Hitomi finds he shares a striking resemblance to a recently deceased industrialist who left behind an incredible fortune. Hitomi, inspired by his own dissatisfaction, decides to impersonate the dead man,...
The genre of “Ero Guro” is often characterized as a diptych of the erotic and grotesque. Upon its creation, it shocked contemporary audiences, yet many accepted it because of its rebellious, counter cultural aesthetic. Among them was Edogawa Rampo, a writer whose subjects often stray into Ero Guro territory, with such stories as “The Human Chair” and “Caterpillar.” Many years later, in 2007, one of his more notable works: “The Ttrange Tale of Panorama Island” was adapted into a manga by Suehiro Maruo, a contemporary torch carrier of the Ero Guro movement.
on Amazon by clicking on the image below
The manga follows the same plot as the original novella: Set in the 1920s, a novelist named Hitomi finds he shares a striking resemblance to a recently deceased industrialist who left behind an incredible fortune. Hitomi, inspired by his own dissatisfaction, decides to impersonate the dead man,...
- 5/28/2023
- by Guest Writer
- AsianMoviePulse
Poor Beau. Nearly half a century on Earth, and he’s never really lived. Sure, he was born — that much director Ari Aster depicts from Beau’s point of view at the outset of his wildly self-indulgent and frequently surreal third feature, “Beau Is Afraid,” lingering long enough to witness the infant’s umbilical cord being snipped — but what has Beau done with his life since then? Can it be said that he ever really developed an identity apart from his successful single mom, Mona Wasserman, who haunts the film for the better part of three hours before finally revealing herself?
Not since “Psycho” has an off-screen mother loomed so large over a film’s protagonist, played here by Joaquin Phoenix, cowering from the world. The Hitchcock comparison could be misleading, since Aster makes a surprising tonal shift away from traditional nightmare material for this deranged road trip, which follows...
Not since “Psycho” has an off-screen mother loomed so large over a film’s protagonist, played here by Joaquin Phoenix, cowering from the world. The Hitchcock comparison could be misleading, since Aster makes a surprising tonal shift away from traditional nightmare material for this deranged road trip, which follows...
- 4/11/2023
- by Peter Debruge
- Variety Film + TV
This article contains massive spoilers for "John Wick: Chapter 4."
There's an ancient saying: "Before you set out on revenge, first dig two graves." The axiom has been attributed to everyone from Confucius to James Bond, but while its origins are indeterminate, its sentiment is evergreen. Revenge is a deadly business that will likely consume the soul — if not the life — of anyone who seeks it.
John Wick (played with brooding soulfulness by Keanu Reeves) can attest to the truth of that saying, as can many of his friends and enemies. In the latest installment of his saga, "John Wick: Chapter 4," the daughter of Wick's friend Shimazu (Hiroyuki Sanada), Akira (Rina Sawayama), observes that "everything he touches, dies." Another of Wick's on-again, off-again allies, Winston (Ian McShane) pleads with John to know where his roaring rampage of revenge will end. John himself, as ever, isn't sure of the particulars.
There's an ancient saying: "Before you set out on revenge, first dig two graves." The axiom has been attributed to everyone from Confucius to James Bond, but while its origins are indeterminate, its sentiment is evergreen. Revenge is a deadly business that will likely consume the soul — if not the life — of anyone who seeks it.
John Wick (played with brooding soulfulness by Keanu Reeves) can attest to the truth of that saying, as can many of his friends and enemies. In the latest installment of his saga, "John Wick: Chapter 4," the daughter of Wick's friend Shimazu (Hiroyuki Sanada), Akira (Rina Sawayama), observes that "everything he touches, dies." Another of Wick's on-again, off-again allies, Winston (Ian McShane) pleads with John to know where his roaring rampage of revenge will end. John himself, as ever, isn't sure of the particulars.
- 3/24/2023
- by Bill Bria
- Slash Film
Animation for children deserves more respect, especially lately. In an industry that values profits over artistic risks, kids' animation remains a dismissible art form, and the intelligence of its audience is often underestimated. In 2022, the industry faced HBO Max's purge of several animated projects, an ongoing battle for fair wages, and the abridgement or outright cancelation of numerous shows and movies. Looking back, it's hard to not wonder what might have been.
These obstacles are especially notable given how much animation aimed at children has evolved over the years. A number of 2022's animated projects were particularly inventive and thought-provoking. It was a year full of glorious stop-motion productions, breathtaking visual innovations, and major milestones when it comes to queer visibility. Just remember: For our purposes, "kids" is an inclusive term that refers to both actual children as well as the kid that exists in every adult. With that in mind,...
These obstacles are especially notable given how much animation aimed at children has evolved over the years. A number of 2022's animated projects were particularly inventive and thought-provoking. It was a year full of glorious stop-motion productions, breathtaking visual innovations, and major milestones when it comes to queer visibility. Just remember: For our purposes, "kids" is an inclusive term that refers to both actual children as well as the kid that exists in every adult. With that in mind,...
- 12/22/2022
- by Caroline Cao
- Slash Film
Stars: Alex Cox, Niketa Roman, Satish Ratakonda, Harper Taylor, Brynn Taylor | Written and Directed by Phil Tippett
First started in 1987, over thirty years in the making and the subject of much talk, rumour and speculation, Phil Tippett’s Mad God was certainly one of the most anticipated screenings at this year’s Fantasia. Given Tippett’s track record providing stop motion animation for the likes of RoboCop, Starship Troopers and the original Star Wars trilogy there was little doubt it would be a technical tour de force. The real question was how well the personal vision that had sustained the project over those years would resonate with others besides its creator.
Footage of a tower, possibly the Tower of Babel, being swallowed by black clouds and a scroll with an excerpt from the Bible’s Book of Leviticus promising all manner of divine punishment set the tone for Mad God before the title drops.
First started in 1987, over thirty years in the making and the subject of much talk, rumour and speculation, Phil Tippett’s Mad God was certainly one of the most anticipated screenings at this year’s Fantasia. Given Tippett’s track record providing stop motion animation for the likes of RoboCop, Starship Troopers and the original Star Wars trilogy there was little doubt it would be a technical tour de force. The real question was how well the personal vision that had sustained the project over those years would resonate with others besides its creator.
Footage of a tower, possibly the Tower of Babel, being swallowed by black clouds and a scroll with an excerpt from the Bible’s Book of Leviticus promising all manner of divine punishment set the tone for Mad God before the title drops.
- 12/5/2022
- by Jim Morazzini
- Nerdly
This review originally ran May 21, 2022, in conjunction with the film’s Cannes Film Festival premiere.
After his 2017 art-world satire “The Square” scored the Palme d’Or at Cannes, Swedish provocateur Ruben Östlund swaggers back to competition with “Triangle of Sadness,” a mixed-bag of social commentary and gross-out comedy that could only come from a filmmaker with a secured reputation and zero f—s to give. Taking aim at the 1 and shouting “Eat the rich!” with the anger of a sea storm and the subtlety of an exploding toilet, the film is both over-long and under-stuffed, but it nevertheless left Cannes’ notoriously tough crowd doubled over in laughter.
Running just under two-and-a-half hours and split up into three chapters, the film lifts as much from Noam Chomsky as from John Waters as it hoses down beauty standards and luxury culture with gallons of projectile vomit. A repeat Palme d’Or performance...
After his 2017 art-world satire “The Square” scored the Palme d’Or at Cannes, Swedish provocateur Ruben Östlund swaggers back to competition with “Triangle of Sadness,” a mixed-bag of social commentary and gross-out comedy that could only come from a filmmaker with a secured reputation and zero f—s to give. Taking aim at the 1 and shouting “Eat the rich!” with the anger of a sea storm and the subtlety of an exploding toilet, the film is both over-long and under-stuffed, but it nevertheless left Cannes’ notoriously tough crowd doubled over in laughter.
Running just under two-and-a-half hours and split up into three chapters, the film lifts as much from Noam Chomsky as from John Waters as it hoses down beauty standards and luxury culture with gallons of projectile vomit. A repeat Palme d’Or performance...
- 10/6/2022
- by Ben Croll
- The Wrap
Apax Capital Group, a new film fund backed by the Italian government, an Italian insurer and a consortium of other investors, says it plans to spend €1.5 billion (about $1.7 billion) over 10 years on films shot and/or completed in Europe, primarily Italy.
The venture is led by producer Yona Wiesenthal, former CEO of the Israel Broadcast Authority and content chief at Israeli Dbs platform Yes; and by Augusto Pelliccia, Italian film financier and CEO of Augustus Group. They are investors in the fund along with studios, production facilities and film commissions in Italy, Spain and Morocco.
The group has tapped New York real estate entrepreneur Noam Baram as an equity partner in North America to scout for projects by U.S. producers that can be shot in Europe and Italy. He’s currently setting up Apax Capital’s presence Stateside with a few staff between New York and Los Angeles.
The venture is led by producer Yona Wiesenthal, former CEO of the Israel Broadcast Authority and content chief at Israeli Dbs platform Yes; and by Augusto Pelliccia, Italian film financier and CEO of Augustus Group. They are investors in the fund along with studios, production facilities and film commissions in Italy, Spain and Morocco.
The group has tapped New York real estate entrepreneur Noam Baram as an equity partner in North America to scout for projects by U.S. producers that can be shot in Europe and Italy. He’s currently setting up Apax Capital’s presence Stateside with a few staff between New York and Los Angeles.
- 12/23/2021
- by Jill Goldsmith
- Deadline Film + TV
The 2021 Fantasia Film Festival wrapped a little over a week ago now, and today I’ve got a pair of reviews on tap from the fest that feature two truly audacious genre-bending projects that I highly recommend fans keep an eye out for in the coming months. So, read on to check out my thoughts on Phil Tippett’s stop-motion masterpiece Mad God and the twisty-turny sci-fi thriller Ultrasound from Rob Schroeder.
Mad God: A film 30 years in the making, Phil Tippett’s Mad God is truly a one-of-a-kind cinematic experience that I’d liken to meeting the maniacal and menacing love child of Ray Harryhausen, Hieronymus Bosch, and The City of Lost Children. Like an esoteric descent into the deepest, darkest pits of hell, Mad God is a haunting journey highlighting the atrocities of war, the drain of capitalism, and the danger of politics as it follows a...
Mad God: A film 30 years in the making, Phil Tippett’s Mad God is truly a one-of-a-kind cinematic experience that I’d liken to meeting the maniacal and menacing love child of Ray Harryhausen, Hieronymus Bosch, and The City of Lost Children. Like an esoteric descent into the deepest, darkest pits of hell, Mad God is a haunting journey highlighting the atrocities of war, the drain of capitalism, and the danger of politics as it follows a...
- 9/7/2021
- by Heather Wixson
- DailyDead
Third edition of a film that started as a thirty minute short 7 years ago, and now sees the light of day in the production level Takahide Wori wanted it to be, with his work as in storyboarding, writing, directing, designing, lighting, shooting, making the costumes, the SFX and voicing the stop-motion film (with the help of a few specialists) reaching its ultimate form.
“Junk Head” is screening at New York Asian Film Festival
In the distant future, mankind has attained longevity through gene manipulation. However, in exchange, the ability to reproduce is lost. Clones were built to maintain the dwindling workforce, but 1200 years later they rebelled, eventually inhabiting the lower depths of the world. The humans, suddenly finding a need to understand their subterranean-dwelling creations, launch an ecological study. What they discover is that the clones have transformed into a vast array of absurd and terrifying monstrosities, although the humans themselves have also changed much.
“Junk Head” is screening at New York Asian Film Festival
In the distant future, mankind has attained longevity through gene manipulation. However, in exchange, the ability to reproduce is lost. Clones were built to maintain the dwindling workforce, but 1200 years later they rebelled, eventually inhabiting the lower depths of the world. The humans, suddenly finding a need to understand their subterranean-dwelling creations, launch an ecological study. What they discover is that the clones have transformed into a vast array of absurd and terrifying monstrosities, although the humans themselves have also changed much.
- 8/19/2021
- by Panos Kotzathanasis
- AsianMoviePulse
In Mad God, a character called “The Last Man” (played by the great Repo Man director Alex Cox) runs a laboratory sending miniature explorers into the bowels of a layered Dantean hell that might be a reflection of his own psyche––or more likely still: that of the filmmaker. The man in question is Phil Tippett, a legendary Hollywood special effects guru, two-time Oscar winner, and Ray Harryhausen disciple whose eye-watering résumé reads like a highlight reel of 21st-century pop culture ephemera: designing the Cantina masks, At-ATs, and Jabba the Hutt for George Lucas; being credited as “Dinosaur Supervisor” on Jurassic Park; and animating everything from the holochess set on the Millennium Falcon to the Ed-209 in Robocop and the swarming hoards of bugs in Starship Troopers. What a life.
In and out of production for decades, Mad God has existed, at least in some capacity, for a great portion of that life.
In and out of production for decades, Mad God has existed, at least in some capacity, for a great portion of that life.
- 8/7/2021
- by Rory O'Connor
- The Film Stage
Those who typically scope the Academy Award-nominated shorts programs hoping to win the Oscar pool will have a particularly tough time of it with this year’s animated roster, as the options are wide-ranging but lack a clear front-runner. A few of the talents have ties to Pixar, though only one short was actually developed at a studio, while the other four are far more personal, independent expressions with little in common, least of all technique. Compared with past editions, this is a relatively weak year, though it’s always a treat to survey the range of offerings, released in theaters and on demand by ShortsTV.
Madeline Sharafian’s adorable but basic bunny toon “Burrow” was developed within Disney/Pixar’s SparkShorts program, a creative sandbox for up-and-coming voices, which also produced previous nominee “Kitbull.” Choosing hand-drawn techniques over the studio’s traditional hyper-polished 3D rendering, the film boasts an old-fashioned,...
Madeline Sharafian’s adorable but basic bunny toon “Burrow” was developed within Disney/Pixar’s SparkShorts program, a creative sandbox for up-and-coming voices, which also produced previous nominee “Kitbull.” Choosing hand-drawn techniques over the studio’s traditional hyper-polished 3D rendering, the film boasts an old-fashioned,...
- 4/3/2021
- by Peter Debruge
- Variety Film + TV
We might as well call it “Dances With Wolves”: Compared to the nightmarish vision multimedia id-tickler Matthew Barney created his epic, five-film “Cremaster Cycle” (which suggested Hieronymus Bosch by way of Busby Berkeley) and his shocking six-hour followup, “River of Fundament”, the art-world adulte terrible’s wilderness-set new feature feels downright conventional.
“Redoubt” runs a relatively bladder-friendly two hours and 15 minutes. It contains none of the upsetting bodily fluids or functions that have repulsed his past audiences. The film features Barney himself as a grizzled mountain-man artist identified only as the “Engraver,” and it follows a linear plot loosely inspired by the myth of Diana, goddess of the hunt (professional sharpshooter and self-described “30 Cal Gal” Anette Wachter), and Actaeon, the mortal trespasser whom she turned into a stag (that would be Barney’s character).
— and even they should be mollified by the end-credits claim that “Hunting scenes … were staged using special effects.
“Redoubt” runs a relatively bladder-friendly two hours and 15 minutes. It contains none of the upsetting bodily fluids or functions that have repulsed his past audiences. The film features Barney himself as a grizzled mountain-man artist identified only as the “Engraver,” and it follows a linear plot loosely inspired by the myth of Diana, goddess of the hunt (professional sharpshooter and self-described “30 Cal Gal” Anette Wachter), and Actaeon, the mortal trespasser whom she turned into a stag (that would be Barney’s character).
— and even they should be mollified by the end-credits claim that “Hunting scenes … were staged using special effects.
- 10/31/2019
- by Peter Debruge
- Variety Film + TV
"The painting is asking you to participate, to investigate with your mind." Film Movement has debuted an official Us trailer for an art documentary titled Bosch: The Garden of Dreams, which is finally getting a release in the Us this May after originally opening in Europe in 2016. The film takes a closer look at the iconic Hieronymus Bosch painting known as "The Garden of Earthly Delights", an incredibly famous and evocative work of art, a medieval triptych originally completed between 1490 and 1510. Even though it may seem a bit odd to make an entire film about one painting, this one painting in particular offers plenty to discuss and analyze and critique. There's something very mystical and magical and strangely powerful about this work, and many people are attracted to or affected by it. Not to mention that little is really known about Bosch, who exactly he was, and how he was able to create such incredible,...
- 4/24/2019
- by Alex Billington
- firstshowing.net
Ksenia Ratushnaya’s Outlaw is only the fourth Lgbt Russian film to be made.
Shooting has begun in Moscow of Russian director Ksenia Ratushnaya’s feature debut Outlaw. The film’s Lgbt subject matter is set to attract controversy in Russia where the distribution of a film that depicts a homosexual relationship can attract heavy fines.
Victor Tarasenko, Lisa Kashintseva, and Gleb Kalyuzhny star in the film that takes place in modern day Moscow and the Soviet Union of the 1980s. It tells the story of a high-school student who is coming to terms with his awakening homosexuality and a mysterious girl he befriends.
Shooting has begun in Moscow of Russian director Ksenia Ratushnaya’s feature debut Outlaw. The film’s Lgbt subject matter is set to attract controversy in Russia where the distribution of a film that depicts a homosexual relationship can attract heavy fines.
Victor Tarasenko, Lisa Kashintseva, and Gleb Kalyuzhny star in the film that takes place in modern day Moscow and the Soviet Union of the 1980s. It tells the story of a high-school student who is coming to terms with his awakening homosexuality and a mysterious girl he befriends.
- 7/17/2018
- by Martin Blaney
- ScreenDaily
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