She didn’t receive much media attention, but Elvis Presley had a steady girlfriend for several years following his split with Priscilla Presley. Elvis’ girlfriend said the King of Rock ‘n’ Roll loved a particular book. Priscilla’s memoir confirms this detail. Priscilla also gave fans more insight into the singer’s surprisingly highbrow taste in literature.
Elvis Presley’s favorite book had some timeless advice about love and marriage
Linda Thompson was Elvis’ girlfriend from 1972 to 1976. In her 2016 book A Little Thing Called Life, Thompson recalled something the “All Shook Up” singer said to her. “‘I’ve broken my fidelity record for all time,’ he said. ‘I’ve never been this faithful to anyone for this long in my entire life.'”
“I was certain he’d been completely faithful to me for the first year, at least, as he’d set up our life together so that he...
Elvis Presley’s favorite book had some timeless advice about love and marriage
Linda Thompson was Elvis’ girlfriend from 1972 to 1976. In her 2016 book A Little Thing Called Life, Thompson recalled something the “All Shook Up” singer said to her. “‘I’ve broken my fidelity record for all time,’ he said. ‘I’ve never been this faithful to anyone for this long in my entire life.'”
“I was certain he’d been completely faithful to me for the first year, at least, as he’d set up our life together so that he...
- 2/5/2024
- by Matthew Trzcinski
- Showbiz Cheat Sheet
Judging by Priscilla Presley’s recollections, Elvis Presley was more interested in books about spirituality than any other topic. During a trying time, he looked for answers in a book by a famous occultist. Priscilla discussed what Elvis’ taste in literature said about him as a person.
Elvis Presley was interested in a certain book a few months before he died
In her 1985 book Elvis and Me, Priscilla recalled a near the end of the “All Shook Up” singer‘s life. “In April 1977, Elvis fell ill and had to cancel his tour and return home to Graceland,” Priscilla wrote. “Lisa [Marie] and I were there visiting Dodger [Elvis’ grandmother]. He called me up to his room.
“[Elvis] did not look himself; his face and body were bloated,” she continued. “He was wearing pajamas, which he seemed to prefer these days when at home. He held Cheiro’s Book of Numbers and told me there...
Elvis Presley was interested in a certain book a few months before he died
In her 1985 book Elvis and Me, Priscilla recalled a near the end of the “All Shook Up” singer‘s life. “In April 1977, Elvis fell ill and had to cancel his tour and return home to Graceland,” Priscilla wrote. “Lisa [Marie] and I were there visiting Dodger [Elvis’ grandmother]. He called me up to his room.
“[Elvis] did not look himself; his face and body were bloated,” she continued. “He was wearing pajamas, which he seemed to prefer these days when at home. He held Cheiro’s Book of Numbers and told me there...
- 2/2/2024
- by Matthew Trzcinski
- Showbiz Cheat Sheet
Look close enough at "The Twilight Zone" and it's clear that events surrounding the making of the show were often as unusual as its otherworldly subject matter. It's not that Rod Serling's science fiction classic was cursed: rather, production of the deeply humane series was often interrupted by deeply human moments. There was that time an episode was improved upon by an actor's injury that forced him to speak out of one side of his mouth, and the fact that veteran Serling named the series without realizing that its title was already an air force term used to describe an especially disorienting moment before landing.
Not every coincidence and unusual set story was serendipitous. In season 1, an actor passed away mid-shoot, and Serling paid out of pocket to reshoot his scenes so he wouldn't appear ill in his final performance. A horrific, preventable accident on the set of "Twilight Zone: The Movie...
Not every coincidence and unusual set story was serendipitous. In season 1, an actor passed away mid-shoot, and Serling paid out of pocket to reshoot his scenes so he wouldn't appear ill in his final performance. A horrific, preventable accident on the set of "Twilight Zone: The Movie...
- 1/30/2024
- by Valerie Ettenhofer
- Slash Film
Salma Hayek Pinault has joined José Tamez and Siobhan Flynn, her partners in Ventanarosa Productions, as an executive producer on Tótem, writer-director Lila Avilés’ follow-up to her international breakthrough The Chambermaid, which has been shortlisted as Mexico’s entry for the Best International Feature Oscar.
Poised for release by Sideshow and Janus Films, the companies behind Eo and Drive My Car, the film is set to open in New York theaters on January 26th. It will unspool in Los Angeles on February 2nd and expand nationwide in the weeks to follow.
Named one of the Top 5 International Films of the Year by the National Board of Review, Tótem is told largely from the perspective of 7-year-old Sol (Naíma Sentíes), as her aunt (Montserrat Marañón) and extended relatives prepare for the birthday party of the girl’s father (Mateo Garcia). As the hours wear on, building to an event both anticipated and dreaded,...
Poised for release by Sideshow and Janus Films, the companies behind Eo and Drive My Car, the film is set to open in New York theaters on January 26th. It will unspool in Los Angeles on February 2nd and expand nationwide in the weeks to follow.
Named one of the Top 5 International Films of the Year by the National Board of Review, Tótem is told largely from the perspective of 7-year-old Sol (Naíma Sentíes), as her aunt (Montserrat Marañón) and extended relatives prepare for the birthday party of the girl’s father (Mateo Garcia). As the hours wear on, building to an event both anticipated and dreaded,...
- 1/11/2024
- by Matt Grobar
- Deadline Film + TV
Star couple Anushka Sharma and Virat Kohli have decided to merge their respective foundations – Anushka Sharma Foundation and Virat Kohli Foundation – to launch a joint non-profit initiative aimed at helping those in need.
Anushka and Virat said in a joint statement: “In the words of Kahlil Gibran, ‘For in truth it is life that gives unto life – while you, who deem yourself a giver, are but a witness’. With this sentiment in mind, we have decided to work together through SeVVA aiming to reach out to as many people as possible.”
“SeVVA’s work won’t be confined to a particular issue as it will continue to strive for social good by championing humanity which is the need of the hour today.”
Meanwhile, Virat will continue to provide scholarships in sports and also sponsor athletes, and Anushka will continue to be involved with animal welfare as she has over the years.
Anushka and Virat said in a joint statement: “In the words of Kahlil Gibran, ‘For in truth it is life that gives unto life – while you, who deem yourself a giver, are but a witness’. With this sentiment in mind, we have decided to work together through SeVVA aiming to reach out to as many people as possible.”
“SeVVA’s work won’t be confined to a particular issue as it will continue to strive for social good by championing humanity which is the need of the hour today.”
Meanwhile, Virat will continue to provide scholarships in sports and also sponsor athletes, and Anushka will continue to be involved with animal welfare as she has over the years.
- 3/23/2023
- by News Bureau
- GlamSham
Anushka Sharma & Virat Kohli have decided to merge their respective foundations (Anushka Sharma Foundation & Virat Kohli Foundation) to launch a joint non-profit initiative aimed at helping those in need.
Anushka Sharma and Virat Kohli said in a joint statement, “In the words of Kahlil Gibran ‘For in truth it is life that gives unto life- while you, who deem yourself a giver, are but a witness’. With this sentiment in mind, we have decided to work together through SeVVA aiming to reach out to as many people as possible. SeVVA’s work won’t be confined to a particular issue as it will continue to strive for social good by championing humanity which is the need of the hour today.”
Meanwhile, Virat will continue to provide scholarships in sports and also sponsoring athletes and Anushka will continue to be involved with animal welfare as she has over the years. Also,...
Anushka Sharma and Virat Kohli said in a joint statement, “In the words of Kahlil Gibran ‘For in truth it is life that gives unto life- while you, who deem yourself a giver, are but a witness’. With this sentiment in mind, we have decided to work together through SeVVA aiming to reach out to as many people as possible. SeVVA’s work won’t be confined to a particular issue as it will continue to strive for social good by championing humanity which is the need of the hour today.”
Meanwhile, Virat will continue to provide scholarships in sports and also sponsoring athletes and Anushka will continue to be involved with animal welfare as she has over the years. Also,...
- 3/23/2023
- by Glamsham Editorial
- GlamSham
Non-profit Initiative
Real life husband and wife couple, celebrity cricketer Virat Kohli and Bollywood star Anushka Sharma, are merging their respective foundations – Anushka Sharma Foundation and Virat Kohli Foundation – to launch SeVVA, a joint non-profit initiative aimed at helping those in need.
Sharma and Kohli said in a joint statement: “In the words of Kahlil Gibran ‘for in truth it is life that gives unto life – while you, who deem yourself a giver, are but a witness.’ With this sentiment in mind, we have decided to work together through SeVVA aiming to reach out to as many people as possible. SeVVA’s work won’t be confined to a particular issue as it will continue to strive for social good by championing humanity which is the need of the hour today.”
Next up for Sharma is “Chakda Xpress,” a Netflix film inspired by the life of one of women cricket’s all-time greatest players,...
Real life husband and wife couple, celebrity cricketer Virat Kohli and Bollywood star Anushka Sharma, are merging their respective foundations – Anushka Sharma Foundation and Virat Kohli Foundation – to launch SeVVA, a joint non-profit initiative aimed at helping those in need.
Sharma and Kohli said in a joint statement: “In the words of Kahlil Gibran ‘for in truth it is life that gives unto life – while you, who deem yourself a giver, are but a witness.’ With this sentiment in mind, we have decided to work together through SeVVA aiming to reach out to as many people as possible. SeVVA’s work won’t be confined to a particular issue as it will continue to strive for social good by championing humanity which is the need of the hour today.”
Next up for Sharma is “Chakda Xpress,” a Netflix film inspired by the life of one of women cricket’s all-time greatest players,...
- 3/23/2023
- by Naman Ramachandran
- Variety Film + TV
A hit song from the 1980s had lyrics similar to The Beatles‘ “Blackbird.” One of the writers of the 1980s song said he was upset by the similarity. In addition, he said The Beatles’ song might be based on a book by a famous author.
The Beatles | Keystone Features / Stringer The accidental similarity between The Beatles’ ‘Blackbird’ and Mr. Misters’ ‘Broken Wings’
Richard Page is a member of the band Mr. Mister, most known for the song “Broken Wings” and “Kyrie.” During a 2010 interview with Smashing Interviews Magazine, he named some of his influences. “The Beatles, The Beach Boys, Stevie Wonder, Steely Dan, Herbie Hancock, Miles Davis, Chick Corea, and Keith Jarrett,” he said.
Both Mr. Mister’s “Broken Wings” and The Beatles’ “Blackbird” include the phrase “Take these broken wings and learn to fly.” Page was asked if this was an intentional reference on the part of Mr. Mister.
The Beatles | Keystone Features / Stringer The accidental similarity between The Beatles’ ‘Blackbird’ and Mr. Misters’ ‘Broken Wings’
Richard Page is a member of the band Mr. Mister, most known for the song “Broken Wings” and “Kyrie.” During a 2010 interview with Smashing Interviews Magazine, he named some of his influences. “The Beatles, The Beach Boys, Stevie Wonder, Steely Dan, Herbie Hancock, Miles Davis, Chick Corea, and Keith Jarrett,” he said.
Both Mr. Mister’s “Broken Wings” and The Beatles’ “Blackbird” include the phrase “Take these broken wings and learn to fly.” Page was asked if this was an intentional reference on the part of Mr. Mister.
- 3/6/2023
- by Matthew Trzcinski
- Showbiz Cheat Sheet
Roger Allers joined Disney in 1985, becoming part of a group of artists tasked with reviving public interest in Disney’s animated films by producing fresh theatrical releases. Allers directed his first feature picture, the Oscar-winning The Lion King (1994), which was adapted into a smash-hit Broadway musical.
The filmmaker spent the next many years at Disney, contributing to every animated feature film the company released. Among these are Beauty and the Beast, Aladdin, The Rescuers Down Under, The Little Mermaid, and The Prince and the Pauper. Allers would later leave the studio after one of his projects was rejected.
Roger Allers’ 1994 film ‘The Lion King’ was a massive success
#TheLionKing directors Roger Allers and Rob Minkoff say they wanted Malcolm-Jamal Warner to play Simba in the original film pic.twitter.com/Gs7YXEm7nb
— Variety (@Variety) July 10, 2019
Twenty-five years before Jon Favreau’s 2019 photorealistic remake, co-directors Allers, Rob Minkoff, and a...
The filmmaker spent the next many years at Disney, contributing to every animated feature film the company released. Among these are Beauty and the Beast, Aladdin, The Rescuers Down Under, The Little Mermaid, and The Prince and the Pauper. Allers would later leave the studio after one of his projects was rejected.
Roger Allers’ 1994 film ‘The Lion King’ was a massive success
#TheLionKing directors Roger Allers and Rob Minkoff say they wanted Malcolm-Jamal Warner to play Simba in the original film pic.twitter.com/Gs7YXEm7nb
— Variety (@Variety) July 10, 2019
Twenty-five years before Jon Favreau’s 2019 photorealistic remake, co-directors Allers, Rob Minkoff, and a...
- 2/27/2023
- by Produced by Digital Editors
- Showbiz Cheat Sheet
Yve Arellano shares a quote about sorrow amid marital woes. Pic credit: @yve_arellano/Instagram
Yve Arellano is getting support as her marital drama continues to play out on social media.
The news hit the blogs a few weeks ago that her husband Mohamed Abdelhamed was having an inappropriate relationship with two women he met online.
Screenshots of their conversation were plastered all over Instagram but it wasn’t until recently that Yve finally responded to the inappropriate text exchanges between Mohamed and the women.
90 Day Fiance viewers are not surprised at Mohamed’s behavior, as we saw plenty of red flags while their relationship played out on the show.
Mohamed made it no secret that he desperately wanted a green card and when he wanted to rush his wedding to Yve and she didn’t, he told her that he would find another sponsor.
The couple got into an...
Yve Arellano is getting support as her marital drama continues to play out on social media.
The news hit the blogs a few weeks ago that her husband Mohamed Abdelhamed was having an inappropriate relationship with two women he met online.
Screenshots of their conversation were plastered all over Instagram but it wasn’t until recently that Yve finally responded to the inappropriate text exchanges between Mohamed and the women.
90 Day Fiance viewers are not surprised at Mohamed’s behavior, as we saw plenty of red flags while their relationship played out on the show.
Mohamed made it no secret that he desperately wanted a green card and when he wanted to rush his wedding to Yve and she didn’t, he told her that he would find another sponsor.
The couple got into an...
- 8/22/2022
- by Alicea James
- Monsters and Critics
New Delhi, March 16 (Ians) Indian Premier League (Ipl) side Rajasthan Royals (Rr) wished India and Mumbai Indians fast bowler Jasprit Bumrah in a cheeky manner on his wedding to television presenter Sanjana Ganesan.
Bumrah tied the knot on Monday after which a number of cricketers wished him on social media. Rr hilariously suggested that the newlywed couple go on a honeymoon to the Maldives in April-May, which is when the 2021 Ipl is scheduled to take place.
"Congratulations, guys! We hear Maldives is great in April-May," said Rr in their tweet.
The Ipl is scheduled to start on April 9, with the final to be held on May 30.
Bumrah on Monday tweeted the pictures of his wedding and wrote a Kahlil Gibran -- a Lebanese American writer -- quote on his timeline: "Love, if it finds you worthy, directs your course."
Bumrah added on his timeline, "Steered by love, we have begun a new journey together.
Bumrah tied the knot on Monday after which a number of cricketers wished him on social media. Rr hilariously suggested that the newlywed couple go on a honeymoon to the Maldives in April-May, which is when the 2021 Ipl is scheduled to take place.
"Congratulations, guys! We hear Maldives is great in April-May," said Rr in their tweet.
The Ipl is scheduled to start on April 9, with the final to be held on May 30.
Bumrah on Monday tweeted the pictures of his wedding and wrote a Kahlil Gibran -- a Lebanese American writer -- quote on his timeline: "Love, if it finds you worthy, directs your course."
Bumrah added on his timeline, "Steered by love, we have begun a new journey together.
- 3/16/2021
- by Glamsham Bureau
- GlamSham
Panaji, March 15 (Ians) Indian cricket's pace ace Jasprit Bumrah, who tied the knot with TV sports presenter Sanjana Ganesan on Monday in Goa, is all set to redefine swagger at the wedding reception, scheduled to be hosted the same night.
Bumrah plans to look dapper in the Italian luxury fashion brand Zegna. His made-to-measure suit has been designed by the brand's Artistic Director Alessandro Sartori.
Earlier on Monday, Bumrah tweeted pictures of his wedding and quoted Kahlil Gibran on his Instagram timeline: "Love, if it finds you worthy, directs your course."
Bumrah added on his timeline: "Steered by love, we have begun a new journey together. Today is one of the happiest days of our lives and we feel blessed to be able to share the news of our wedding and our joy with you."
The wedding was attended by limited guests due to Covid-19 restrictions. Bumrah's friends and colleagues...
Bumrah plans to look dapper in the Italian luxury fashion brand Zegna. His made-to-measure suit has been designed by the brand's Artistic Director Alessandro Sartori.
Earlier on Monday, Bumrah tweeted pictures of his wedding and quoted Kahlil Gibran on his Instagram timeline: "Love, if it finds you worthy, directs your course."
Bumrah added on his timeline: "Steered by love, we have begun a new journey together. Today is one of the happiest days of our lives and we feel blessed to be able to share the news of our wedding and our joy with you."
The wedding was attended by limited guests due to Covid-19 restrictions. Bumrah's friends and colleagues...
- 3/15/2021
- by Glamsham Bureau
- GlamSham
Panaji, March 15 (Ians) India pace bowler Jasprit Bumrah on Monday got married to TV sports presenter Sanjana Ganesan at a private ceremony in Goa, where a limited number of people were present.
Bumrah on Monday tweeted the pictures of his wedding and wrote a Kahlil Gibran -- a Lebanese American writer -- quote on his timeline: "Love, if it finds you worthy, directs your course."
Bumrah further added on his timeline, "Steered by love, we have begun a new journey together. Today is one of the happiest days of our lives and we feel blessed to be able to share the news of our wedding and our joy with you."
Said an acquaintance of Bumrah: "The wedding was attended by about 50, mostly family and relatives of the boy and girl, and was held at a resort here."
The wedding was not attended by India cricketers due to Covid-19, and and the attendance was limited,...
Bumrah on Monday tweeted the pictures of his wedding and wrote a Kahlil Gibran -- a Lebanese American writer -- quote on his timeline: "Love, if it finds you worthy, directs your course."
Bumrah further added on his timeline, "Steered by love, we have begun a new journey together. Today is one of the happiest days of our lives and we feel blessed to be able to share the news of our wedding and our joy with you."
Said an acquaintance of Bumrah: "The wedding was attended by about 50, mostly family and relatives of the boy and girl, and was held at a resort here."
The wedding was not attended by India cricketers due to Covid-19, and and the attendance was limited,...
- 3/15/2021
- by Glamsham Bureau
- GlamSham
It’s exactly one week after the insurrection at the U.S. Capitol, and her nerves having been frayed like a rodeo rope, Kacey Musgraves is today opting for some self-care. This is how she finds herself, raven tendrils piled carelessly atop her head, pale cheeks slightly flushed, in a floral and fetching Dolce & Gabbana swimsuit and up to her armpits in steaming hot water in a private session at Nashville’s Holiday Salon & Bathhouse (“Sweat Out Your Sins,” its bumper sticker beckons, with a cheekiness that could easily...
- 2/11/2021
- by Alex Morris
- Rollingstone.com
Exclusive: Salma Hayek’s Ventanarosa Productions has come on to develop Leslie’s Lehr’s book A Boob’s Life as a series for HBO Max, marking the first project they will develop under their new first-look deal with the company. A Boob’s Life is a half hour comedy about Leslie, a woman turning 40 and in crisis, whose life gets turned upside down when her boobs start talking to her, forcing her to look at herself in a completely different light. The show blows open the reality of life in a female body in a culture that is obsessed with breasts. The series will be based off Lehr’s book A Boob’s Life: How America’s Obsession Shaped Me—and You, which is being released on March 2 by Pegasus Books. Lehr will also serve as an executive producer.
Hayek will executive produce alongside Jose Tamez and Siobhan Flynn under their Ventanarosa Productions banner.
Hayek will executive produce alongside Jose Tamez and Siobhan Flynn under their Ventanarosa Productions banner.
- 2/4/2021
- by Justin Kroll
- Deadline Film + TV
Salma Hayek has signed a two-year first-look deal with HBO Max. As part of the pact, the actress, producer, director and Oscar nominee will first bring projects to the WarnerMedia-owned streaming service for potential development via her Ventanarosa production company. Jose Tamez, President of Ventanarosa, serves as her producing partner and Siobhan Flynn is their Head of Production & Development.
Tamez and Hayek have worked together for the past 20 years on films such as Frida, nominated for six Oscars including a lead actress nom for Hayek, Annie Award-nominated Kahlil Gibran’s The Prophet and Beatriz at Dinner. Together, they produced the Emmy, Golden Globe and Peabody Award-winning TV series Ugly Betty, as well as the TV movie In The Time Of The Butterflies.
“We are delighted to welcome the exceptionally multitalented powerhouse Salma Hayek and Ventanarosa into the HBO Max family,” said Sarah Aubrey, head of original content, HBO Max.
Tamez and Hayek have worked together for the past 20 years on films such as Frida, nominated for six Oscars including a lead actress nom for Hayek, Annie Award-nominated Kahlil Gibran’s The Prophet and Beatriz at Dinner. Together, they produced the Emmy, Golden Globe and Peabody Award-winning TV series Ugly Betty, as well as the TV movie In The Time Of The Butterflies.
“We are delighted to welcome the exceptionally multitalented powerhouse Salma Hayek and Ventanarosa into the HBO Max family,” said Sarah Aubrey, head of original content, HBO Max.
- 6/18/2020
- by Denise Petski
- Deadline Film + TV
Salma Hayek and her production company, Ventanarosa, have signed a two-year first-look deal with HBO Max.
Under the deal, Hayek will bring projects to HBO Max first for potential development. Jose Tamez, president of Ventanarosa, will serve as her producing partner. Siobhan Flynn is the company’s head of production and development.
“We are thrilled to be joining HBO Max and Warner Media,” Hayek said. “Their team of passionate, talented and open-minded executives are a great support in our mission to make high quality global television that explores and celebrates diversity and inclusivity.”
Hayek is the founder and CEO of Ventanarosa. She is an Academy Award-nominated actress, getting the nod for best actress in 2003 for her role in “Frida.” She is also known for her roles in films like “Beatriz at Dinner,” “As Luck Would Have It,” and “Desperado.”
“Ventanarosa has a history of bringing the most lively and rich...
Under the deal, Hayek will bring projects to HBO Max first for potential development. Jose Tamez, president of Ventanarosa, will serve as her producing partner. Siobhan Flynn is the company’s head of production and development.
“We are thrilled to be joining HBO Max and Warner Media,” Hayek said. “Their team of passionate, talented and open-minded executives are a great support in our mission to make high quality global television that explores and celebrates diversity and inclusivity.”
Hayek is the founder and CEO of Ventanarosa. She is an Academy Award-nominated actress, getting the nod for best actress in 2003 for her role in “Frida.” She is also known for her roles in films like “Beatriz at Dinner,” “As Luck Would Have It,” and “Desperado.”
“Ventanarosa has a history of bringing the most lively and rich...
- 6/18/2020
- by Joe Otterson
- Variety Film + TV
Ian McKellen, Lesley Manville, Lennie James and Joseph Fiennes are among the British talent delivering monologues as part of a new fundraising initiative by actors’ union Equity and actor Michelle Collins.
The #ForTheLoveofArts monologues are between 2-5 minutes long and recorded remotely at the actors’ homes in a bid to raise money for Equity during the coronavirus pandemic. Actors involved also include Miriam Margolyes, Adrian Dunbar, Alex Lawther, Elaine Paige, Mandeep Dhillon, Derek Jacobi and Sue Johnston, among many others.
In the clip below, Fiennes performs King Edward’s monologue from “Edward II” by Christopher Marlowe.
The project, which can be viewed on the Equity Benevolent Fund’s YouTube channel, also features a number of new, original pieces of writing from the likes of Hugh Dennis, Tom Wright, Damon Rochefort, Andrew Lynford, Chloe Moss, Susan Oudot, Martyn Hesford, Stewart Permutt, Tyler Rigby and Tony Grounds.
Genesis Pictures’ Debbie Gray and...
The #ForTheLoveofArts monologues are between 2-5 minutes long and recorded remotely at the actors’ homes in a bid to raise money for Equity during the coronavirus pandemic. Actors involved also include Miriam Margolyes, Adrian Dunbar, Alex Lawther, Elaine Paige, Mandeep Dhillon, Derek Jacobi and Sue Johnston, among many others.
In the clip below, Fiennes performs King Edward’s monologue from “Edward II” by Christopher Marlowe.
The project, which can be viewed on the Equity Benevolent Fund’s YouTube channel, also features a number of new, original pieces of writing from the likes of Hugh Dennis, Tom Wright, Damon Rochefort, Andrew Lynford, Chloe Moss, Susan Oudot, Martyn Hesford, Stewart Permutt, Tyler Rigby and Tony Grounds.
Genesis Pictures’ Debbie Gray and...
- 5/21/2020
- by Manori Ravindran
- Variety Film + TV
Could Zayn Malik be engaged, or getting ready to pop the question to Gigi Hadid? Some fans seem to think so, after a photo recently surfaced of the 27-year-old singer’s new arm tattoo. The fresh ink is an excerpt from On Marriage, a poem by Kahlil Gibran. “Sing and dance together and be joyous but let each one of you be alone,” the excerpt on...
- 5/7/2020
- by Brent Furdyk
- ET Canada
Len Blavatnik’s Access Entertainment has bought one of London’s oldest theaters.
The billionaire’s company, which is run by former BBC television chief Danny Cohen, has acquired the Theatre Royal Haymarket to boost both “much-loved” and “emerging” talent.
It was previously owned by Louis I Michaels and Enid Chanelle, whose son-in-law Arnold Crook put it up for sale.
The theater is currently showing Tartuffe, an adaptation of Moliere’s classic comedy, written by Dangerous Liaison and Atonement writer Christopher Hampton. It is set to launch Broken Wings, a musical based on Kahlil Gibran’s novel, in August.
Cohen said: “London’s West End is a world-leading powerhouse of artistic talent and through this acquisition we will contribute to its ongoing success. When it comes to great talent the boundaries between film, television and theatre have never been more porous, so this acquisition creates great opportunities for Access Entertainment across the world.
The billionaire’s company, which is run by former BBC television chief Danny Cohen, has acquired the Theatre Royal Haymarket to boost both “much-loved” and “emerging” talent.
It was previously owned by Louis I Michaels and Enid Chanelle, whose son-in-law Arnold Crook put it up for sale.
The theater is currently showing Tartuffe, an adaptation of Moliere’s classic comedy, written by Dangerous Liaison and Atonement writer Christopher Hampton. It is set to launch Broken Wings, a musical based on Kahlil Gibran’s novel, in August.
Cohen said: “London’s West End is a world-leading powerhouse of artistic talent and through this acquisition we will contribute to its ongoing success. When it comes to great talent the boundaries between film, television and theatre have never been more porous, so this acquisition creates great opportunities for Access Entertainment across the world.
- 6/19/2018
- by Peter White
- Deadline Film + TV
Anton Yelchin was commemorated by his family and costars Sunday in a touching and heartfelt celebration of life at the Hollywood Forever Cemetery in Los Angeles.
The actor, who died at the age of 27 in June 2016 after he was pinned by his own car at his Studio City, California, home, left an unforgettable impression on those who worked with him, such as Zoë Saldana, who starred alongside him in Star Trek.
“It is a bitter sweet moment, because we’re here for Anton, and he’s not here with us,” she said. “But, it alleviates my heart knowing that we’ll keep him alive.
The actor, who died at the age of 27 in June 2016 after he was pinned by his own car at his Studio City, California, home, left an unforgettable impression on those who worked with him, such as Zoë Saldana, who starred alongside him in Star Trek.
“It is a bitter sweet moment, because we’re here for Anton, and he’s not here with us,” she said. “But, it alleviates my heart knowing that we’ll keep him alive.
- 10/8/2017
- by Alexia Fernandez
- PEOPLE.com
There are few authors who are as popular and prolific as Dr. Deepak Chopra.
A frontrunner of integrative medicine and personal transformation, he stopped by People Now to discuss his 87th book Home: Where Everyone Is Welcome: Poems & Songs Inspired by American Immigrants and give insight into the benefits of meditation.
“America is built by immigrants. Almost everyone except the original American Indians are immigrants,” said Chopra when discussing the famous immigrants like Albert Einstein and Kahlil Gibran who served as the inspiration for the poems and songs featured in his book.
“We created this country.”
Along with discussing Home,...
A frontrunner of integrative medicine and personal transformation, he stopped by People Now to discuss his 87th book Home: Where Everyone Is Welcome: Poems & Songs Inspired by American Immigrants and give insight into the benefits of meditation.
“America is built by immigrants. Almost everyone except the original American Indians are immigrants,” said Chopra when discussing the famous immigrants like Albert Einstein and Kahlil Gibran who served as the inspiration for the poems and songs featured in his book.
“We created this country.”
Along with discussing Home,...
- 9/22/2017
- by Sam Gillette
- PEOPLE.com
Leeds Young Film festival | Essay film festival
Just in time for Easter, the largest family film event in the land is a pick-and-mix of trusted names and new work aimed at the over-fives, with animation to the fore. Disney’s Zootropolis opens proceedings, and there are workshops, masterclasses, free activities and previews involving Minecraft, Lego, Clangers, Bob The Builder and Adventure Time (a special first look that includes a new stop-motion episode). For older viewers there’s new anime such as Studio Ghibli’s Oscar-nominated When Marnie Was There, a Salma Hayek-produced version of Kahlil Gibran’s The Prophet, plus live-action features old and new. And, at Leeds Town Hall, there are immersive screenings themed around The Shawshank Redemption (where you’re literally a captive audience) and Willy Wonka And The Chocolate Factory (where you’re literally a kid in a candy store).
Continue reading...
Just in time for Easter, the largest family film event in the land is a pick-and-mix of trusted names and new work aimed at the over-fives, with animation to the fore. Disney’s Zootropolis opens proceedings, and there are workshops, masterclasses, free activities and previews involving Minecraft, Lego, Clangers, Bob The Builder and Adventure Time (a special first look that includes a new stop-motion episode). For older viewers there’s new anime such as Studio Ghibli’s Oscar-nominated When Marnie Was There, a Salma Hayek-produced version of Kahlil Gibran’s The Prophet, plus live-action features old and new. And, at Leeds Town Hall, there are immersive screenings themed around The Shawshank Redemption (where you’re literally a captive audience) and Willy Wonka And The Chocolate Factory (where you’re literally a kid in a candy store).
Continue reading...
- 3/18/2016
- by Steve Rose
- The Guardian - Film News
In this special episode of Off The Shelf, Ryan and Brian take a look at the new DVD and Blu-ray releases for Tuesday, January 26th 2016.
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Follow-Up Depatie-Freleng Supplements News Arrow Video: Cult Cinema sold out directly (Available from Amazon UK), BFI: Napoleon Criterion Collection: In A Lonely Place Disney: Star Wars: The Force Awakens on Blu-ray 4/5 Flicker Alley: Blu-ray Mod, film noirs John Carpenter Lost Themes II Kino: Tijuana Toads, Roland and Rattfink, Beware! The Blob, Eleni, Fuzz, Absolution, Masters of Cinema: April announcements tomorrow Olive Films: April titles Second Run: teaming up with Arrow Video Shout! Scream: Manhunter cover, MST3K Vol 2, NightHawks, I Saw What You Did / You’ll Like My Mother Thunderbean: Flip the Frog and Cubby Bear Twilight Time: New February titles available for pre-order on Wednesday February 3rd: Where The Sidewalk Ends, Cowboy, The Big Heat,...
Subscribe in iTunes or RSS.
Follow-Up Depatie-Freleng Supplements News Arrow Video: Cult Cinema sold out directly (Available from Amazon UK), BFI: Napoleon Criterion Collection: In A Lonely Place Disney: Star Wars: The Force Awakens on Blu-ray 4/5 Flicker Alley: Blu-ray Mod, film noirs John Carpenter Lost Themes II Kino: Tijuana Toads, Roland and Rattfink, Beware! The Blob, Eleni, Fuzz, Absolution, Masters of Cinema: April announcements tomorrow Olive Films: April titles Second Run: teaming up with Arrow Video Shout! Scream: Manhunter cover, MST3K Vol 2, NightHawks, I Saw What You Did / You’ll Like My Mother Thunderbean: Flip the Frog and Cubby Bear Twilight Time: New February titles available for pre-order on Wednesday February 3rd: Where The Sidewalk Ends, Cowboy, The Big Heat,...
- 2/3/2016
- by Ryan Gallagher
- CriterionCast
Every week we dive into the cream of the crop when it comes to home releases, including Blu-ray and DVDs, as well as recommended deals of the week. Check out our rundown below and return every Tuesday for the best (or most interesting) films one can take home. Note that if you’re looking to support the site, every purchase you make through the links below helps us and is greatly appreciated.
Bridge of Spies (Steven Spielberg)
Tom Hanks has a cold, and he needs to save America. A natural follow-up to Steven Spielberg’s Lincoln in its immersion into nitpicky political discussion, Bridge of Spies also distinguishes itself with a wittier, frequently downright sarcastic screenplay (mostly courtesy, one imagines, of the Coen brothers), more agile camerawork (the ten-minute opening jaunt through Mark Rylance’s Brooklyn morning has been a justified source of attention), and a different kind of lead...
Bridge of Spies (Steven Spielberg)
Tom Hanks has a cold, and he needs to save America. A natural follow-up to Steven Spielberg’s Lincoln in its immersion into nitpicky political discussion, Bridge of Spies also distinguishes itself with a wittier, frequently downright sarcastic screenplay (mostly courtesy, one imagines, of the Coen brothers), more agile camerawork (the ten-minute opening jaunt through Mark Rylance’s Brooklyn morning has been a justified source of attention), and a different kind of lead...
- 2/2/2016
- by TFS Staff
- The Film Stage
Say what you will about AMPAS, the Academy Award nomination process, or the lack of minority representation in the acting categories, but when it comes to the branch that selects the Best Animated Feature and Best Animated Short Film nominees, one has to agree they are by far the group that is most willing to look outside what studios are producing and truly champion the quality of the craft ignoring lavish campaigns for true artistry.
Read More: 6 International and Independent 2D-Animated Features in the Oscar Race
This year, while most experts and pundits had their predictions fixated on films such as “The Peanuts Movie, “a well-liked homage to Schultz’ characters, or Pixar’s less prodigious candidate “The Good Dinosaur,” members of the animation committee seemed to ignore the speculation and in a highly unexpected move bestowed the coveted recognition on two five films that reflect the eclectic and broad spectrum of the medium. Curiously enough, the popular choice, “Inside Out,” is in the outlier here, because it’s the only CG film nominated in the category. The other four finalists are handcrafted projects created outside the box-office smashing and toy-selling strategies of large corporations.
One is a stop-motion romance aimed at mature audiences; there is also a critically acclaimed Aardman Studios production inspired by one of its most beloved characters, and two are hand-drawn international features prompted to this level of exposure solely by their undeniable craftsmanship and compelling visual storytelling. These last two candidates couldn’t be more different in stylistic approach and cultural intricacies; however, the fact that they both belong to New York-based independent distributor Gkids’ catalog, places them within an elite collection of animated gems known for their unconventional excellence.
Read More: Review: Why Alê Abreu's Sublime 'Boy and the World' is the Best Animated Film of the Year
On January 14th as the as the nominees in the Best Animated Feature category at the 88th Academy Award were revealed, the most shocking appearance, at least for those not familiar with the title, was that of a completely independent and visionary work from Brazil. Alê Abreu‘s mesmerizing musical extravaganza “Boy and the World” has been profoundly adored by those who have given a chance from the very beginning, but that doesn’t always translate into the mass appreciation - much less into Oscar love. Its nomination represents a triumph for uncompromising artists and in particular for Latin American animation. “Boy and the World” is the region’s first nominee and undoubtedly the most achieved animated project ever produced there.
Abreu’s film is utterly unforgettable and can’t fully be compared to anything previously done in the medium. Such colorful singularity and its endearingly transcendent messages certainly stroke a chord with voters. Nostalgic childhood memories, social justice concerns, artistic rebellion against oppression, and a myriad of other poignant ideas expressed nonverbally with multiple dynamic techniques and a vivid score resonated far beyond the reach of cocktail parties. “Boy and the World” is animation in its purest, most inspired and most heartfelt form. Is art directly from the artist hand, and that’s invaluable.
Read More: How "Boy and the World" Director Alê Abreu Handcrafted His Heartfelt & Dazzling Animated Masterpiece
Moved by the unexpected nomination director Alê Abreu said, “I am so honored and happy to have our film recognized by the Academy, I have no words. Thank you! It was a great year for animation around the globe, and the Academy's continued recognition of our work will continue to inspire."
That morning, as Guillermo Del Toro read the names of the chosen films, another Gkids nominee was announced to most people’s disbelief. Ghibli is no stranger the Oscar race, but their latest and, for the time being, final film from the legendary Japanese studio, “When Marnie Was There,” opened back in May and seemed to have lost traction as larger productions appeared to dominate not only the box-office but also the collective consciousness of what films would be recognized by the Academy. But one should never ignore Ghibli’s magical way to connect emotionally with audiences and the painstaking effort that takes to create such beautifully drawn treasures. The inclusion of Hiromasa Yonebayashi’s touching coming-of-age story based on a British novel by the same name, rounds up one of the strongest and most distinct group of nominees to have competed for the Best Animated Feature Academy Award.
Ead More: Review: Wondrous 'When Marnie Was There' is One of Ghibli's Most Profoundly Moving Works
Humbled and grateful for the mention Yonebayashi noted, "I am delighted and honored that 'When Marnie Was There' has been selected by the Academy as a nominee for 'Best Animated Film' of 2015. The selection of the film truly is a tribute to the entire production staff of the film, to whom I express my sincere appreciation. I will continue to endeavor to make films that will be seen and enjoyed by many people. Thank you very much for this honor."
Since 2010 when it earned its first nomination for Tomm Moore’s “The Secret of Kells,” Gkids has collected a total of eight nominations making it a powerhouse in the category - one that pundits should stop underestimating. Gkids’ first double nomination came in 2012 with two very different offers, the moody, Hitchcockian “A Cat in Paris” and the Cuba-set Spanish production “Chico & Rita,“ which is one of the few adult-oriented animated features to have ever been nominated. With the adorable and delicately executed “Ernest & Celestine” Gkids earned its 4th nomination in 2014.
Read More: Why 'Kahlil Gibran's The Prophet' is a Cinematic Out-Of-Body Experience Brimming with Animated Wisdom
Last year’s frontrunner “The Lego Movie” was shut out, and while one can argue that the movie deserved to be included among that year’s achievements in the medium, when compared to what Moore and Isao Takahata did in their respective hand-drawn masterpieces “Song of the Sea” and the “The Tale of the Princess Kaguya,” it’s simply evident that the best films did in fact make the nominees list. the Princess Kaguya,” it’s simply evident that the best films did in fact make the nominees list. What’s unacceptable, however, is that a company with such a marvelous track record as Gkids is often only considered to be a contender at the nominations stage and has not won the award with any of their superb offers. Once winners reflect the diversity of the nominees in the category then there will finally be a level playing field.
Unfortunately, it’s true that when compared based on their domestic financial success Gkids films are miles away from reaching the large audiences that Pixar and DreamWorks do. Such fact is certainly not based on the achievements of their filmmakers, but on the system with few spaces for alternative options. What the Oscar nominations can do for films like "Boy and the World" and "When Marnie Was There" is to encourage those unaware of their existence to seek them out and allow themselves an experience that could not be provided under the pressures of a studio. At the same time, it proves that, occasionally and as it should be, making a fantastic film is enough to break through.
Read More: Carlos Aguilar's Best Films of 2015 (A Very Personal List)
For 2016, the independent company already has at least two films lined up to amuse their devout following and hopefully expose new audiences to the joys of animation from a global perspective. With French features “April and the Extraordinary World” and “Phantom Boy,” and the first-ever U.S. theatrical release of Takahata’s “Only Yesterday” Gkids will remain at the forefront of what global animation can be outside the multiplex.
Read More: 6 International and Independent 2D-Animated Features in the Oscar Race
This year, while most experts and pundits had their predictions fixated on films such as “The Peanuts Movie, “a well-liked homage to Schultz’ characters, or Pixar’s less prodigious candidate “The Good Dinosaur,” members of the animation committee seemed to ignore the speculation and in a highly unexpected move bestowed the coveted recognition on two five films that reflect the eclectic and broad spectrum of the medium. Curiously enough, the popular choice, “Inside Out,” is in the outlier here, because it’s the only CG film nominated in the category. The other four finalists are handcrafted projects created outside the box-office smashing and toy-selling strategies of large corporations.
One is a stop-motion romance aimed at mature audiences; there is also a critically acclaimed Aardman Studios production inspired by one of its most beloved characters, and two are hand-drawn international features prompted to this level of exposure solely by their undeniable craftsmanship and compelling visual storytelling. These last two candidates couldn’t be more different in stylistic approach and cultural intricacies; however, the fact that they both belong to New York-based independent distributor Gkids’ catalog, places them within an elite collection of animated gems known for their unconventional excellence.
Read More: Review: Why Alê Abreu's Sublime 'Boy and the World' is the Best Animated Film of the Year
On January 14th as the as the nominees in the Best Animated Feature category at the 88th Academy Award were revealed, the most shocking appearance, at least for those not familiar with the title, was that of a completely independent and visionary work from Brazil. Alê Abreu‘s mesmerizing musical extravaganza “Boy and the World” has been profoundly adored by those who have given a chance from the very beginning, but that doesn’t always translate into the mass appreciation - much less into Oscar love. Its nomination represents a triumph for uncompromising artists and in particular for Latin American animation. “Boy and the World” is the region’s first nominee and undoubtedly the most achieved animated project ever produced there.
Abreu’s film is utterly unforgettable and can’t fully be compared to anything previously done in the medium. Such colorful singularity and its endearingly transcendent messages certainly stroke a chord with voters. Nostalgic childhood memories, social justice concerns, artistic rebellion against oppression, and a myriad of other poignant ideas expressed nonverbally with multiple dynamic techniques and a vivid score resonated far beyond the reach of cocktail parties. “Boy and the World” is animation in its purest, most inspired and most heartfelt form. Is art directly from the artist hand, and that’s invaluable.
Read More: How "Boy and the World" Director Alê Abreu Handcrafted His Heartfelt & Dazzling Animated Masterpiece
Moved by the unexpected nomination director Alê Abreu said, “I am so honored and happy to have our film recognized by the Academy, I have no words. Thank you! It was a great year for animation around the globe, and the Academy's continued recognition of our work will continue to inspire."
That morning, as Guillermo Del Toro read the names of the chosen films, another Gkids nominee was announced to most people’s disbelief. Ghibli is no stranger the Oscar race, but their latest and, for the time being, final film from the legendary Japanese studio, “When Marnie Was There,” opened back in May and seemed to have lost traction as larger productions appeared to dominate not only the box-office but also the collective consciousness of what films would be recognized by the Academy. But one should never ignore Ghibli’s magical way to connect emotionally with audiences and the painstaking effort that takes to create such beautifully drawn treasures. The inclusion of Hiromasa Yonebayashi’s touching coming-of-age story based on a British novel by the same name, rounds up one of the strongest and most distinct group of nominees to have competed for the Best Animated Feature Academy Award.
Ead More: Review: Wondrous 'When Marnie Was There' is One of Ghibli's Most Profoundly Moving Works
Humbled and grateful for the mention Yonebayashi noted, "I am delighted and honored that 'When Marnie Was There' has been selected by the Academy as a nominee for 'Best Animated Film' of 2015. The selection of the film truly is a tribute to the entire production staff of the film, to whom I express my sincere appreciation. I will continue to endeavor to make films that will be seen and enjoyed by many people. Thank you very much for this honor."
Since 2010 when it earned its first nomination for Tomm Moore’s “The Secret of Kells,” Gkids has collected a total of eight nominations making it a powerhouse in the category - one that pundits should stop underestimating. Gkids’ first double nomination came in 2012 with two very different offers, the moody, Hitchcockian “A Cat in Paris” and the Cuba-set Spanish production “Chico & Rita,“ which is one of the few adult-oriented animated features to have ever been nominated. With the adorable and delicately executed “Ernest & Celestine” Gkids earned its 4th nomination in 2014.
Read More: Why 'Kahlil Gibran's The Prophet' is a Cinematic Out-Of-Body Experience Brimming with Animated Wisdom
Last year’s frontrunner “The Lego Movie” was shut out, and while one can argue that the movie deserved to be included among that year’s achievements in the medium, when compared to what Moore and Isao Takahata did in their respective hand-drawn masterpieces “Song of the Sea” and the “The Tale of the Princess Kaguya,” it’s simply evident that the best films did in fact make the nominees list. the Princess Kaguya,” it’s simply evident that the best films did in fact make the nominees list. What’s unacceptable, however, is that a company with such a marvelous track record as Gkids is often only considered to be a contender at the nominations stage and has not won the award with any of their superb offers. Once winners reflect the diversity of the nominees in the category then there will finally be a level playing field.
Unfortunately, it’s true that when compared based on their domestic financial success Gkids films are miles away from reaching the large audiences that Pixar and DreamWorks do. Such fact is certainly not based on the achievements of their filmmakers, but on the system with few spaces for alternative options. What the Oscar nominations can do for films like "Boy and the World" and "When Marnie Was There" is to encourage those unaware of their existence to seek them out and allow themselves an experience that could not be provided under the pressures of a studio. At the same time, it proves that, occasionally and as it should be, making a fantastic film is enough to break through.
Read More: Carlos Aguilar's Best Films of 2015 (A Very Personal List)
For 2016, the independent company already has at least two films lined up to amuse their devout following and hopefully expose new audiences to the joys of animation from a global perspective. With French features “April and the Extraordinary World” and “Phantom Boy,” and the first-ever U.S. theatrical release of Takahata’s “Only Yesterday” Gkids will remain at the forefront of what global animation can be outside the multiplex.
- 1/21/2016
- by Carlos Aguilar
- Sydney's Buzz
If the films of 2015 have a common denominator it’s the fearlessness with which filmmakers approached the medium and took it in new directions proving that innovation is still possible and that not everything, both in content and form, has been explored. From a comedy shot entirely on an iPhone starring transgender actresses, to a film in sign language designed to be screened without subtitles, to a stop-motion animated feature that emanates more humanity than most live-action efforts, to a new immersive vision of the Holocaust from an emerging auteur, or a Brazilian hand-drawn musical odyssey about the dangers of the modern world, all granted us experiences unlike anything we've previously seen.
It’s hard to tell how many films I watched this year but I’m sure they were many. From that vast pool of cinematic works the 30 films below are the ones that stood out the most and remained ingrained in my memory as rewarding, delightful, moving, and even harrowing accomplishments. There were also films that simply didn't connect as strongly with me as they did with other journalists and audiences, thus they don't appear here. This is after all, like all of them, a very personal and subjective list of the films I loved.
Even with such an extensive list there are still other great films that deserve to be mentioned such as "The Young and Prodigious T.S. Spivet," "Christmas, Again," "Mistress America," "Entertainment," "Felix and Meira," "Victoria," "Mustang," "The Wolfpack," "Xenia," Estonia's Oscar-nominated "Tangerines," "Buzzard," "The Salt of the Earth," "Guidance," "Cheatin'," "Black Souls,""The Mend," "Shaun The Sheep Movie," or "'71." One can only hope audiences will discover them and be compelled by their singular perspectives.
What were your favorite films of 2015?
Special Mention: "World of Tomorrow"
Don Hertzfeldt's thought-provoking and visionary Sundance-winning short "World of Tomorrow" is easily the best short film of the year, animated or otherwise. This 17-minute science fiction journey is a mind-bending study on the essence of humanity and how technology’s ferocious advances to know and control it all endanger our ability to notice what’s truly meaningful.
Read More: 'The 17th Annual Animation Show of Shows' is One of the Most Profound Cinematic Experiences of 2015
30. "It Follows"
The best horror film of the year proves that an intriguing premise embedded into an intelligently written screenplay can bring a refreshing point of view absent in most studio productions. Director David Robert Mitchell takes classic genre conventions and twists them into a terrifying tale with morally ambiguous undertones.
29. "The Gift"
Wearing multiple hats Joel Edgerton demonstrated his storytelling and acting talents in an unpredictable psychological thriller that’s as unassuming as it’s disconcerting. An old friend reappears in a married man’s life apparently seeking to rekindle their past bond, but soon enough his good intentions will unveil much more sinister motives that makes us question who the real villain is. A stunning and perversely brilliant film that thrives on its misguiding simplicity.
28. "Heaven Knows What"
An accomplishment both in technique and emotional power, “Heaven Knows What” is an eye-opening experience brimming with unflinching truth. From the streets to the screen, the unbelievable story of Arielle Holmes is a fascinating example of the rare occurrence when cinema and reality blend almost seamlessly.
Read More: 'Heaven Knows What' Directors Josh and Benny Safdie Are Addicted to the Truth
27. "Kahlil Gibran's The Prophet"
Spearheaded by producer Salma Hayek, director Roger Allers and 8 of the world's most talented independent animators took Gibran's timeless poems and assembled a cinematic out-of-body experience that deconstructs our existential yearnings and translates them into mesmerizing animated wisdom.
Read More: Why 'Kahlil Gibran's The Prophet' is a Cinematic Out-Of-Body Experience Brimming with Animated Wisdom
Read More: Salma Hayek on 'Kahlil Gibran's The Prophet': 'His Poetry Talks About the Simple Things in Life That Unite Us All'
26. "James White"
This emotionally devastating character study put Josh Mond in the director’s chair for the first time and allowed Christopher Abbott and Cynthia Nixon to delve into career-defining roles as a mother and a son struggling to accept each other’s shortcomings in the face of impending tragedy. Mond’s debut is an unforgettable portrait of unconditional love
25. "The Big Short"
The financial crisis and the white-collar criminals behind it are examined in an outrageously humorous and dynamically constructed adaptation of Michael Lewis's book. Director Adam McKay crafted his own visual language to paint a picture of capitalism in America that’s as brutally honest as it’s infuriating. His entire cast, in particular Christian Bale, Ryan Gosling, and Steve Carell, play along in this satirical exposé.
24. "The Second Mother"
Anna Muylaert’s crowd-pleasing, yet thematically complex gem delves into the intricacies of class in Brazilian society through the eyes of an endearing live-in maid. Regina Casé, in an Oscar-worthy performance, becomes Val, a diligent and humble housekeeper that has worked with the same wealthy family in Sao Paulo for many years and who only questions her role within this environment when her strange daughter comes to visit.
Read More: Anna Muylaert on Why the Protagonist of 'The Second Mother' is a Super Hero
23. "Kumiko The Treasure Hunter"
Losing grip on reality Kumiko, a solitary Japanese woman, leaves her monotonous and life and her adorable bunny Bunzo behind to search for the money Steve Buscemi’s character hides in the Cohen Brothers’ film “Fargo.” Knowing very little English and with no American contacts, she ventures in the Minnesotan wilderness. Armed with Rinko Kikuchi ’s outstanding performance, David Zellner and Nathan Zellner managed to create an endearing and poignant adventure at the intersection between fiction and reality.
22. "When Marnie Was There"
Notably current while still unequivocally timeless, Studio Ghibli’s latest film was confected with equal doses of heart-rending drama and life-affirming beauty. More than just a visually delightful tearjerker, "When Marnie Was There" is an animated lullaby that reassures our broken hearts will eventually heal- even from the most indomitable tricks of fate.
Read More: Review: Wondrous 'When Marnie Was There' is One of Ghibli's Most Profoundly Moving Works
21. "The Hateful Eight"
Sharp dialogue and the search for violent retribution are Tarantino staples, and in his latest Western the revered director channels these through a group of deceitful characters confined to a single location. Race relations are examined via the peculiar interactions of the murderous bunch - each with their ulterior motives and frightening reputation. With a magnificent score by Ennio Morricone, impeccable cinematography by Robert Richardson, and tonally perfect performances by the ensemble cast, in which Jennifer Jason Leigh and Kurt Russell are the highlights, “The Hateful Eight” is a highly entertaining addition to Tarantino's selective filmography.
20. "What We Do in the Shadows"
This masterful mockumentary capitalizes on the general public’s obsession with reality shows and the allure of vampirism and its promise of eternal life. Four ancient bloodsuckers share a house in Wellington, New Zealand and decide to let a crew film their day-to-day routines as vampires living in the modern world. What ensues are a series of intelligently written occurrences that transform every known convention about these creatures of the night into hysterical gags.
19. "The Revenant"
To say Alejandro González Iñárritu’s latest is breathtaking would be an understatement. Emmanuel Lubezkii’s work is absolutely astonishing. No other film this year captured this much beauty in every single frame. The Mexican-born Oscar-winning director has reached a new level of artistry here. Leonardo DiCaprio, in one of the best performances of his career, plays Hugh Glass, a man who escapes death to take revenge on the man who killed his son.
18. "Inside Out"
Pixar ventured into the difficult task of decoding the complexity of the human psyche in one of their best features to date. Emotions take on humanoid form in the brain of a young girl adjusting to life in anew city. Joy, Sadness, Anger, Fear, and Disgust must work together to shape her blossoming personality. “Inside Out” also gifted us Bing Bong, who will go down as one of the most memorable animated characters to ever grace the screen.
17. "Ex Machina"
Artificial intelligence crosses the boundaries of mere functionality to become self-aware and to replicate the behaviors of mortals in Alex Garland “Ex Machina.” The provocative screenplay evolves into a fascinating and often unsettling dissection of what it means to be a human being and the seemingly godlike power that comes from creating technology that resembles such qualities. Alicia Vikander is riveting as Ava - a mysterious female A.I.
16. "The Diary of a Teenager Girl"
Bel Powley is this year’s acting revelation and Marielle Heller the woman behind this charming, uncompromising, and original coming of age film, is one of most exciting new directors to emerge in recent memory. Burgeoning female sexuality is treated without moral judgment or shame, and it’s instead embraced in an empowering manner that overflows with truthfulness and charisma. Both Kristen Wiig and Alexander Skarsgård are outstanding in substantial supporting roles.
15. "Taxi"
Despite being banned from filmmaking by the Iranian government, Jafar Panahi continues to bravely expose the political and social problems of his home country with films shot in secrecy. “Taxi” takes the director through the streets of Tehran as he picks up an array of passengers with distinct concerns, beliefs, and opinions on the Islamic nation’s current situation: a young girl trying to make a “distributable” film, a guy who considers selling pirated films a cultural campaign, or a pair of elderly women whose fate depends on the survival of a couple fish. Though scripted, each encounter exudes honesty.
14. "The Duke of Burgundy"
Intoxicatingly atmospheric and full of evocative imagery, Peter Strickland’s follow up to his similarly unusual debut “Berberian Sound Studio” looks at the psychology of sexual desires with a seductive gaze. The line dividing power and submission is blurred and interchangeable between two lovers whose turbulent relationship is juxtaposed with the nature of butterflies. Eroticism derived from degradation and punishment is elegantly approached that suggest more than it explicitly shows.
13. "Phoenix"
The final sequence in this new collaboration between writer/director Christian Petzold and actress Nina Hoss is one of the best conclusions ever written. It’s subtle, yet strikingly revelatory. Departing from a Hitchcockian mistaken identity plot from the point of view of a concentration camp survivor, Petzold delves into Germany’s post war sentiments of guilt and the beginning of the long road to rebuild a superficially and morally shattered nation. “Phoenix” is also a love story coated in betrayal and the harsh realization that, when tested, even the strongest bond can be destroyed. Hoss gives an awards-deserving, restrained and perfectly nuanced performance.
Read More: Christian Petzold's 'Phoenix' is a Deeply Moving Film About Survivors Rebuilding Their Lives
12. "Timbuktu"
Today, perhaps more than ever, a film like Abderrahmane Sissako’s spellbinding “Timbuktu” is imperative. Capturing some of the most beautiful African landscapes ever seen on film and delicately arranging his stories to create a tapestry of human experiences, Sissako’s latest doesn’t abide by any political or religious dogma. Instead, his vision preaches openness and denounces the terrifying absurdity of the world according to extremist.
Read More: Promoting Tolerance: Abderrahmane Sissako on 'Timbuktu' and a Different Kind of Islam
11. "The Voices"
Playing Jerry, the most charming serial killer you’ll ever meet, Ryan Reynolds gives the best performance of his career in Marjane Satrapi’s wonderfully insane horror comedy. Adding to his already outstanding work as the lovable, if unstable young man, Reynolds also voices both of his character's opinionated pets. Stay tuned after the film for one of the most ridiculous credit sequences ever.
Read More: Too Insane To Ignore: Marjane Satrapi On Her Fascinating Sundance Horror-Comedy 'The Voices'
10. "Güeros"
Using one of the most cosmopolitan and complex cities in the world as his canvas, Mexican filmmaker Alonso Ruizpalacios delivered an audaciously original story that delves into many unique aspects of Mexican society wrapped up into a road trip adventure that helps two estrange brothers reconnect.
It’s a revitalizing work, and one of the best Mexican films of the last decade.
Read More: In 'Güeros' Dir. Alonso Ruizpalacios Rediscovered Mexico City Via a Unique Road Trip
9. "Me and Earl and the Dying Girl"
Read More: How Alfonso Gomez-Rejon Used Determinación to Go From a Small Town to Nyu to Sundance
Alfonso Gomez-Rejon's Sundance champion is a tonally nuanced and visually inventive work that ingeniously beguiles you to fall in love with every instant of its strangely imaginative magic. This tragicomedy invokes tropes from a familiar realm and deconstructs or tailors them to the uniquely poignant circumstances of it's characters. It's nothing short of a cinephile's dream come true.
Read More: This is the Review That Tells You Why 'Me and Earl and the Dying Girl' is a Cinephile's Dream Come True
8. "A Pigeon Sat on a Branch Reflecting on Existence"
Constructed of gorgeously understated vignettes, which guide us through the grandeur of life by methodically focusing on the smallest but most resonant instants of it, "A Pigeon Sat on a Branch Reflecting on Existence" by Swedish writer/director Roy Andersson won the Golden Lion at last’s year’s Venice Film Festival. Delving into a wide range of quotidian dilemmas via darkly comedic exploits, this episodic tour de force is as insightful as it’s blissfully entertaining and distinctively stylized.
Read More: 7 Reasons Why Roy Andersson's Latest Film is a Must-See Philosophical Wonder
7. "Tangerine"
Sean Baker's riotous and perfectly acted latest film shot on an iPhone “Tangerine” centers on Alexandra (Mya Taylor) and Sin-Dee (Kitana Kiki Rodriguez), two transgender sex workers on Santa Monica Boulevard who struggle to get by while dealing with heartbreak, revenge, and their dreams.
Baker captured an unseen side of Los Angeles through the eyes of two equally underrepresented characters who get a chance to showcase their comedic brilliance.
Read More: How Sean Baker Used Beautiful Accidents and New Talent to Deliver one of the Best Films of the Year
6. "The Look of Silence"
For “The Look of Silence,” the indispensable companion piece to "The Act of Killing," director Joshua Oppenheimer focused on the survivors, specifically on a brave family that persevered through the immeasurable pain that quietly permeates Indonesian society even half a century after the genocide. The subjects here are often quiet and contemplative, but their anguish transcends even when words fail to describe their tumultuous sentiments.
Read More: 12 Things Joshua Oppenheimer Wants You to Know About 'The Look of Silence'
5. "Anomalisa"
In "Anomalisa," a delicately melancholic observation on loneliness and the flawed human condition, acclaimed writer-director Charlie Kaufman and co-director Duke Johnson use stop-motion animation to tell a story of small proportions and big ideas. These existential observations include our fears, failures, insecurities and our desperate need to be loved by someone who can look pass our conspicuous scars.
Read More: Human at the Seams: Charlie Kaufman and Duke Johnson Make Yearning Tangible in 'Anomalisa'
4. "The Tribe"
“The Tribe,” by Ukrainian debutant Miroslav Slaboshpitsky, is a film that communicates with its audience in a non-verbal manner. There are no subtitles or any other way to know exactly what the characters on screen are saying, but that’s never an issue for it to powerfully make its message heard. It’s the purest form of cinema because it can be shown anywhere in the world without modification, and the devastating result would be the same.
Read More: Interviewing Yana Novikova, Star of 'The Tribe,' Was a One-of-a-Kind Experience
3. "Boy and the World"
Alê Abreu’s “Boy and the World” is unequivocally the best animated film of the year. Drawn with the finest ends of an artist's heartstrings and painted with the colorful essence of undefeatable hope, Abreu’s utterly lyrical, visually captivating, musically driven, and extraordinarily sophisticated treasure is the animated equivalent of a childhood dream that thrives on sweet innocence and the pure ability to see the world truthfully for its dazzling beauty and its man-made dangers. As it continues to spellbind the globe with its unconventional artistry and thought-provoking observations, an Oscar nomination would be a more than deserved crown jewel.
Read More:Review: Why Alê Abreu's Sublime 'Boy and the World' is the Best Animated Film of the Year
Read More: How "Boy and the World" Director Alê Abreu Handcrafted His Heartfelt & Dazzling Animated Masterpiece
2. "Carol"
Exquisitely photographed and fueled by the two best performances of the year, Todd Haynes “Carol” depicts an ethereal and ravishing romance that’s sure to take your breath away. Rooney Mara and Cate Blanchett play two women from opposite worlds that meet serendipitously and fall madly in love for each other in a time yet unwilling to accept them. Carol (Blanchett) is a wealthy mother and wife whose desires are used against her threatening to stripped her of what she loves the most. On the other hand Therese (Mara) is a working class girl discovering herself and who finds the strength to follow her true instincts in Carol. Heartbreak has rarely been portrayed with such a delicate touch, thoughtfulness, and sincerity. Beneath the glossy Christmas-tinted frames is a story as universal as it is particular in which a single pleading look disarms you. Few films will make you feel such tangible and pure yearning to connect with another soul as Haynes masterwork does.
1. "Son of Saul"
First-time director László Nemes decided to look at the terrifying apparatus behind the Holocaust from the perspective of the Sonderkommando, a group of men whose experience was exponentially more harrowing than that of the average victim. Nemes focuses on a particular man, Saul (Géza Röhrig), a fictional character created from the limited information available on this special group and the filmmaker’s artistic sensibilities.“Son of Saul” is not only the best film of the year, but also the most ambitious debut in ages. Both conceptually and visually, the dynamic, yet organically contemplative vision of one man’s ordeal as he walks through the gates the hell is the work of a master auteur.
Read More: 12 Things Director László Nemes and Star Géza Röhrig Want You to Know About 'Son of Saul'...
It’s hard to tell how many films I watched this year but I’m sure they were many. From that vast pool of cinematic works the 30 films below are the ones that stood out the most and remained ingrained in my memory as rewarding, delightful, moving, and even harrowing accomplishments. There were also films that simply didn't connect as strongly with me as they did with other journalists and audiences, thus they don't appear here. This is after all, like all of them, a very personal and subjective list of the films I loved.
Even with such an extensive list there are still other great films that deserve to be mentioned such as "The Young and Prodigious T.S. Spivet," "Christmas, Again," "Mistress America," "Entertainment," "Felix and Meira," "Victoria," "Mustang," "The Wolfpack," "Xenia," Estonia's Oscar-nominated "Tangerines," "Buzzard," "The Salt of the Earth," "Guidance," "Cheatin'," "Black Souls,""The Mend," "Shaun The Sheep Movie," or "'71." One can only hope audiences will discover them and be compelled by their singular perspectives.
What were your favorite films of 2015?
Special Mention: "World of Tomorrow"
Don Hertzfeldt's thought-provoking and visionary Sundance-winning short "World of Tomorrow" is easily the best short film of the year, animated or otherwise. This 17-minute science fiction journey is a mind-bending study on the essence of humanity and how technology’s ferocious advances to know and control it all endanger our ability to notice what’s truly meaningful.
Read More: 'The 17th Annual Animation Show of Shows' is One of the Most Profound Cinematic Experiences of 2015
30. "It Follows"
The best horror film of the year proves that an intriguing premise embedded into an intelligently written screenplay can bring a refreshing point of view absent in most studio productions. Director David Robert Mitchell takes classic genre conventions and twists them into a terrifying tale with morally ambiguous undertones.
29. "The Gift"
Wearing multiple hats Joel Edgerton demonstrated his storytelling and acting talents in an unpredictable psychological thriller that’s as unassuming as it’s disconcerting. An old friend reappears in a married man’s life apparently seeking to rekindle their past bond, but soon enough his good intentions will unveil much more sinister motives that makes us question who the real villain is. A stunning and perversely brilliant film that thrives on its misguiding simplicity.
28. "Heaven Knows What"
An accomplishment both in technique and emotional power, “Heaven Knows What” is an eye-opening experience brimming with unflinching truth. From the streets to the screen, the unbelievable story of Arielle Holmes is a fascinating example of the rare occurrence when cinema and reality blend almost seamlessly.
Read More: 'Heaven Knows What' Directors Josh and Benny Safdie Are Addicted to the Truth
27. "Kahlil Gibran's The Prophet"
Spearheaded by producer Salma Hayek, director Roger Allers and 8 of the world's most talented independent animators took Gibran's timeless poems and assembled a cinematic out-of-body experience that deconstructs our existential yearnings and translates them into mesmerizing animated wisdom.
Read More: Why 'Kahlil Gibran's The Prophet' is a Cinematic Out-Of-Body Experience Brimming with Animated Wisdom
Read More: Salma Hayek on 'Kahlil Gibran's The Prophet': 'His Poetry Talks About the Simple Things in Life That Unite Us All'
26. "James White"
This emotionally devastating character study put Josh Mond in the director’s chair for the first time and allowed Christopher Abbott and Cynthia Nixon to delve into career-defining roles as a mother and a son struggling to accept each other’s shortcomings in the face of impending tragedy. Mond’s debut is an unforgettable portrait of unconditional love
25. "The Big Short"
The financial crisis and the white-collar criminals behind it are examined in an outrageously humorous and dynamically constructed adaptation of Michael Lewis's book. Director Adam McKay crafted his own visual language to paint a picture of capitalism in America that’s as brutally honest as it’s infuriating. His entire cast, in particular Christian Bale, Ryan Gosling, and Steve Carell, play along in this satirical exposé.
24. "The Second Mother"
Anna Muylaert’s crowd-pleasing, yet thematically complex gem delves into the intricacies of class in Brazilian society through the eyes of an endearing live-in maid. Regina Casé, in an Oscar-worthy performance, becomes Val, a diligent and humble housekeeper that has worked with the same wealthy family in Sao Paulo for many years and who only questions her role within this environment when her strange daughter comes to visit.
Read More: Anna Muylaert on Why the Protagonist of 'The Second Mother' is a Super Hero
23. "Kumiko The Treasure Hunter"
Losing grip on reality Kumiko, a solitary Japanese woman, leaves her monotonous and life and her adorable bunny Bunzo behind to search for the money Steve Buscemi’s character hides in the Cohen Brothers’ film “Fargo.” Knowing very little English and with no American contacts, she ventures in the Minnesotan wilderness. Armed with Rinko Kikuchi ’s outstanding performance, David Zellner and Nathan Zellner managed to create an endearing and poignant adventure at the intersection between fiction and reality.
22. "When Marnie Was There"
Notably current while still unequivocally timeless, Studio Ghibli’s latest film was confected with equal doses of heart-rending drama and life-affirming beauty. More than just a visually delightful tearjerker, "When Marnie Was There" is an animated lullaby that reassures our broken hearts will eventually heal- even from the most indomitable tricks of fate.
Read More: Review: Wondrous 'When Marnie Was There' is One of Ghibli's Most Profoundly Moving Works
21. "The Hateful Eight"
Sharp dialogue and the search for violent retribution are Tarantino staples, and in his latest Western the revered director channels these through a group of deceitful characters confined to a single location. Race relations are examined via the peculiar interactions of the murderous bunch - each with their ulterior motives and frightening reputation. With a magnificent score by Ennio Morricone, impeccable cinematography by Robert Richardson, and tonally perfect performances by the ensemble cast, in which Jennifer Jason Leigh and Kurt Russell are the highlights, “The Hateful Eight” is a highly entertaining addition to Tarantino's selective filmography.
20. "What We Do in the Shadows"
This masterful mockumentary capitalizes on the general public’s obsession with reality shows and the allure of vampirism and its promise of eternal life. Four ancient bloodsuckers share a house in Wellington, New Zealand and decide to let a crew film their day-to-day routines as vampires living in the modern world. What ensues are a series of intelligently written occurrences that transform every known convention about these creatures of the night into hysterical gags.
19. "The Revenant"
To say Alejandro González Iñárritu’s latest is breathtaking would be an understatement. Emmanuel Lubezkii’s work is absolutely astonishing. No other film this year captured this much beauty in every single frame. The Mexican-born Oscar-winning director has reached a new level of artistry here. Leonardo DiCaprio, in one of the best performances of his career, plays Hugh Glass, a man who escapes death to take revenge on the man who killed his son.
18. "Inside Out"
Pixar ventured into the difficult task of decoding the complexity of the human psyche in one of their best features to date. Emotions take on humanoid form in the brain of a young girl adjusting to life in anew city. Joy, Sadness, Anger, Fear, and Disgust must work together to shape her blossoming personality. “Inside Out” also gifted us Bing Bong, who will go down as one of the most memorable animated characters to ever grace the screen.
17. "Ex Machina"
Artificial intelligence crosses the boundaries of mere functionality to become self-aware and to replicate the behaviors of mortals in Alex Garland “Ex Machina.” The provocative screenplay evolves into a fascinating and often unsettling dissection of what it means to be a human being and the seemingly godlike power that comes from creating technology that resembles such qualities. Alicia Vikander is riveting as Ava - a mysterious female A.I.
16. "The Diary of a Teenager Girl"
Bel Powley is this year’s acting revelation and Marielle Heller the woman behind this charming, uncompromising, and original coming of age film, is one of most exciting new directors to emerge in recent memory. Burgeoning female sexuality is treated without moral judgment or shame, and it’s instead embraced in an empowering manner that overflows with truthfulness and charisma. Both Kristen Wiig and Alexander Skarsgård are outstanding in substantial supporting roles.
15. "Taxi"
Despite being banned from filmmaking by the Iranian government, Jafar Panahi continues to bravely expose the political and social problems of his home country with films shot in secrecy. “Taxi” takes the director through the streets of Tehran as he picks up an array of passengers with distinct concerns, beliefs, and opinions on the Islamic nation’s current situation: a young girl trying to make a “distributable” film, a guy who considers selling pirated films a cultural campaign, or a pair of elderly women whose fate depends on the survival of a couple fish. Though scripted, each encounter exudes honesty.
14. "The Duke of Burgundy"
Intoxicatingly atmospheric and full of evocative imagery, Peter Strickland’s follow up to his similarly unusual debut “Berberian Sound Studio” looks at the psychology of sexual desires with a seductive gaze. The line dividing power and submission is blurred and interchangeable between two lovers whose turbulent relationship is juxtaposed with the nature of butterflies. Eroticism derived from degradation and punishment is elegantly approached that suggest more than it explicitly shows.
13. "Phoenix"
The final sequence in this new collaboration between writer/director Christian Petzold and actress Nina Hoss is one of the best conclusions ever written. It’s subtle, yet strikingly revelatory. Departing from a Hitchcockian mistaken identity plot from the point of view of a concentration camp survivor, Petzold delves into Germany’s post war sentiments of guilt and the beginning of the long road to rebuild a superficially and morally shattered nation. “Phoenix” is also a love story coated in betrayal and the harsh realization that, when tested, even the strongest bond can be destroyed. Hoss gives an awards-deserving, restrained and perfectly nuanced performance.
Read More: Christian Petzold's 'Phoenix' is a Deeply Moving Film About Survivors Rebuilding Their Lives
12. "Timbuktu"
Today, perhaps more than ever, a film like Abderrahmane Sissako’s spellbinding “Timbuktu” is imperative. Capturing some of the most beautiful African landscapes ever seen on film and delicately arranging his stories to create a tapestry of human experiences, Sissako’s latest doesn’t abide by any political or religious dogma. Instead, his vision preaches openness and denounces the terrifying absurdity of the world according to extremist.
Read More: Promoting Tolerance: Abderrahmane Sissako on 'Timbuktu' and a Different Kind of Islam
11. "The Voices"
Playing Jerry, the most charming serial killer you’ll ever meet, Ryan Reynolds gives the best performance of his career in Marjane Satrapi’s wonderfully insane horror comedy. Adding to his already outstanding work as the lovable, if unstable young man, Reynolds also voices both of his character's opinionated pets. Stay tuned after the film for one of the most ridiculous credit sequences ever.
Read More: Too Insane To Ignore: Marjane Satrapi On Her Fascinating Sundance Horror-Comedy 'The Voices'
10. "Güeros"
Using one of the most cosmopolitan and complex cities in the world as his canvas, Mexican filmmaker Alonso Ruizpalacios delivered an audaciously original story that delves into many unique aspects of Mexican society wrapped up into a road trip adventure that helps two estrange brothers reconnect.
It’s a revitalizing work, and one of the best Mexican films of the last decade.
Read More: In 'Güeros' Dir. Alonso Ruizpalacios Rediscovered Mexico City Via a Unique Road Trip
9. "Me and Earl and the Dying Girl"
Read More: How Alfonso Gomez-Rejon Used Determinación to Go From a Small Town to Nyu to Sundance
Alfonso Gomez-Rejon's Sundance champion is a tonally nuanced and visually inventive work that ingeniously beguiles you to fall in love with every instant of its strangely imaginative magic. This tragicomedy invokes tropes from a familiar realm and deconstructs or tailors them to the uniquely poignant circumstances of it's characters. It's nothing short of a cinephile's dream come true.
Read More: This is the Review That Tells You Why 'Me and Earl and the Dying Girl' is a Cinephile's Dream Come True
8. "A Pigeon Sat on a Branch Reflecting on Existence"
Constructed of gorgeously understated vignettes, which guide us through the grandeur of life by methodically focusing on the smallest but most resonant instants of it, "A Pigeon Sat on a Branch Reflecting on Existence" by Swedish writer/director Roy Andersson won the Golden Lion at last’s year’s Venice Film Festival. Delving into a wide range of quotidian dilemmas via darkly comedic exploits, this episodic tour de force is as insightful as it’s blissfully entertaining and distinctively stylized.
Read More: 7 Reasons Why Roy Andersson's Latest Film is a Must-See Philosophical Wonder
7. "Tangerine"
Sean Baker's riotous and perfectly acted latest film shot on an iPhone “Tangerine” centers on Alexandra (Mya Taylor) and Sin-Dee (Kitana Kiki Rodriguez), two transgender sex workers on Santa Monica Boulevard who struggle to get by while dealing with heartbreak, revenge, and their dreams.
Baker captured an unseen side of Los Angeles through the eyes of two equally underrepresented characters who get a chance to showcase their comedic brilliance.
Read More: How Sean Baker Used Beautiful Accidents and New Talent to Deliver one of the Best Films of the Year
6. "The Look of Silence"
For “The Look of Silence,” the indispensable companion piece to "The Act of Killing," director Joshua Oppenheimer focused on the survivors, specifically on a brave family that persevered through the immeasurable pain that quietly permeates Indonesian society even half a century after the genocide. The subjects here are often quiet and contemplative, but their anguish transcends even when words fail to describe their tumultuous sentiments.
Read More: 12 Things Joshua Oppenheimer Wants You to Know About 'The Look of Silence'
5. "Anomalisa"
In "Anomalisa," a delicately melancholic observation on loneliness and the flawed human condition, acclaimed writer-director Charlie Kaufman and co-director Duke Johnson use stop-motion animation to tell a story of small proportions and big ideas. These existential observations include our fears, failures, insecurities and our desperate need to be loved by someone who can look pass our conspicuous scars.
Read More: Human at the Seams: Charlie Kaufman and Duke Johnson Make Yearning Tangible in 'Anomalisa'
4. "The Tribe"
“The Tribe,” by Ukrainian debutant Miroslav Slaboshpitsky, is a film that communicates with its audience in a non-verbal manner. There are no subtitles or any other way to know exactly what the characters on screen are saying, but that’s never an issue for it to powerfully make its message heard. It’s the purest form of cinema because it can be shown anywhere in the world without modification, and the devastating result would be the same.
Read More: Interviewing Yana Novikova, Star of 'The Tribe,' Was a One-of-a-Kind Experience
3. "Boy and the World"
Alê Abreu’s “Boy and the World” is unequivocally the best animated film of the year. Drawn with the finest ends of an artist's heartstrings and painted with the colorful essence of undefeatable hope, Abreu’s utterly lyrical, visually captivating, musically driven, and extraordinarily sophisticated treasure is the animated equivalent of a childhood dream that thrives on sweet innocence and the pure ability to see the world truthfully for its dazzling beauty and its man-made dangers. As it continues to spellbind the globe with its unconventional artistry and thought-provoking observations, an Oscar nomination would be a more than deserved crown jewel.
Read More:Review: Why Alê Abreu's Sublime 'Boy and the World' is the Best Animated Film of the Year
Read More: How "Boy and the World" Director Alê Abreu Handcrafted His Heartfelt & Dazzling Animated Masterpiece
2. "Carol"
Exquisitely photographed and fueled by the two best performances of the year, Todd Haynes “Carol” depicts an ethereal and ravishing romance that’s sure to take your breath away. Rooney Mara and Cate Blanchett play two women from opposite worlds that meet serendipitously and fall madly in love for each other in a time yet unwilling to accept them. Carol (Blanchett) is a wealthy mother and wife whose desires are used against her threatening to stripped her of what she loves the most. On the other hand Therese (Mara) is a working class girl discovering herself and who finds the strength to follow her true instincts in Carol. Heartbreak has rarely been portrayed with such a delicate touch, thoughtfulness, and sincerity. Beneath the glossy Christmas-tinted frames is a story as universal as it is particular in which a single pleading look disarms you. Few films will make you feel such tangible and pure yearning to connect with another soul as Haynes masterwork does.
1. "Son of Saul"
First-time director László Nemes decided to look at the terrifying apparatus behind the Holocaust from the perspective of the Sonderkommando, a group of men whose experience was exponentially more harrowing than that of the average victim. Nemes focuses on a particular man, Saul (Géza Röhrig), a fictional character created from the limited information available on this special group and the filmmaker’s artistic sensibilities.“Son of Saul” is not only the best film of the year, but also the most ambitious debut in ages. Both conceptually and visually, the dynamic, yet organically contemplative vision of one man’s ordeal as he walks through the gates the hell is the work of a master auteur.
Read More: 12 Things Director László Nemes and Star Géza Röhrig Want You to Know About 'Son of Saul'...
- 12/31/2015
- by Carlos Aguilar
- Sydney's Buzz
The last few days of 2015 are spent in reflection about the year that's just wrapping up and in anticipation of the year just ahead, at least for me, and since we had our ten best list last week, this week it's time for the runners-up, the fifteen films that also filled out our year. As always, I look at this list and I think it would make a perfectly spiffy top ten if that's how things had shaken out, which is to say that the only real purpose of any of these lists is to remind you of more of the experiences that were worth having in a theater. There are plenty of good films that aren't on either of my lists this year. That doesn't mean I didn't like them or they're not good. It just means that these films meant more to me for some reason. For now,...
- 12/31/2015
- by Drew McWeeny
- Hitfix
'The Peanuts Movie': 2016 Best Original Score Oscar contender along with 111 other titles. Oscar 2016: Best Original Score contenders range from 'Mad Max: Fury Road' to 'The Peanuts Movie' Earlier this month (Dec. '15), the Academy of Motion Picture Arts and Sciences made public the list of 112 film scores eligible for the 2016 Oscar in the Best Original Score category. As found in the Academy's press release, “a Reminder List of works submitted in the Original Score category will be made available with a nominations ballot to all members of the Music Branch, who shall vote in the order of their preference for not more than five achievements. The five achievements receiving the highest number of votes will become the nominations for final voting for the award.” The release adds that “to be eligible, the original score must be a substantial body of music that serves as original dramatic underscoring, and must...
- 12/24/2015
- by Mont. Steve
- Alt Film Guide
Salma Hayek produced the animated film "Kahlil Gibran's The Prophet" and also voices one of its characters. As she explains during our recent webcam chat (watch below), "I don't have an agenda for [audiences] to take anything specific out of it. Everybody takes something different, and this is what I'm most proud of," But even though the story inspires different people in different ways, "My main hope is that you become compassionate not because there are sad things in the movie that are going to make you feel sorry for someone, but because it makes you ponder those things that connect us all." -Break- Subscribe to Gold Derby Breaking News Alerts & Experts’ Latest Oscar Predictions "The Prophet" is based on Kahlil Gibran's 1923 book of prose poems on life, death, love and everything in-between. It's not a traditional narrative, so Hayek had the idea of creating ...'...
- 12/17/2015
- Gold Derby
The Academy of Motion Picture Arts and Sciences today announced that 112 scores from eligible feature-length motion pictures released in 2015 are in contention for nominations in the Original Score category for the 88th Academy Awards.
The eligible scores along with their composers are listed below, in alphabetical order by film title:
“Adult Beginners,” Marcelo Zarvos, composer
“The Age of Adaline,” Rob Simonsen, composer
“Altered Minds,” Edmund Choi, composer
“Alvin and the Chipmunks: The Road Chip,” Mark Mothersbaugh, composer
“Anomalisa,” Carter Burwell, composer
“Ant-Man,” Christophe Beck, composer
“Beasts of No Nation,” Dan Romer, composer
“The Big Short,” Nicholas Britell, composer
“Black Mass,” Tom Holkenborg, composer
“Bridge of Spies,” Thomas Newman, composer
“Brooklyn,” Michael Brook, composer
“Burnt,” Rob Simonsen, composer
“By the Sea,” Gabriel Yared, composer
“Carol,” Carter Burwell, composer
“Cartel Land,” H. Scott Salinas and Jackson Greenberg, composers
“Chi-Raq,” Terence Blanchard, composer
“Cinderella,” Patrick Doyle, composer
“Coming Home,” Qigang Chen, composer
“Concussion,...
The eligible scores along with their composers are listed below, in alphabetical order by film title:
“Adult Beginners,” Marcelo Zarvos, composer
“The Age of Adaline,” Rob Simonsen, composer
“Altered Minds,” Edmund Choi, composer
“Alvin and the Chipmunks: The Road Chip,” Mark Mothersbaugh, composer
“Anomalisa,” Carter Burwell, composer
“Ant-Man,” Christophe Beck, composer
“Beasts of No Nation,” Dan Romer, composer
“The Big Short,” Nicholas Britell, composer
“Black Mass,” Tom Holkenborg, composer
“Bridge of Spies,” Thomas Newman, composer
“Brooklyn,” Michael Brook, composer
“Burnt,” Rob Simonsen, composer
“By the Sea,” Gabriel Yared, composer
“Carol,” Carter Burwell, composer
“Cartel Land,” H. Scott Salinas and Jackson Greenberg, composers
“Chi-Raq,” Terence Blanchard, composer
“Cinderella,” Patrick Doyle, composer
“Coming Home,” Qigang Chen, composer
“Concussion,...
- 12/17/2015
- by Michelle McCue
- WeAreMovieGeeks.com
A total of 16 films were submitted for consideration in the Best Animated Feature category at the 88th Oscars. After being absent from the race last year, powerhouse Pixar returns with two films, “Inside Out” and "The Good Dinosaur," of which the former is the clear front-runner. Stop-motion animation is represented by two contenders, Charlie Kaufman and Duke Johnson’s critical hit “Anomalisa” and the equally celebrated, though less contemplative, “Shaun the Sheep Movie” from Oscar-winning Aardman. Of the other major studios the only serious film in competition is Blue Sky’s “The Peanuts Movie.” CG animated films such as “Minions,” “Home,” “Hotel Transylvania 2,” "The SpongeBob Movie: Sponge Out of Water," performed well at the box-office but will likely fail to break in.
Thankfully the Academy has been very good at noticing, while not yet awarding, the work of independent artists working in the animation medium. Since 2010, when Gkids garnered its first nomination for Tomm Moore’s gorgeous “The Secret of Kells,” the New York-based distributor‘s films have been present among the five nominees every year. Last year two masterworks from their impeccable repertoire were included, Moore’s “Song of the Sea” and Isao Takahata’s “The Tale of the Princess Kaguya,” leaving out Warner’s “The Lego Movie,” which was considered a lock for most of the season. This year Gkids has three films vying for recognition, all of which received Annie nominations in the Best Independent Animated Feature category, but there also a few other internationally produced, independently made, traditionally animated works on the list that deserve the attention.
There is no doubt that some of the most unconventional and stunning animated films come from outside the mechanized mainstream, and we hope this year, once again, some of them make it to the Dolby Theater so that such exposure helps them reach a larger global audience.
Note: The only 2D-animated feature not included here is “Regular Show: The Movie,” which, despite having a limited release as most independent films, is an American production by a major studio
"The Boy and the Beast"
Dir.Mamoru Hosoda
Having worked in some of the most beloved anime series of all time before transitioning into greater artistic heights with singular animated features such as “The Girl Who Leapt Through Time,” “Summer Wars,” and “Wolf Children,” Mamoru Hosoda is one of the most important figures in Japanese animation today and his work has a loyal following around the world. “The Boy and the Beast,” his most recent film, is a martial arts saga ruled by its very own mythology, yet grounded on universal thematic elements. Following his mother’s death, Ren runs away from home and accidentally finds his way into Jutengai, an alternate reality inhabited by beasts. Reluctantly, young Ren is taken in by Kumatetsu, a bear-like brute desperate to train a disciple in order to be selected as the realm’s new leader. Despite countless arguments and numerous rough patches, a profound bond that transcends the divide between their worlds forms between the two lonely fighters. Fantastical creatures, epic battles, and amusing banter, spice up an endearing story that analyzes parent-children relationship from a highly inventive vantage point.
"Boy and the World"
Dir. Alê Abreu
Read More:Review: Why Alê Abreu's Sublime 'Boy and the World' is the Best Animated Film of the Year
The most awarded animated feature to open in U.S. theaters this year is a Brazilian wonder that ditches dialogue entirely for a storytelling approach that’s purely visual, whimsical, and even heartbreaking. Through the eyes of a playful young boy searching for his father, Alê Abreu’s musical odyssey conveys sophisticated notions about social justice, the voracious appetite of capitalism, and the yoke of oppression. Color pencils, pastels, watercolors, cut outs, and multiple other techniques are blended with an eclectic soundtrack molding a fascinating and gorgeous cinematic experience. Abreu’s animated masterpiece should certainly become the first Latin American animated feature to be nominated in the category (while “Chico and Rita” is set in Cuba, it's actually a European production helmed by Spanish filmmakers), as it would be an unforgivable mistake if the Academy fails to acknowledge dazzlingly craftsmanship on display.
Read More: How "Boy and the World" Director Alê Abreu Handcrafted His Heartfelt & Dazzling Animated Masterpiece
"Kahlil Gibran's The Prophet"
Dir. Roger Allers
Read More: Why 'Kahlil Gibran's The Prophet' is a Cinematic Out-Of-Body Experience Brimming with Animated Wisdom
Realizing her long-awaited passion project, Mexican-born star Salma Hayek produced this mesmerizing reimagining of Lebanese poet Kahil Gibran’s timeless classic with the help of some of the most important names currently working in the medium. Hayek, who also voices one of the lead characters, recruited Roger Allers, the man behind Disney’s “The Lion King,” to craft a linear canvas upon which eight artists could weave in their visual interpretations of Gibran’s poems on specific subjects. Acclaimed animators such as Tomm Moore, Bill Plympton, Nina Paley, and Joan C. Gratz , had complete freedom, both regarding technique and storytelling, to create these breathtaking and distinct segments. Aller’s frame narrative follows Mustafa (voiced by Liam Neeson ), a wise poet, as he is being escorted out of town by the repressive Ottoman authorities that consider his writings and paintings as subversive materials that threaten their tyrannical grip. While each individual vignette offers a lyrical rendition of Gibran’s universal lessons, Moore’s “On Love” is an awe-inspiring standout. “Hypnosis,” the tune written and performed by Damien Rice, is also in contention for the Best Original Song Academy Award.
Read More: Salma Hayek on 'Kahlil Gibran's The Prophet': 'His Poetry Talks About the Simple Things in Life That Unite Us All'
"The Laws of the Universe - Part 0"
Dir. Isamu Imakake
Eleven Arts, a small distributor dedicated to bringing Asian cinema stateside, has entered the Best Animated Feature race with an action-packed contender that will appeal to anime fans fond of intricate plots. Directed by Isamu Imakake, this Japanese sci-fi film centers on five high school friends who are forced to become heroes when they discover an alien conspiracy that endangers the Earth and life as we know it. Teen drama collides with intergalactic standoffs in an exciting and large-scale adventure. It’s luminously stylized character design and the epically orchestrated action sequences elevate the film beyond the conventions and aesthetics associated with anime series produced for TV. Imakake’s previous efforts, "The Mystical Laws” and “The Laws of Eternity," also dealt with adult-oriented and otherworldly duels between powerful evildoers and courageous youths.
"Moomins on the Riviera"
Dir. Xavier Picard
Read More: Review: In 'Moomins on the Riviera' the Beloved Finnish Icons Remain Timeless and Wise
Created in the 1940s by author and illustrator Tove Jansson, these Finnish superstars have an incredibly devout following across Europe and Asia, and though they are still not household names this side of the Atlantic, their humble wisdom cuts across geographical boundaries with ease once one gives in to their charm. In their first big screen appearance in over a decade, the Moomins decide to leave the comfort of rural life in the valley for the extravagant pleasure of the Côte d'Azur. Soon after their arrival, the roundish and unpretentious family realizes that opulence and material wealth are far from what they consider happiness. Elegantly drawn to resemble a nostalgic storybook and drenched in pastel hues, Xavier Picards take on the beloved characters is sure to add new fans to the Moomin legion and to satisfy those that throughout the decades have been enchanted by their innocent humor and surprisingly philosophical observations on the things that really matters.
"When Marnie Was There"
Dir. Hiromasa Yonebayashi
Read More: Review: Wondrous 'When Marnie Was There' is One of Ghibli's Most Profoundly Moving Works
Following Miyazaki’s “The Wind Rises” and Takahata’s “The Tale of the Princess Kaguya,” another Ghibli gem (and as of now their final one) of much more intimate qualities was released to eager U.S. audiences this spring. Hiromasa Yonebayashi's adaption of Joan G. Robinson’s 1967 switches England for a Hokkaido but preserves the moving bond between the protagonist and what seems to be a vision from another time intact. Introvert Anna (voiced by Hailee Steinfeld in the English-language dub) is a young girl that struggles to connect with her foster mother, thus feels alienated. When Anna meets Marnie, a gracious blond girl, while exploring the marshes that surround the town, a secret friendship quickly develops. As their individual histories are slowly revealed through expertly paced twists, it becomes apparent that their initial encounter was not merely serendipitous. Magical realism, instead of more fantastic elements as in most of Ghibli’s films, dictates the narrative, while the artistry that is expected from the legendary studio is as captivating as usual and never disappoints. The way Yonebayashi channels the original material to create a delicate coming-of-age story that accepts its characters flaws and troubling emotional journeys without simplifying them is truly remarkable. Priscilla Ahn’s heartbreaking ballad “Fine on the Outside” is also in the running for the Best Original Song Oscar.
Thankfully the Academy has been very good at noticing, while not yet awarding, the work of independent artists working in the animation medium. Since 2010, when Gkids garnered its first nomination for Tomm Moore’s gorgeous “The Secret of Kells,” the New York-based distributor‘s films have been present among the five nominees every year. Last year two masterworks from their impeccable repertoire were included, Moore’s “Song of the Sea” and Isao Takahata’s “The Tale of the Princess Kaguya,” leaving out Warner’s “The Lego Movie,” which was considered a lock for most of the season. This year Gkids has three films vying for recognition, all of which received Annie nominations in the Best Independent Animated Feature category, but there also a few other internationally produced, independently made, traditionally animated works on the list that deserve the attention.
There is no doubt that some of the most unconventional and stunning animated films come from outside the mechanized mainstream, and we hope this year, once again, some of them make it to the Dolby Theater so that such exposure helps them reach a larger global audience.
Note: The only 2D-animated feature not included here is “Regular Show: The Movie,” which, despite having a limited release as most independent films, is an American production by a major studio
"The Boy and the Beast"
Dir.Mamoru Hosoda
Having worked in some of the most beloved anime series of all time before transitioning into greater artistic heights with singular animated features such as “The Girl Who Leapt Through Time,” “Summer Wars,” and “Wolf Children,” Mamoru Hosoda is one of the most important figures in Japanese animation today and his work has a loyal following around the world. “The Boy and the Beast,” his most recent film, is a martial arts saga ruled by its very own mythology, yet grounded on universal thematic elements. Following his mother’s death, Ren runs away from home and accidentally finds his way into Jutengai, an alternate reality inhabited by beasts. Reluctantly, young Ren is taken in by Kumatetsu, a bear-like brute desperate to train a disciple in order to be selected as the realm’s new leader. Despite countless arguments and numerous rough patches, a profound bond that transcends the divide between their worlds forms between the two lonely fighters. Fantastical creatures, epic battles, and amusing banter, spice up an endearing story that analyzes parent-children relationship from a highly inventive vantage point.
"Boy and the World"
Dir. Alê Abreu
Read More:Review: Why Alê Abreu's Sublime 'Boy and the World' is the Best Animated Film of the Year
The most awarded animated feature to open in U.S. theaters this year is a Brazilian wonder that ditches dialogue entirely for a storytelling approach that’s purely visual, whimsical, and even heartbreaking. Through the eyes of a playful young boy searching for his father, Alê Abreu’s musical odyssey conveys sophisticated notions about social justice, the voracious appetite of capitalism, and the yoke of oppression. Color pencils, pastels, watercolors, cut outs, and multiple other techniques are blended with an eclectic soundtrack molding a fascinating and gorgeous cinematic experience. Abreu’s animated masterpiece should certainly become the first Latin American animated feature to be nominated in the category (while “Chico and Rita” is set in Cuba, it's actually a European production helmed by Spanish filmmakers), as it would be an unforgivable mistake if the Academy fails to acknowledge dazzlingly craftsmanship on display.
Read More: How "Boy and the World" Director Alê Abreu Handcrafted His Heartfelt & Dazzling Animated Masterpiece
"Kahlil Gibran's The Prophet"
Dir. Roger Allers
Read More: Why 'Kahlil Gibran's The Prophet' is a Cinematic Out-Of-Body Experience Brimming with Animated Wisdom
Realizing her long-awaited passion project, Mexican-born star Salma Hayek produced this mesmerizing reimagining of Lebanese poet Kahil Gibran’s timeless classic with the help of some of the most important names currently working in the medium. Hayek, who also voices one of the lead characters, recruited Roger Allers, the man behind Disney’s “The Lion King,” to craft a linear canvas upon which eight artists could weave in their visual interpretations of Gibran’s poems on specific subjects. Acclaimed animators such as Tomm Moore, Bill Plympton, Nina Paley, and Joan C. Gratz , had complete freedom, both regarding technique and storytelling, to create these breathtaking and distinct segments. Aller’s frame narrative follows Mustafa (voiced by Liam Neeson ), a wise poet, as he is being escorted out of town by the repressive Ottoman authorities that consider his writings and paintings as subversive materials that threaten their tyrannical grip. While each individual vignette offers a lyrical rendition of Gibran’s universal lessons, Moore’s “On Love” is an awe-inspiring standout. “Hypnosis,” the tune written and performed by Damien Rice, is also in contention for the Best Original Song Academy Award.
Read More: Salma Hayek on 'Kahlil Gibran's The Prophet': 'His Poetry Talks About the Simple Things in Life That Unite Us All'
"The Laws of the Universe - Part 0"
Dir. Isamu Imakake
Eleven Arts, a small distributor dedicated to bringing Asian cinema stateside, has entered the Best Animated Feature race with an action-packed contender that will appeal to anime fans fond of intricate plots. Directed by Isamu Imakake, this Japanese sci-fi film centers on five high school friends who are forced to become heroes when they discover an alien conspiracy that endangers the Earth and life as we know it. Teen drama collides with intergalactic standoffs in an exciting and large-scale adventure. It’s luminously stylized character design and the epically orchestrated action sequences elevate the film beyond the conventions and aesthetics associated with anime series produced for TV. Imakake’s previous efforts, "The Mystical Laws” and “The Laws of Eternity," also dealt with adult-oriented and otherworldly duels between powerful evildoers and courageous youths.
"Moomins on the Riviera"
Dir. Xavier Picard
Read More: Review: In 'Moomins on the Riviera' the Beloved Finnish Icons Remain Timeless and Wise
Created in the 1940s by author and illustrator Tove Jansson, these Finnish superstars have an incredibly devout following across Europe and Asia, and though they are still not household names this side of the Atlantic, their humble wisdom cuts across geographical boundaries with ease once one gives in to their charm. In their first big screen appearance in over a decade, the Moomins decide to leave the comfort of rural life in the valley for the extravagant pleasure of the Côte d'Azur. Soon after their arrival, the roundish and unpretentious family realizes that opulence and material wealth are far from what they consider happiness. Elegantly drawn to resemble a nostalgic storybook and drenched in pastel hues, Xavier Picards take on the beloved characters is sure to add new fans to the Moomin legion and to satisfy those that throughout the decades have been enchanted by their innocent humor and surprisingly philosophical observations on the things that really matters.
"When Marnie Was There"
Dir. Hiromasa Yonebayashi
Read More: Review: Wondrous 'When Marnie Was There' is One of Ghibli's Most Profoundly Moving Works
Following Miyazaki’s “The Wind Rises” and Takahata’s “The Tale of the Princess Kaguya,” another Ghibli gem (and as of now their final one) of much more intimate qualities was released to eager U.S. audiences this spring. Hiromasa Yonebayashi's adaption of Joan G. Robinson’s 1967 switches England for a Hokkaido but preserves the moving bond between the protagonist and what seems to be a vision from another time intact. Introvert Anna (voiced by Hailee Steinfeld in the English-language dub) is a young girl that struggles to connect with her foster mother, thus feels alienated. When Anna meets Marnie, a gracious blond girl, while exploring the marshes that surround the town, a secret friendship quickly develops. As their individual histories are slowly revealed through expertly paced twists, it becomes apparent that their initial encounter was not merely serendipitous. Magical realism, instead of more fantastic elements as in most of Ghibli’s films, dictates the narrative, while the artistry that is expected from the legendary studio is as captivating as usual and never disappoints. The way Yonebayashi channels the original material to create a delicate coming-of-age story that accepts its characters flaws and troubling emotional journeys without simplifying them is truly remarkable. Priscilla Ahn’s heartbreaking ballad “Fine on the Outside” is also in the running for the Best Original Song Oscar.
- 12/17/2015
- by Carlos Aguilar
- Sydney's Buzz
Best Song Oscar 2016 contender 'Fifty Shades of Grey,' with Dakota Johnson and Jamie Dornan. 74 entries in contention for 2016 Best Song Academy Award 'Tis the season for the Academy of Motion Picture Arts and Sciences to announce the semi-finalists – in some instances, the semi-semi-finalists – for the Academy Awards. Today, the Academy released the list of songs eligible for the 2016 Best Song – or rather, Best Original Song – Oscar. There are 74 contenders, with titles ranging from “Happy” and “I'll See You in My Dreams” to “Hypnosis” and “Bhoomiyilenghanumundo.” Curiously, apart from the inevitable animated and/or kiddie flicks (Alvin and the Chipmunks: The Road Chip, Anomalisa, Pan, Shaun the Sheep Movie, Home, The SpongeBob Movie: Sponge out of Water, etc.) most of this year's contenders are songs from smaller movies and Bollywood/South Asian releases. Exceptions include Sam Taylor-Johnson's Fifty Shades of Grey, Ryan Coogler's Creed, Kenneth Branagh's...
- 12/11/2015
- by Steve Montgomery
- Alt Film Guide
The Academy of Motion Picture Arts and Sciences today announced that 74 songs from eligible feature-length motion pictures released in 2015 are in contention for nominations in the Original Song category for the 88th Academy Awards.
The original songs, along with the motion picture in which each song is featured, are listed below in alphabetical order by film title and song title:
“Happy” from “Altered Minds”
“Home” from “Alvin and the Chipmunks: The Road Chip”
“None Of Them Are You” from “Anomalisa”
“Stem To The Rose” from “Becoming Bulletproof”
“The Mystery Of Your Gift” from “Boychoir”
“I Run” from “Chi-Raq”
“Pray 4 My City” from “Chi-Raq”
“Sit Down For This” from “Chi-Raq”
“Strong” from “Cinderella”
“So Long” from “Concussion”
“Fighting Stronger” from “Creed”
“Grip” from “Creed”
“Waiting For My Moment” from “Creed”
“Don’t Look Down” from “Danny Collins”
“Hey Baby Doll” from “Danny Collins”
“Dreamsong” from “The Diary of a Teenage Girl...
The original songs, along with the motion picture in which each song is featured, are listed below in alphabetical order by film title and song title:
“Happy” from “Altered Minds”
“Home” from “Alvin and the Chipmunks: The Road Chip”
“None Of Them Are You” from “Anomalisa”
“Stem To The Rose” from “Becoming Bulletproof”
“The Mystery Of Your Gift” from “Boychoir”
“I Run” from “Chi-Raq”
“Pray 4 My City” from “Chi-Raq”
“Sit Down For This” from “Chi-Raq”
“Strong” from “Cinderella”
“So Long” from “Concussion”
“Fighting Stronger” from “Creed”
“Grip” from “Creed”
“Waiting For My Moment” from “Creed”
“Don’t Look Down” from “Danny Collins”
“Hey Baby Doll” from “Danny Collins”
“Dreamsong” from “The Diary of a Teenage Girl...
- 12/11/2015
- by Michelle McCue
- WeAreMovieGeeks.com
The International Animated Film Society, Asifa-Hollywood, has announced the nominations for the 43rd Annual Annie Awards and "Inside Out" and "The Good Dinosaur," both Pixar movies, led the pack! "Inside Out" received fourteen nominations while "The Good Dinosaur" got nine.
My pick of the year for best animated feature is "Inside Out" but I love Charlie Kaufman's "Anomalisa" as well which picked five noms.
We'll find out the winners of the Annie Awards on February 6th!
Here is the full list of nominees in all categories of the 43rd Annie Awards:
Best Animated Feature
Anomalisa
Paramount Pictures
Inside Out
Pixar Animation Studios
Shaun the Sheep The Movie
Aardman Animations
The Good Dinosaur
Pixar Animation Studios
The Peanuts Movie
Blue Sky Studios, Twentieth Century Fox Animation
Best Animated Special Production
Elf: Buddy.s Musical Christmas
Warner Bros. Animation
He Named Me Malala
Parkes-MacDonald / Little Door
I Am A Witness
Moonbot...
My pick of the year for best animated feature is "Inside Out" but I love Charlie Kaufman's "Anomalisa" as well which picked five noms.
We'll find out the winners of the Annie Awards on February 6th!
Here is the full list of nominees in all categories of the 43rd Annie Awards:
Best Animated Feature
Anomalisa
Paramount Pictures
Inside Out
Pixar Animation Studios
Shaun the Sheep The Movie
Aardman Animations
The Good Dinosaur
Pixar Animation Studios
The Peanuts Movie
Blue Sky Studios, Twentieth Century Fox Animation
Best Animated Special Production
Elf: Buddy.s Musical Christmas
Warner Bros. Animation
He Named Me Malala
Parkes-MacDonald / Little Door
I Am A Witness
Moonbot...
- 12/2/2015
- by Manny
- Manny the Movie Guy
The International Animated Film Society, Asifa-Hollywood, announced nominations today for its 43rd Annual Annie Awards recognizing the year’s best in the field of animation.
The Annie Awards cover 36 categories and include Best Animated Feature, Best Animated Feature-Independent (new this year), Special Productions, Commercials, Short Subjects, Student Films and Outstanding Individual Achievements, as well as the honorary Juried Awards.
This year’s Best Animated Feature nominations include: Anomalisa (Paramount Pictures), Inside Out (Pixar Animation Studios), Shaun the Sheep The Movie (Aardman Animations), The Good Dinosaur (Pixar Animation Studios), and The Peanuts Movie (Blue Sky Studios, Twentieth Century Fox Animation).
“This year we introduced an important new category – Best Feature-Independent,” says Asifa-Hollywood President, Jerry Beck. “We will now recognize not only features in wide release, but also the independent animators, international studios, anime and special productions that might not otherwise get the attention they deserve. Adds Frank Gladstone, Asifa-Hollywood’s Executive Director,...
The Annie Awards cover 36 categories and include Best Animated Feature, Best Animated Feature-Independent (new this year), Special Productions, Commercials, Short Subjects, Student Films and Outstanding Individual Achievements, as well as the honorary Juried Awards.
This year’s Best Animated Feature nominations include: Anomalisa (Paramount Pictures), Inside Out (Pixar Animation Studios), Shaun the Sheep The Movie (Aardman Animations), The Good Dinosaur (Pixar Animation Studios), and The Peanuts Movie (Blue Sky Studios, Twentieth Century Fox Animation).
“This year we introduced an important new category – Best Feature-Independent,” says Asifa-Hollywood President, Jerry Beck. “We will now recognize not only features in wide release, but also the independent animators, international studios, anime and special productions that might not otherwise get the attention they deserve. Adds Frank Gladstone, Asifa-Hollywood’s Executive Director,...
- 12/1/2015
- by Michelle McCue
- WeAreMovieGeeks.com
The Academy of Motion Picture Arts & Sciences has unveiled its short list of fifteen documentary features that will be considered for an Oscar nomination. That fifteen was selected from a list of one hundred and twenty-four that were eligible.
The fifteen are: "Amy," "Best of Enemies," "Cartel Land," "Going Clear," "He Named Me Malala," "Heart of a Dog," "The Hunting Ground," "Listen to Me Marlon," "The Look of Silence," "Meru," "3.5 Minutes, 10 Bullets," "We Come as Friends," "What Happened, Miss Simone?," "Where to Invade Next," and "Winter on Fire".
The documentary branch determined the shortlist in a preliminary round of voting, and members will now select the five nominees from the short list. Those five nomineed will be announced in January with the winner then revealed at the ceremony on February 28th.
Meanwhile The Annies, the prizes given out by the International Animated Film Society and essentially the top honor in the animated film world,...
The fifteen are: "Amy," "Best of Enemies," "Cartel Land," "Going Clear," "He Named Me Malala," "Heart of a Dog," "The Hunting Ground," "Listen to Me Marlon," "The Look of Silence," "Meru," "3.5 Minutes, 10 Bullets," "We Come as Friends," "What Happened, Miss Simone?," "Where to Invade Next," and "Winter on Fire".
The documentary branch determined the shortlist in a preliminary round of voting, and members will now select the five nominees from the short list. Those five nomineed will be announced in January with the winner then revealed at the ceremony on February 28th.
Meanwhile The Annies, the prizes given out by the International Animated Film Society and essentially the top honor in the animated film world,...
- 12/1/2015
- by Garth Franklin
- Dark Horizons
This story first appeared in a special awards season issue of The Hollywood Reporter magazine. For Salma Hayek, the Oscar-nominated star of 2002's Frida, the idea of creating an animated movie around The Prophet, Kahlil Gibran's famous collection of philosophical poems, was a project — however improbable it might have seemed at first — that was somehow inevitable. As Hayek, who was born in Mexico, tells it, she was about 6 years old when she first saw a copy of the book belonging to her maternal grandfather, who was Lebanese, like Gibran himself. As a teenager, she picked up
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- 11/27/2015
- by Carolyn Giardina
- The Hollywood Reporter - Movie News
Sixteen animated features have been submitted for consideration for the Best Animated Feature category at the upcoming 88th Academy Awards in February.
Only five of these films will be nominated for the category with those nominations to be announced in January. The sixteen potential qualifiers are:
"Anomalisa," "The Boy And The Beast," "Boy And The World," "The Good Dinosaur," "Home," "Hotel Transylvania 2," "Inside Out," "Kahlil Gibran's The Prophet," "The Laws Of The Universe – Part 0," "Minions," "Moomins On The Riviera," "The Peanuts Movie," "Regular Show: The Movie," "Shaun The Sheep Movie," "The SpongeBob Movie: Sponge Out Of Water," "When Marnie Was There".
Pixar's "Inside Out" and Charlie Kaufman's "Anomalisa" both seem like automatic shoe-ins. The other three spots though are up for grabs.
Source: Stuff...
Only five of these films will be nominated for the category with those nominations to be announced in January. The sixteen potential qualifiers are:
"Anomalisa," "The Boy And The Beast," "Boy And The World," "The Good Dinosaur," "Home," "Hotel Transylvania 2," "Inside Out," "Kahlil Gibran's The Prophet," "The Laws Of The Universe – Part 0," "Minions," "Moomins On The Riviera," "The Peanuts Movie," "Regular Show: The Movie," "Shaun The Sheep Movie," "The SpongeBob Movie: Sponge Out Of Water," "When Marnie Was There".
Pixar's "Inside Out" and Charlie Kaufman's "Anomalisa" both seem like automatic shoe-ins. The other three spots though are up for grabs.
Source: Stuff...
- 11/6/2015
- by Garth Franklin
- Dark Horizons
Shaun The Sheep Movie, Minions Among 16 Films In Contention For Best Animated Feature At 88th Oscars
Sixteen features have been submitted for consideration in the Animated Feature Film category for the 88th Academy Awards.
The submitted features, listed in alphabetical order, are:
“Anomalisa”
“The Boy and the Beast”
“Boy and the World”
“The Good Dinosaur”
“Home”
“Hotel Transylvania 2”
“Inside Out”
“Kahlil Gibran’s The Prophet”
“The Laws of the Universe – Part 0”
“Minions”
“Moomins on the Riviera”
“The Peanuts Movie”
“Regular Show: The Movie”
“Shaun the Sheep Movie”
“The SpongeBob Movie: Sponge out of Water”
“When Marnie Was There”
Several of the films have not yet had their required Los Angeles qualifying run. Submitted features must fulfill the theatrical release requirements and comply with all of the category’s other qualifying rules before they can advance in the voting process. At least eight eligible animated features must be theatrically released in Los Angeles County within the calendar year for this category to be activated. In any...
The submitted features, listed in alphabetical order, are:
“Anomalisa”
“The Boy and the Beast”
“Boy and the World”
“The Good Dinosaur”
“Home”
“Hotel Transylvania 2”
“Inside Out”
“Kahlil Gibran’s The Prophet”
“The Laws of the Universe – Part 0”
“Minions”
“Moomins on the Riviera”
“The Peanuts Movie”
“Regular Show: The Movie”
“Shaun the Sheep Movie”
“The SpongeBob Movie: Sponge out of Water”
“When Marnie Was There”
Several of the films have not yet had their required Los Angeles qualifying run. Submitted features must fulfill the theatrical release requirements and comply with all of the category’s other qualifying rules before they can advance in the voting process. At least eight eligible animated features must be theatrically released in Los Angeles County within the calendar year for this category to be activated. In any...
- 11/5/2015
- by Michelle McCue
- WeAreMovieGeeks.com
This year's animated features—there will be five nominees, given that sixteen are deemed eligible for Oscar consideration—run the gamut from R-rated stop-motion adult drama "Anomalisa," from Oscar-winning scribe Charlie Kaufman and co-director Duke Johnson, which Paramount surprisingly picked up out of Toronto, and Pixar frontrunner "Inside Out," which debuted in Cannes and is so popular that many wonder if it could land Best Picture, Directing or Original Screenplay slots. Pixar has won more Oscars than any other studio, collecting a gold statue five of the last eight years, and could have two nominees this year. The submitted features, listed in alphabetical order, are:“Anomalisa”“The Boy and the Beast”“Boy and the World”“The Good Dinosaur”“Home”“Hotel Transylvania 2”“Inside Out”“Kahlil Gibran’s The Prophet”“The Laws of the Universe - Part 0”“Minions”“Moomins on the Riviera”“The Peanuts Movie”“Regular Show: The Movie”“Shaun the Sheep Movie”“The SpongeBob.
- 11/5/2015
- by Anne Thompson
- Thompson on Hollywood
- 11/5/2015
- by Jazz Tangcay
- AwardsDaily.com
Sixteen features have been submitted for consideration in the Animated Feature Film category for the 88th Academy Awards®. The submitted features, listed in alphabetical order, are: “Anomalisa” “The Boy and the Beast” “Boy and the World” “The Good Dinosaur” “Home” “Hotel Transylvania 2” “Inside Out” “Kahlil Gibran’s The Prophet” “The Laws of the Universe – Part 0” “Minions” “Moomins on the Riviera” “The Peanuts Movie” “Regular Show: The Movie” “Shaun the Sheep Movie” “The SpongeBob Movie: Sponge out of Water” “When Marnie Was There” Several of the films have not yet had their required Los Angeles qualifying run. Submitted features must fulfill the theatrical release requirements and comply with all of the category’s other qualifying rules before they can advance in the voting process. At least eight eligible animated features must be theatrically released in Los Angeles County within the calendar year for this category to be activated. In any...
- 11/5/2015
- by HollywoodNews.com
- Hollywoodnews.com
The Academy has announced the titles submitted for consideration in the animation feature category for the 88th Academy Awards.
Several of the films have not yet been released in the Us and at least eight eligible features must be released theatrically in Los Angeles County within the calendar year for this category to be activated.
The submitted features in alphabetical order are:
Anomalisa
The Boy And The Beast
Boy And The World
The Good Dinosaur
Home
Hotel Transylvania 2
Inside Out
Kahlil Gibran’s The Prophet
The Laws Of The Universe - Part 0
Minions
Moomins On The Riviera
The Peanuts Movie
Regular Show: The Movie
Shaun the Sheep Movie
The SpongeBob Movie: Sponge Out Of Water
When Marnie Was There.
Submitted features must fulfil the theatrical release requirements and comply with all the category’s other qualifying rules before they can advance in the voting process.
In any year in which 16 or more animated feature films are eligible...
Several of the films have not yet been released in the Us and at least eight eligible features must be released theatrically in Los Angeles County within the calendar year for this category to be activated.
The submitted features in alphabetical order are:
Anomalisa
The Boy And The Beast
Boy And The World
The Good Dinosaur
Home
Hotel Transylvania 2
Inside Out
Kahlil Gibran’s The Prophet
The Laws Of The Universe - Part 0
Minions
Moomins On The Riviera
The Peanuts Movie
Regular Show: The Movie
Shaun the Sheep Movie
The SpongeBob Movie: Sponge Out Of Water
When Marnie Was There.
Submitted features must fulfil the theatrical release requirements and comply with all the category’s other qualifying rules before they can advance in the voting process.
In any year in which 16 or more animated feature films are eligible...
- 11/5/2015
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Five time Golden Globe and Emmy winner Alec Baldwin and Oscar nominee Salma Hayek will star in the feature comedy Drunk Parents, to be directed by Fred Wolf, from a screenplay by Wolf and Peter Gaulke. The film’s producers, Robert Ogden Barnum and Aaron L. Gilbert, announced a first quarter 2016 start date.
The film is a co-production with Fortitude International and Bron Studios, in association with CW Media Finance. Joining Fortitude’s Barnum and Bron’s Gilbert will be CW’s Jason Cloth, Fortitude’s Nadine de Barros and Daniel Wagner and Brillstein Entertainment’s Jai Khanna, serving as Executive Producers.
This comedy features Alec Baldwin and Salma Hayek as the Teagartens. They are not only drunk with love for their daughter, but also literally drunk the night after dropping her off at college, leading to a bad decision, a kidnapping, and a serious case of mistaken identity. Simultaneously moving and uproariously funny,...
The film is a co-production with Fortitude International and Bron Studios, in association with CW Media Finance. Joining Fortitude’s Barnum and Bron’s Gilbert will be CW’s Jason Cloth, Fortitude’s Nadine de Barros and Daniel Wagner and Brillstein Entertainment’s Jai Khanna, serving as Executive Producers.
This comedy features Alec Baldwin and Salma Hayek as the Teagartens. They are not only drunk with love for their daughter, but also literally drunk the night after dropping her off at college, leading to a bad decision, a kidnapping, and a serious case of mistaken identity. Simultaneously moving and uproariously funny,...
- 9/14/2015
- by Michelle McCue
- WeAreMovieGeeks.com
Fast-paced modernity acts like deceptive facade that tricks us into thinking we've become something very different from what we've always been. But below the multiple layers of unimportant burdens, pretended indifference, and overflowing cynicism, lies an unalterable human core that rejoices and suffers like it’s done since its genesis. A person navigating the turbulent waters of life today is indeed pondering on the same questions that another did centuries ago. Pain and pleasure, births and deaths, tears and laughter, passion and despair, they all continue to trap us all in their ambivalent choreography that forced us to question if there is meaning to the madness or if the absurdity of the human condition is just an indecipherable codex.
Enlightened thinkers have incessantly taken it upon themselves to interpret our common fears and urges to arrive at somewhat logical conclusions about our puzzling purpose and put these into comprehensible words. Academic and formal the philosopher appeals to rational mind, while the poet delicately arranges his thoughts and aims for the impetuous tenderness of our visceral side. Like preachers of a higher faith that exist about authoritarian religions, poets share their knowledge in ways unrestricted by physicality. Their words travel in the wind and pierce hearts with darts made out of profound realizations. Such sacred gift was granted by the universe to Kahlil Gibran, the Lebanese-American poem who would pen The Prophet, one of the most spiritual books ever written unbound by any denomination.
Containing ethereal poems delving into specific facets of our mortal condition, Gibran’s volumes are not quintessential material for a film adaptation. His writing seemed elusive to traditional representations limited by a rigid narrative structure. Conscious of this seemingly obstructive aspect, determined producer Salma Hayek recognized that a much more fluid and unrestrictive medium was required to portray Gibran’s teachings not with literal imagery, but with dreamlike works of moving art that could evoke the essence of each verse. Ambitiously, Hayek set out to expand the accessibility of this book, one that her grandfather of Lebanese origin treasured deeply and which she had grown to appreciate herself, thought an animation project of tremendous magnitude.
Aspiring to effectively turn this lifelong wish into a soulful visual feast, Hayek enlisted nine of the world’s most passionate animators to fabricate magic with color and to take part in an exuberant celebration of creativity. Eight of them would craft individual segments interpreting a specific poem without any parameter other than Gibran’s intricate phrases, while another director was charged with the demanding task of wrapping these delightful fragments in a frame narrative that could cohesively unify them. The product of this phenomenal amalgamation is Roger Allers’ “Kahlil Gibran’s The Prophet,” a cinematic out-of-body experience that deconstructs our existential yearnings and translates them into mesmerizing animated wisdom.
Honed during the Disney Renaissance, Allers’ stylistic principles still carry a familiar aesthetic that resembles iconic films from said period. Although better known for directing one the most beloved animated tales of all time, “The Lion King,” his resourceful hand touched several other projects including “The Little Mermaid” and “Beauty and the Beast,” as both a writer and a storyboard artist. That myriad of storytelling abilities is reflected in his approach to this unorthodox venture. While the character design employed in his enveloping storyline will immediately and instinctively remind viewers of the filmmaker’s Disney origins, he manages to tailor he manages to tailor such distinct appearance for this singular undertaking. It’s classically elegant and precisely suitable for the plot-driven portion of the film.
Centered on Mustafa (Liam Neeson), a poet and painter living as a prisoner of the Ottoman Empire for what they considered subversive ideas, Allers’ screenplay channels Gibran’s thin fictional account and develops it further so that it blossoms into a full-length fable that relays its own moral, while serving as vehicle for the abstract enclaves to be presented seamlessly. Besides spearheading the entire operation, in this section of the film Hayek also voices Kamila, a hardworking widow paid by the regime to tend to Mustafa and who is out of option when it comes to dealing with her rebellious, yet silent, young daughter, Almitra (Quvenzhané Wallis). It’s only when the girl meets the unassuming wise man that her quiet frustration begins to dissipate.A receptive vessel, Almitra is fascinated by Mustafa’ss tranquil demeanor and fascination by his convictions even if she can’t fully grasp their significance.
Neeson’s virile tone gives the protagonist a regal air without sounding intimidating. His voice emanates tranquility coated with strength, like a fatherly figure at peace with his every step. Alfred Molina appears as the comically villainous Sergeant in charge of escorting Mustafa through the village, but who often gives in to his human impulses on their way to the harbor. Meanwhile John Krasinski plays Halim, a young official romantically pursuing Kamila, and veteran thespian Frank Langella is heard briefly as Pasha, the evil ruler who holds the poet’s fate in his hands. As the events that lead to Mustafa’s final trial unfold each of the stylistically eclectic short sequences finds the right moment to be unveiled.
First comes Michal Socha’s “On Freedom,“ in which an anthropomorphic birdcage prevents its feathered captives from flying into the sunset. Ridding themselves of their shackles holds the promise of fulfillment, but that desire is in fact “the strongest of these chains.” Clever in its use of symbolism and graceful in its execution, Socha’s rendition of Gibran’s piece is sharp and poignant. Then, with kaleidoscopic vividness, Nina Paley uses multiple motifs evocative of both Indian and Greek iconography in “On Children,” to depict the cyclical nature of life and the perennial bond between parents and their descendants. Though this connection is irreproachable, progenitors shouldn't attempt to command the life they’ve brought into the world because it’s not their possession, but a link in a greater continuum. Like bows launching arrows into an uncertain abyss, mothers and fathers must come to terms with letting go. Singer/songwriter Damien Rice rearranges the author’s lines into heartfelt lyrics for a melancholic song that builds up to a captivating finale.
Seductively, Joann Sfar's “On Marriage” shows two lovers dancing tango under the moonlight. Ancient ruins become the battleground for a sensual clash where impeccable choreography is a more of a strategic maneuver than just coordinated movement. Subtly wrestling each other to set the boundaries of their union, husband and wife know their paths advance parallel, yet independently. Similarly exquisite is the manner in which Academy Award-winner Joan Gratz delivers “On Work,” via a painstaking technique known as claypainting. Blending colors with inconspicuous ability, the seasoned artist travels through the numerous notions on the worthiness of labor, whether physical or creative. Exceptionally delicate in nature, her work thoroughly explains why “he who seizes the rainbow to lay it on a cloth” is not nobler than “he who makes sandals for our feet.”
Bill Plympton's scratchy and utterly handcrafted frames in "On Eating and Drinking" flow with the uncompromising animator's expected candidness.These elemental joys are held sacred by Gibran as “an act of worship,” and while the cartoonist is respectful of this canon, humor is always a vital quality of his deliberately nonchalant drawings. A man bites an apple and as we follow its journey through the human body we witness nourishment and sustainability by means of Plympton's style. Now, the most unquestionably breathtaking piece of this magnificent puzzle, and perhaps the most beautiful piece of filmmaking to be projected on screens this year, is Tomm Moore’s “On Love.” Its alluring rhythm and detailed Art Nouveau designs flood each frame with spellbinding imagery that speaks of the thorny splendor that falling for another being entails. Elating and devastating at once, “love crowns you” with its intoxicating glory, but just as strongly it can “crucify you” with merciless fury. Moore’s unmistakable enchantment illustrates an ancestral couple ascending from the depths of darkness into the light of redemption propelled by the dazzlingly magic of “love’s ecstasy.”
Silhouetted animals racing for survival personify human ambitions in Mohammed Harib's “On Good and Evil.” Given the broadness of the poem’s subject matter the animator could have taken much more literal routes to relay its lesson, but his metaphorical approach successfully encapsulates Gibran’s stance on benevolence and wickedness. In hi eyes any wrong doings perpetrated have a purpose within the landscape of our collective destiny. All that is evil was once kindness, because, according to the poet, “good tortured by its own hunger and thirst.” Finally, our unavoidable fate is treated with compassion rather than morbid tropes by Gaëtan Brizzi and Paul Brizzi in their transcendent visualization of "On Death." Our soul, comes to life in the form of an incorporeal character who dances swiftly celestial radiance. Sorrow is replaced with the hope that the end is just a transition into an “unencumbered” state. Drinking from the “river of silence” allows our inner divinity to truly sing without restrains. A peaceful rebirth only comes from letting go of carnal necessities, and that’s something both Gibran and Mustafa are convince of.
Musically, “Kahlil Gibran’s The Prophet,” was embellished by composer Gabriel Yared’s grand score, which mixes epic sentiments with soothing melodies decorating almost every second of it. Accentuating Tomm Moore’s lovely bit, Irish singers Lisa Hannigan and Oscar-winner Glen Hansard fashion a stirring tune out the scribe’s contemplation on amorous frenzy. Lastly, in addition to providing a song for Paley’s segment, Damien Rice wrote another moving ballad titled “Hypnosis” to play during the final credits. Perfectly reflective of the experiential attributes of the film it caps, Rice’s stanzas put an empowering final touch as it asks us to seek strength from our personal truth.
In this tapestry of lyrical mirages, the eternal endurance of art prevails as testament of the immortality bestowed only on those whose brilliance surpasses time and space. Harnessing wide-ranging techniques, the artists behind “Kahil Gibran’s The Prophet” gifted us one of the most mesmerizing films of the year and a milestone in the history of animation, which brought together the genius of many to spread words of compassion and serenity. Solidarity amongst mankind and the acceptance of our flaws as virtues hidden by unnecessary vanity and greed, are the first steps towards the reconciliation between what we think we are now and what we've always been. Gibran’s message is as relevant as ever today, so let us fill ourselves with the majesty of his wisdom, and become vindicated disciples willing to live beyond merely existing.
"Kahlil Gibran's The Prophet" is now playing in L.A. and NYC and will open in other cities across the country in the upcoming weeks.
Enlightened thinkers have incessantly taken it upon themselves to interpret our common fears and urges to arrive at somewhat logical conclusions about our puzzling purpose and put these into comprehensible words. Academic and formal the philosopher appeals to rational mind, while the poet delicately arranges his thoughts and aims for the impetuous tenderness of our visceral side. Like preachers of a higher faith that exist about authoritarian religions, poets share their knowledge in ways unrestricted by physicality. Their words travel in the wind and pierce hearts with darts made out of profound realizations. Such sacred gift was granted by the universe to Kahlil Gibran, the Lebanese-American poem who would pen The Prophet, one of the most spiritual books ever written unbound by any denomination.
Containing ethereal poems delving into specific facets of our mortal condition, Gibran’s volumes are not quintessential material for a film adaptation. His writing seemed elusive to traditional representations limited by a rigid narrative structure. Conscious of this seemingly obstructive aspect, determined producer Salma Hayek recognized that a much more fluid and unrestrictive medium was required to portray Gibran’s teachings not with literal imagery, but with dreamlike works of moving art that could evoke the essence of each verse. Ambitiously, Hayek set out to expand the accessibility of this book, one that her grandfather of Lebanese origin treasured deeply and which she had grown to appreciate herself, thought an animation project of tremendous magnitude.
Aspiring to effectively turn this lifelong wish into a soulful visual feast, Hayek enlisted nine of the world’s most passionate animators to fabricate magic with color and to take part in an exuberant celebration of creativity. Eight of them would craft individual segments interpreting a specific poem without any parameter other than Gibran’s intricate phrases, while another director was charged with the demanding task of wrapping these delightful fragments in a frame narrative that could cohesively unify them. The product of this phenomenal amalgamation is Roger Allers’ “Kahlil Gibran’s The Prophet,” a cinematic out-of-body experience that deconstructs our existential yearnings and translates them into mesmerizing animated wisdom.
Honed during the Disney Renaissance, Allers’ stylistic principles still carry a familiar aesthetic that resembles iconic films from said period. Although better known for directing one the most beloved animated tales of all time, “The Lion King,” his resourceful hand touched several other projects including “The Little Mermaid” and “Beauty and the Beast,” as both a writer and a storyboard artist. That myriad of storytelling abilities is reflected in his approach to this unorthodox venture. While the character design employed in his enveloping storyline will immediately and instinctively remind viewers of the filmmaker’s Disney origins, he manages to tailor he manages to tailor such distinct appearance for this singular undertaking. It’s classically elegant and precisely suitable for the plot-driven portion of the film.
Centered on Mustafa (Liam Neeson), a poet and painter living as a prisoner of the Ottoman Empire for what they considered subversive ideas, Allers’ screenplay channels Gibran’s thin fictional account and develops it further so that it blossoms into a full-length fable that relays its own moral, while serving as vehicle for the abstract enclaves to be presented seamlessly. Besides spearheading the entire operation, in this section of the film Hayek also voices Kamila, a hardworking widow paid by the regime to tend to Mustafa and who is out of option when it comes to dealing with her rebellious, yet silent, young daughter, Almitra (Quvenzhané Wallis). It’s only when the girl meets the unassuming wise man that her quiet frustration begins to dissipate.A receptive vessel, Almitra is fascinated by Mustafa’ss tranquil demeanor and fascination by his convictions even if she can’t fully grasp their significance.
Neeson’s virile tone gives the protagonist a regal air without sounding intimidating. His voice emanates tranquility coated with strength, like a fatherly figure at peace with his every step. Alfred Molina appears as the comically villainous Sergeant in charge of escorting Mustafa through the village, but who often gives in to his human impulses on their way to the harbor. Meanwhile John Krasinski plays Halim, a young official romantically pursuing Kamila, and veteran thespian Frank Langella is heard briefly as Pasha, the evil ruler who holds the poet’s fate in his hands. As the events that lead to Mustafa’s final trial unfold each of the stylistically eclectic short sequences finds the right moment to be unveiled.
First comes Michal Socha’s “On Freedom,“ in which an anthropomorphic birdcage prevents its feathered captives from flying into the sunset. Ridding themselves of their shackles holds the promise of fulfillment, but that desire is in fact “the strongest of these chains.” Clever in its use of symbolism and graceful in its execution, Socha’s rendition of Gibran’s piece is sharp and poignant. Then, with kaleidoscopic vividness, Nina Paley uses multiple motifs evocative of both Indian and Greek iconography in “On Children,” to depict the cyclical nature of life and the perennial bond between parents and their descendants. Though this connection is irreproachable, progenitors shouldn't attempt to command the life they’ve brought into the world because it’s not their possession, but a link in a greater continuum. Like bows launching arrows into an uncertain abyss, mothers and fathers must come to terms with letting go. Singer/songwriter Damien Rice rearranges the author’s lines into heartfelt lyrics for a melancholic song that builds up to a captivating finale.
Seductively, Joann Sfar's “On Marriage” shows two lovers dancing tango under the moonlight. Ancient ruins become the battleground for a sensual clash where impeccable choreography is a more of a strategic maneuver than just coordinated movement. Subtly wrestling each other to set the boundaries of their union, husband and wife know their paths advance parallel, yet independently. Similarly exquisite is the manner in which Academy Award-winner Joan Gratz delivers “On Work,” via a painstaking technique known as claypainting. Blending colors with inconspicuous ability, the seasoned artist travels through the numerous notions on the worthiness of labor, whether physical or creative. Exceptionally delicate in nature, her work thoroughly explains why “he who seizes the rainbow to lay it on a cloth” is not nobler than “he who makes sandals for our feet.”
Bill Plympton's scratchy and utterly handcrafted frames in "On Eating and Drinking" flow with the uncompromising animator's expected candidness.These elemental joys are held sacred by Gibran as “an act of worship,” and while the cartoonist is respectful of this canon, humor is always a vital quality of his deliberately nonchalant drawings. A man bites an apple and as we follow its journey through the human body we witness nourishment and sustainability by means of Plympton's style. Now, the most unquestionably breathtaking piece of this magnificent puzzle, and perhaps the most beautiful piece of filmmaking to be projected on screens this year, is Tomm Moore’s “On Love.” Its alluring rhythm and detailed Art Nouveau designs flood each frame with spellbinding imagery that speaks of the thorny splendor that falling for another being entails. Elating and devastating at once, “love crowns you” with its intoxicating glory, but just as strongly it can “crucify you” with merciless fury. Moore’s unmistakable enchantment illustrates an ancestral couple ascending from the depths of darkness into the light of redemption propelled by the dazzlingly magic of “love’s ecstasy.”
Silhouetted animals racing for survival personify human ambitions in Mohammed Harib's “On Good and Evil.” Given the broadness of the poem’s subject matter the animator could have taken much more literal routes to relay its lesson, but his metaphorical approach successfully encapsulates Gibran’s stance on benevolence and wickedness. In hi eyes any wrong doings perpetrated have a purpose within the landscape of our collective destiny. All that is evil was once kindness, because, according to the poet, “good tortured by its own hunger and thirst.” Finally, our unavoidable fate is treated with compassion rather than morbid tropes by Gaëtan Brizzi and Paul Brizzi in their transcendent visualization of "On Death." Our soul, comes to life in the form of an incorporeal character who dances swiftly celestial radiance. Sorrow is replaced with the hope that the end is just a transition into an “unencumbered” state. Drinking from the “river of silence” allows our inner divinity to truly sing without restrains. A peaceful rebirth only comes from letting go of carnal necessities, and that’s something both Gibran and Mustafa are convince of.
Musically, “Kahlil Gibran’s The Prophet,” was embellished by composer Gabriel Yared’s grand score, which mixes epic sentiments with soothing melodies decorating almost every second of it. Accentuating Tomm Moore’s lovely bit, Irish singers Lisa Hannigan and Oscar-winner Glen Hansard fashion a stirring tune out the scribe’s contemplation on amorous frenzy. Lastly, in addition to providing a song for Paley’s segment, Damien Rice wrote another moving ballad titled “Hypnosis” to play during the final credits. Perfectly reflective of the experiential attributes of the film it caps, Rice’s stanzas put an empowering final touch as it asks us to seek strength from our personal truth.
In this tapestry of lyrical mirages, the eternal endurance of art prevails as testament of the immortality bestowed only on those whose brilliance surpasses time and space. Harnessing wide-ranging techniques, the artists behind “Kahil Gibran’s The Prophet” gifted us one of the most mesmerizing films of the year and a milestone in the history of animation, which brought together the genius of many to spread words of compassion and serenity. Solidarity amongst mankind and the acceptance of our flaws as virtues hidden by unnecessary vanity and greed, are the first steps towards the reconciliation between what we think we are now and what we've always been. Gibran’s message is as relevant as ever today, so let us fill ourselves with the majesty of his wisdom, and become vindicated disciples willing to live beyond merely existing.
"Kahlil Gibran's The Prophet" is now playing in L.A. and NYC and will open in other cities across the country in the upcoming weeks.
- 8/16/2015
- by Carlos Aguilar
- Sydney's Buzz
New film from the director of Oscar-nominated Omar to premiere at Toronto.
The Doha Film Institute has announced it has struck a co-financing partnership on Hany Abu-Assad’s The Idol (Ya Tayr El Tayr).
The film, directed by Palestinian filmmaker Hany Abu-Assad (Paradise Now, Omar), will have its world premiere at Toronto next monthwhere it will screen as part of the festival’s Special Presentations.
The film tells the true story of Mohammad Assaf, a wedding singer from Gaza who became a worldwide sensation after winning the live-singing competition Arab Idol.
Doha Film Institute CEO Fatma Al Remaihi said: “Hany Abu-Assad is one of the most significant filmmakers from the Arab world and we are honoured to be partners on ‘The Idol’.
“Mohammed Assaf’s remarkable story, the many struggles he had to overcome, and his love and commitment to his family and community in Gaza had a powerful impact on us.
“In the hands...
The Doha Film Institute has announced it has struck a co-financing partnership on Hany Abu-Assad’s The Idol (Ya Tayr El Tayr).
The film, directed by Palestinian filmmaker Hany Abu-Assad (Paradise Now, Omar), will have its world premiere at Toronto next monthwhere it will screen as part of the festival’s Special Presentations.
The film tells the true story of Mohammad Assaf, a wedding singer from Gaza who became a worldwide sensation after winning the live-singing competition Arab Idol.
Doha Film Institute CEO Fatma Al Remaihi said: “Hany Abu-Assad is one of the most significant filmmakers from the Arab world and we are honoured to be partners on ‘The Idol’.
“Mohammed Assaf’s remarkable story, the many struggles he had to overcome, and his love and commitment to his family and community in Gaza had a powerful impact on us.
“In the hands...
- 8/12/2015
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
In a first, RADiUS has provided figures for an ultra-vod release ahead of its theatrical bow. RADiUS said Chris Evans' Before We Go had a robust launch on-demand since becoming available July 21, grossing over $1.13M in just under three weeks. Back on the theatrical side, newcomers had mixed results. Sony Classics did fairly well with the opening of Sundance title The Diary Of A Teenage Girl in New York and L.A., while Gkids animated movie Kahlil Gibran's The Prophet…...
- 8/9/2015
- Deadline
Animation is traditionally considered a tyke-targeted genre, but films like Kahlil Gibran’s The Prophet, an uneven but unassailably ambitious adaptation of the Lebanese author’s classic prose poetry collection, challenge that perception. After all, it’s hard to imagine that the children who would be enraptured by the movie’s often gorgeous visuals would find themselves equally stimulated by its dense meditations on life, death, love and the ties that bind us to the natural world. Maybe that’s short-changing the more astute young’uns out there, but there’s no denying that The Prophet, with its steadfast devotion to Gibran’s verse, is layered in the extreme.
Further blurring the intended audience for this take on the book is how it constructs a treacly Disney story within which to communicate the poet’s eloquent musings. Salma Hayek, as performer and producer, seems to have coaxed The Prophet – oft...
Further blurring the intended audience for this take on the book is how it constructs a treacly Disney story within which to communicate the poet’s eloquent musings. Salma Hayek, as performer and producer, seems to have coaxed The Prophet – oft...
- 8/7/2015
- by Isaac Feldberg
- We Got This Covered
Heritage and humanity, those are the two pivotal catalysts that empowered Mexican star Salma Hayek to pursue her most beloved passion project: an utterly ambitious animated reimagining of a literary classic. Produced by Hayek, “Kahlil Gibran’s The Prophet” is one of the most mesmerizing films of the year and a miraculous milestone in the history of animation.
Enlisting Roger Allers to direct the frame narrative and 8 other talented animators to create visually stunning interpretations of some of Gibran’s most insightful poems about love, death, and everything in between, Salma Hayek has been more than a producer.
She has spearheaded every aspect of the production and is now dedicating her every moment to get the word out about this transformative cinematic experience.
Her initial contact with The Prophet was through her Lebanese grandfather who treasured its pages for their heartfelt wisdom; however, the actress, who also voices Kamila in the film, reassured us that today her devotion for Gibran’s writing is even more personal. Hayek’s humanitarian work around the world and her role as a mother have given her a broader perspective of the current state of the world, and in that sense this film represents her efforts to advocate for tolerance and compassion.
Chatting with Hayek her immense enthusiasm and attachment for this gem of a film are tangible. It’s clear her involvement thrives on a genuine desire to share Gibran’s message with the world through the artistic triumph she, her directors, and cast, have achieved.
Here is our brief conversation with Salma Hayek who will next be seen in Toronto for the premier of "Septembers of Shiraz."
“Kahlil Gibran’s The Prophet” opens in L.A. and NYC on Friday August 7th.
Aguilar: This film is different from everything else you've done and it seems to be a deeply personal project for you. Why was it so important for you make this project a reality and what's your personal connection to Gibran's poetry?
Salma Hayek: This film is very, very important for me. It's like a summary of many things that I am, of many things that worry me, and of many things that give me hope. My direct connection to it you already know it or you can read it elsewhere - about my grandpa- so let's use the time to talk about things you haven't read. I wanted to make a film that could touch the soul and that connected us with and reminded us of our humanity. I think that we are becoming dehumanized. With all the work I've down around the world, most of it regarding women, I often ask myself, "How could this be?"
Even if you don't do any of that work, you can see it in the news. How can it be possible that people don't value life? How can it possible for them to take someone else's life so easily? How can it be that we are becoming so dehumanized to such degree? Therefore, I wanted to make a film that could connect the viewer with their humanity. Kahlil Ginbran, with the poetry he wrote, touches all kinds of people. He unites people from all religions, people from all social backgrounds, people from all intellectual backgrounds. There are people who might not read a lot, but they still understand and they are moved by this poetry. People use this poetry for weddings and funerals, so it belongs to them in a very intimate way in their lives. I asked myself, "Why?" I think it's because his poetry talks about the simple things in life that unite us all: love, death, children, food. He talks about this things in way that celebrates life and in way that shows gratefulness for life.
That's a reason, but I also think there is another reason. When you read his poetry, and it has happened to me not only with his poetry but also with other things, you find a phrase here and a phrase there and when you hear it not only does it makes sense, but you feel like it's familiar. It's not because you have heard it before, but because when you listen to it you are not listening with your head. There is something within you, your instincts, that are telling you, "This is the truth." It sounds familiar to you because it's true. That's why I wanted to make this film and why it's so important for me.
It was also important for the film to be a communication vehicle for you with yourself and your humanity, but also within the family. The film can be watched by kids from 3-years-old to 103-years-old. When people come out after watching the film, if you don't want to talk, you are in a state in which you are invisibly hugging everyone around you. However, many times, especially children, want to talk after watching the film. Nowadays when you take your children to the movies, they might tell you about what they just saw, but it's not a conversation where they ask or tell you about something they experienced during the film or something that made them think. I think this film will be a communication channel between families.
Aguilar: Why did you think the best way to tell this story was with animation?
Salma Hayek: Because the other theme of the film is freedom, and because for children - who might not understand all the words - I needed to tell the story with images. But you can't tell or represent poetry with just images of people. Freedom, generosity, love, compassion are not faces; however, art can represent them very well with images. Images that are not bound by a body. When I speak about freedom, it's about freedom of the spirit. Freedom of the spirit can't be represented by a body. It has to be art. It has to be all the colors. It has to be something that moves and has no boundaries.
Aguilar: When saw the film for the first time, what was the sequence that captivated or surprised you the most?
Salma Hayek: I didn't see it for the first time as animation. I saw it every day throughout different stages. From developing the screenplay and finding the right story. I've never seen it for "the first time." I've seen it hundreds and hundreds of times, but every time I see it there are different phrases that stand out to me in different ways. It's incredible. I don't get tired of seeing it.
Aguilar: My favorite is "On Love" by Tomm Moore.
Salma Hayek: Oh my God! Tomm Moore is a genius.
Aguilar: It's one of the most beautiful sequences - animated or nor - that I've ever seen on screen.
Salma Hayek: Right in front of my bed in my room I have, well a TV - of course [Laughs] - and under the TV I have a print from the film and it's from the "On Love" sequence. You don't know how much I love that little piece of art. My husband and I look at it every day when we wake up and every day before going to sleep [Laughs].
Aguilar: When you were selecting what directors you wanted on board, how did you decide who would direct the frame structured story and who would be best for the poetry segments?
Salma Hayek: Roger wasn't on board at the beginning. Tomm More was on board to direct the "On Love" segment before Roger came on. They are two types of directors. We needed a director that understood a more accessible language for the main structured story, and Roger was perfect for that. "The Lion King" is a children's film that adults can also enjoy, and which has had a life after the film with theater. He was the perfect director to create this story. He also has a lot of experience in animation, which helped him collaborate with other directors. However, I want to make something very clear, all the directors in charge of the poem sequences had 100% creative freedom. They didn't have to use a specific color palette or anything. They could whatever they wanted.
Aguilar: The only thing they had was the poem.
Salma Hayek: Yes, and they were able to interpret it however they liked. We were very careful to include artists from different religions or with no religion, from different countries, of different ages. I thought that the more diverse their styles and personalities were, the better the film would be. That's why we chose these directors.
Aguilar: How has the film been received in Lebanon and do you plane to take it to Mexico as well?
Salma Hayek: In Lebanon, the film is a huge success. We beat "Avengers" on its second weekend. In Mexico I already have the premiere planed and I'm talks with a possible distributor.
Aguilar: Do you any plans of making a film in Mexico or in Spanish in the near future? If not, what are you working on now?
Salma Hayek: Not right now. I plan to only make one film this year. It's a film I'm also producing that it's very much about girl power. The female protagonist is not American, or Arab, or Latina, but it's based on a true story.
Enlisting Roger Allers to direct the frame narrative and 8 other talented animators to create visually stunning interpretations of some of Gibran’s most insightful poems about love, death, and everything in between, Salma Hayek has been more than a producer.
She has spearheaded every aspect of the production and is now dedicating her every moment to get the word out about this transformative cinematic experience.
Her initial contact with The Prophet was through her Lebanese grandfather who treasured its pages for their heartfelt wisdom; however, the actress, who also voices Kamila in the film, reassured us that today her devotion for Gibran’s writing is even more personal. Hayek’s humanitarian work around the world and her role as a mother have given her a broader perspective of the current state of the world, and in that sense this film represents her efforts to advocate for tolerance and compassion.
Chatting with Hayek her immense enthusiasm and attachment for this gem of a film are tangible. It’s clear her involvement thrives on a genuine desire to share Gibran’s message with the world through the artistic triumph she, her directors, and cast, have achieved.
Here is our brief conversation with Salma Hayek who will next be seen in Toronto for the premier of "Septembers of Shiraz."
“Kahlil Gibran’s The Prophet” opens in L.A. and NYC on Friday August 7th.
Aguilar: This film is different from everything else you've done and it seems to be a deeply personal project for you. Why was it so important for you make this project a reality and what's your personal connection to Gibran's poetry?
Salma Hayek: This film is very, very important for me. It's like a summary of many things that I am, of many things that worry me, and of many things that give me hope. My direct connection to it you already know it or you can read it elsewhere - about my grandpa- so let's use the time to talk about things you haven't read. I wanted to make a film that could touch the soul and that connected us with and reminded us of our humanity. I think that we are becoming dehumanized. With all the work I've down around the world, most of it regarding women, I often ask myself, "How could this be?"
Even if you don't do any of that work, you can see it in the news. How can it be possible that people don't value life? How can it possible for them to take someone else's life so easily? How can it be that we are becoming so dehumanized to such degree? Therefore, I wanted to make a film that could connect the viewer with their humanity. Kahlil Ginbran, with the poetry he wrote, touches all kinds of people. He unites people from all religions, people from all social backgrounds, people from all intellectual backgrounds. There are people who might not read a lot, but they still understand and they are moved by this poetry. People use this poetry for weddings and funerals, so it belongs to them in a very intimate way in their lives. I asked myself, "Why?" I think it's because his poetry talks about the simple things in life that unite us all: love, death, children, food. He talks about this things in way that celebrates life and in way that shows gratefulness for life.
That's a reason, but I also think there is another reason. When you read his poetry, and it has happened to me not only with his poetry but also with other things, you find a phrase here and a phrase there and when you hear it not only does it makes sense, but you feel like it's familiar. It's not because you have heard it before, but because when you listen to it you are not listening with your head. There is something within you, your instincts, that are telling you, "This is the truth." It sounds familiar to you because it's true. That's why I wanted to make this film and why it's so important for me.
It was also important for the film to be a communication vehicle for you with yourself and your humanity, but also within the family. The film can be watched by kids from 3-years-old to 103-years-old. When people come out after watching the film, if you don't want to talk, you are in a state in which you are invisibly hugging everyone around you. However, many times, especially children, want to talk after watching the film. Nowadays when you take your children to the movies, they might tell you about what they just saw, but it's not a conversation where they ask or tell you about something they experienced during the film or something that made them think. I think this film will be a communication channel between families.
Aguilar: Why did you think the best way to tell this story was with animation?
Salma Hayek: Because the other theme of the film is freedom, and because for children - who might not understand all the words - I needed to tell the story with images. But you can't tell or represent poetry with just images of people. Freedom, generosity, love, compassion are not faces; however, art can represent them very well with images. Images that are not bound by a body. When I speak about freedom, it's about freedom of the spirit. Freedom of the spirit can't be represented by a body. It has to be art. It has to be all the colors. It has to be something that moves and has no boundaries.
Aguilar: When saw the film for the first time, what was the sequence that captivated or surprised you the most?
Salma Hayek: I didn't see it for the first time as animation. I saw it every day throughout different stages. From developing the screenplay and finding the right story. I've never seen it for "the first time." I've seen it hundreds and hundreds of times, but every time I see it there are different phrases that stand out to me in different ways. It's incredible. I don't get tired of seeing it.
Aguilar: My favorite is "On Love" by Tomm Moore.
Salma Hayek: Oh my God! Tomm Moore is a genius.
Aguilar: It's one of the most beautiful sequences - animated or nor - that I've ever seen on screen.
Salma Hayek: Right in front of my bed in my room I have, well a TV - of course [Laughs] - and under the TV I have a print from the film and it's from the "On Love" sequence. You don't know how much I love that little piece of art. My husband and I look at it every day when we wake up and every day before going to sleep [Laughs].
Aguilar: When you were selecting what directors you wanted on board, how did you decide who would direct the frame structured story and who would be best for the poetry segments?
Salma Hayek: Roger wasn't on board at the beginning. Tomm More was on board to direct the "On Love" segment before Roger came on. They are two types of directors. We needed a director that understood a more accessible language for the main structured story, and Roger was perfect for that. "The Lion King" is a children's film that adults can also enjoy, and which has had a life after the film with theater. He was the perfect director to create this story. He also has a lot of experience in animation, which helped him collaborate with other directors. However, I want to make something very clear, all the directors in charge of the poem sequences had 100% creative freedom. They didn't have to use a specific color palette or anything. They could whatever they wanted.
Aguilar: The only thing they had was the poem.
Salma Hayek: Yes, and they were able to interpret it however they liked. We were very careful to include artists from different religions or with no religion, from different countries, of different ages. I thought that the more diverse their styles and personalities were, the better the film would be. That's why we chose these directors.
Aguilar: How has the film been received in Lebanon and do you plane to take it to Mexico as well?
Salma Hayek: In Lebanon, the film is a huge success. We beat "Avengers" on its second weekend. In Mexico I already have the premiere planed and I'm talks with a possible distributor.
Aguilar: Do you any plans of making a film in Mexico or in Spanish in the near future? If not, what are you working on now?
Salma Hayek: Not right now. I plan to only make one film this year. It's a film I'm also producing that it's very much about girl power. The female protagonist is not American, or Arab, or Latina, but it's based on a true story.
- 8/5/2015
- by Carlos Aguilar
- Sydney's Buzz
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