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World on Fire has come to an end after two seasons, Masterpiece on PBS executive producer Susanne Simpson revealed at the Television Critics Association winter press tour on Monday.

Simpson added that the BBC decided not to renews the British series for “many different reasons.”

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World on Fire was a World War II drama that...

World on Fire See at Disney+

The PBS original war drama World on Fire has officially been renewed, and details about World on Fire season 2's story, cast, and more are increasingly becoming known. First airing in 2019, World on Fire tells the story of ordinary people in countries all across Europe as they attempt to deal with the ravages of World War II. Praised for its high production value and amazing cast, World on Fire tells another side of the conflict that isn't usually covered in World War II movies and TV shows. Though the wait has been long, the imminent return of the show for a second season is a chance for more gripping historical fiction.

With Sean Bean and Helen Hunt leading the cast, World on Fire season 1 was an ensemble story of epic proportions, and it spanned the entire continent of Europe in the process. Ranking highly...

Jonah Hauer-King can currently be seen swimming up a storm alongside Halle Bailey in Disney’s live-action “The Little Mermaid” but for his next project he’s part of a different world – “World on Fire.”

The PBS and BBC drama series has released first look images from its upcoming second season, showing Hauer-King as a grimy soldier called Harry in the Royal Air Force (Raf) during World War II.

Jonah Hauer-King in ‘World on Fire’ (courtesy of BBC)

In the show, which was created by Peter Bowker, he is joined by “The Crown’s” Lesley Manville, Parker Sawyers (“A Discovery of Witches”) and Eugénie Derouand (“The Advent Calendar”).

In new images from Season 2 Manville, who plays Robina, looks elegant in a 1940s hair-do and outfit while Sawyers, who plays Albert, is pictured looking concerned, a Nazi flag visible behind him. Meanwhile Derouand is clad in a nurse’s outfit as Henriette.

Dekanalog announced today its acquisition of Sabrina Mertens‘ dark, methodical drama Time of Moulting, which wowed audiences at Rotterdam, Fantasia, and Nightstream 2020.

“It started off innocent enough for Stephanie, a vibrant kid stuck living with an aloof father and a mean, bedridden mother, neither of whom let their daughter do anything outside of their quaint 1970s Germany household.

“Over ten lonely, isolated years, Stephanie’s mind gradually veers towards darker thoughts — and inevitably, troubling habits and actions. Impressively made as a film school project, Sabrina Mertens’ patient and chilling debut explores the ways in which innocence can turn into something sinister.”

The film, which also stars Freya Kreutzkam, and Bernd Wolf, is set for a Spring 2023 release in the U.S.

The deal was negotiated by George Schmalz of Dekanalog and Cinthya Calderon of Media Luna.

The post Dekanalog Acquires German Thriller ‘Time of Moulting’ appeared first on Bloody Disgusting!

Time Of Moulting Photo: Courtesy of Fantasia

One of the strongest films at this year’s Fantasia International Film Festival and also one of the most unusual, Time Of Moulting is an exploration of one girl’s journey as she grows up in a cramped flat in Seventies and eighties Germany, largely ignored by the people around her. It’s framed by a series of 57 static camera shots, giving viewers the impression of flicking back through an old photo album which brings memories to life as actors Zelda Espanschied and Miriam Schiweck portray the girl, Stephanie, at different stages in her life. It’s a film that feels incredibly complete, part of a universe that extends far beyond the screen. Braving an interview not in her native language, director Sabrina Mertens told me that it emerged from a mixture of different ideas.

“I started with the idea to make a classical horror movie,...

Young Stephanie (Zelda Espenschied) is utterly alone. It doesn’t matter that she lives with her parents (Freya Kreutzkam’s Mom and Bernd Wolf’s Reinhardt) because their physical presence pales in comparison to their emotional absence. And nothing will ever change. It can’t. Stephanie’s mother is too far lost in the past to think about the girl’s childhood when memories of her parents keep her forever longing for the childhood she herself wasn’t afforded. Stephanie’s father is conversely too busy living in the present to worry about anyone else as more than obstacles with which to combat on a personal road towards contentment. They both know it’s not a perfect home to raise a child in, but it’s all they can muster. They embrace stagnancy in lieu of happiness.

That doesn’t mean Stephanie wants out, though. Writer/director Sabrina Mertens understands...