#feature films

[fuckyeahlegionm]

MY DEAD FRIEND ZOE is now available to watch from the comfort of home! So if you didn't have a chance to catch this award-winning film while it was in theaters (or you just want to watch it again) — now's your chance! AMAZON APPLE

[architectureandfilmblog]

THE BRUTALIST (2024)

Hollywood isn't known for its nuanced portrayal of the field of architecture. We've either had implausible romantic heroes -  in whom 'architect' has merely been a convenient shorthand for a man who is successful and pragmatic, and yet, wow... also sensitive and creative. Or we've had the uncompromising Fountainhead- style egomaniacal genius.  It's unfortunate that The Brutalist, as such an unusually high profile film about an architect, somewhat perpetuates those cliched characterisations. 

Also, since its unlikely that there'll ever be a widely-watched biopic of Marcel Breuer, upon whom the main character seems based, its a shame that his life and influential (and superior) work isn't better represented here. Admittedly, the aesthetic inspiration for László's buildings does appear to have been broader, with visible references to Le Corbusier's Ronchamp, Frank Lloyd Wright's Johnson Wax Building, Tadao Ando's Church of Light, and Louis Kahn's Salk Institute, amongst many others. 

Of course, Brady Corbet and his team aren't obliged to provide a balanced portrayal of the architecture profession. And Adrian Brody's character seems to also symbolise the misunderstood Artist, the migrant, the culturally persecuted, the alienated non-conformist in 1950s America. Asthetically, the Brutalist is often beautiful, with moments of Tarkovsky-esque visual poetry.

It's this pervading sense of symbolism, however, that makes the film's most literally brutal scene feel so disconcerting and inconsistent. Corbet has likened its lack of subtlety to the melodramas of the 1950s, which often had monstrous, larger than life villains. And there are movies from every era that use melodrama and a flamboyant lack of subtlety to great effect. But what jars in this case is our sense that such a suddenly literal manifestation of the central metaphor is inconsistent with what we've watched up to that point. 

The tension of the symbolic relationship between artist and patron, struggling refugee and wealthy citizen, runs throughout the film. Its complex power dynamics are visible behind everything that takes place, so to have that suddenly depicted in such a literal way almost feels insulting to the viewer, as though the filmmakers are suggesting we might otherwise have missed the point. (Image via u/Gloryflux on reddit)

[filifan55]

New Poll: Favorite Film. I have not included The Hobbit in this poll because last year it was the runaway favorite. We know everyone loves those films. So, this poll is for all the rest of them! I have also not included the "made for TV" movies like Tangwai, Doom Runners, or Return to Treasure Island.

Your favorite theatrical release film of Dean's (not including The Hobbit)

Bonjour Timothy

The Convert

Pork Pie

Snakeskin

Toy Love

Trumbo

When Love Comes

Voting ended onApr 16

[tears-that-heal]

I'm now in the mood for some Tolkien!!!

It's marathon extended-edition time! 🤩

CALL IN the CAKE, stat!!! 🍰🎂😍

[fearsmagazine]

MOVIVUE & FEARS Magazine Present THE FIRST FRIGHT COMPETITION. Submissions Now Open!

MOVIVUE, in association with FEARS Magazine, is conducting a competition in search of a Mind Bending, Spine Tingling, Risk Taking HORROR film to distribute worldwide as the inaugural film for the launch of their new premier Horror streaming service.

MOVIVUE in association with FEARS Magazine (FEARSmag.com), celebrating 25 years of doing the fright thing on the web, is holding this FIRST FRIGHT COMPETITION to find the maiden horror feature length film to launch their streaming platform in August 2024 for worldwide distribution. THE FIRST FRIGHT COMPETITION is seeking exceptional low to medium budget independent cinematic talent and is setting out to elevate visionaries with an original perspective on storytelling in the horror genre.

MOVIVUE, launching August 2024, is positioned to become the pre-eminent Horror streaming platform gathering new worldwide audiences, original storytellers and audiences seeking new voices and fresh perspectives.

THE FIRST FRIGHT COMPETITION is open for submissions beginning June 5th, closing midnight August 4th 2024. The platform is scheduled to launch mid to late August 2024, to herald in the start of the 2024 fright season. The submission fee is $35.00 and is non-refundable. We are looking for submissions that meet the following criteria:

Running times must be a minimum of 85 minutes, and not exceed 120 minutes.

Films must have been completed not earlier than January 1, 2020.

Is NOT currently streaming in the US and her territories

Ready to stream; having all industry standard deliverables in place (for a complete list of required deliverables, rules and guidelines please visit https://filmfreeway.com/FIRSTFRIGHTCOMPETITION ).

Films must be submitted via online screener on Filmfreeway. We are not accepting hardcopies.

To submit your film visit: https://filmfreeway.com/FIRSTFRIGHTCOMPETITION

[w-armansky-blog]

Hollywood’s film director Dorothy Arzner: the first, the first, the first

the only woman director during the "Golden Age" of Hollywood's studio system

the only woman filmmaker directing top level studio pictures

the first woman in Hollywood who directed a sound film, Paramount’s first talking movie The Wild Party

the first female member of the Directors Guild of America

In the golden age of Hollywood, Dorothy Arzner was the only woman in a male-dominated space of film directoring. Started as an editor and writer Dorothy Arzner became a successful Hollywood director. With the ambition to become a doctor, she went abroad during World War I to work in the ambulance corp. When she returned, however, she decided she wanted to become a film director. Dorothy Arzner directed around 20 films over the course of her 24 years in film industry. She taught Francis Ford Coppola and with directing her feature films she launched the careers of actresses Clara Bow, Katherine Hepburn and Lucille Ball.

Dorothy Arzner was a shorthaired, boyish director, preferred to wear mostly pants. The way the mother goddess of women’s film-making was described by those who knew her:

"Sometimes, during the direction of a scene, she speaks so softly that it is necessary for her assistant to echo her orders in his chesty baritone. For the most part, she dresses in sport clothes and flat heels and eye-shading felt hats. There is something about her that commands immediate attention—and respect. It is an open secret on the Paramount lot that Miss Arzner's company is the best disciplined in the studio—and that it is self-disciplined."

"The only woman director in the 'movies' pondered gravely before answering. Shc sat quietly— a slight, almost frail figure. Black, short hair, with here and there a thread of gray, was brushed smoothly back from her wide, thoughtful forehead, and blue eyes under heavy brows looked at one steadily and directly. The face mobile and sensitive, harbored a strength and power for some reason rather surprising."

"Hers is a very satisfying face, brilliantly alive; her skin is clear and healthy, without aid of cosmetics; her eyes arc a deep, violet-blue, shadowed with long lashes, and I should hate to be the one to double-cross or try to fool those eyes. . she wears a severely tailored tweed suit, with mannish shirt and tie, when working. She orders her shirts by the dozen from a New York firm and says she feels this is the only sort of costume suited to her job."

"The case of Dorothy Arzner, Hollywood's lone woman director, illustrates two tenets of present-day industry. The first is that an intelligent woman can do pretty much any kind of work she sets her mind on doing, and the second is that she didn’t need to sacrifice her femininity in doing it. ... Hollywood's maverick woman megaphone wielder has dark brown hair brushed back from a high forehead in a short bob, and gray-blue eyes. She wears tailored suits on the set and all her clothes, tailored or evening, are in combinations of black and white or gray ..."

Can’t believe I never heard of Dorothy Arzner before.

source: Directed by Dorothy Arzner (Women Artists in Film) | Mayne, Judith. 1994, https://www.womeninblog.com/

[animationforce]

21 Animated Projects We’re Anticipating in 2021

1) Arlo the Alligator Boy (Netflix/Titmouse)

This 2D musical feature film for the streaming service will set up a series (”I Heart Arlo”) about an alligator looking for family in a “Regular Show”-type world. The music blew us away during the preview at 2020′s CTN Expo.

2) Bob’s Burgers: The Movie (Disney/20th Century/Bento Box)

While the Fox show is loved for its humor and heart and not really for its animation, this feature film from the show creator Loren Bouchard will have a glossier look, as Bento Box animates on a feature budget and timeline. Expected in theaters on April 9, 2021.

3) The Boss Baby 2: Family Business (DreamWorks/Universal)

This March, DreamWorks Animation brings the brothers back together — to deal with the new cutthroat boss (baby) in the family.

4) Connected (Sony Animation) 

Producers Phil Lord and Christopher Miller (Spider-Verse, The Lego Movie) support Gravity Falls alum Mike Rianda in his feature directorial debut. Rianda’s brand of wacky humor sets this humans vs. robots film up for a great time, if the company can set a release date.

5) Encanto (Disney) 

Zootopia’s Byron Howard leads director team Jared Bush and Charise Castro Smith in this musical super power story set in Colombia, coming this fall.

6) Earwig and the Witch (Studio Ghibli/GKIDS)

Goro Miyazaki, son of legendary Hayao Miyazaki and director in his own right, brings Ghibli magic to theaters for the first time in six years. This film differs from its predecessors with stylized cg animation, but the story — an orphaned girl learns she’s the daughter of a witch — promises much of the wonder that one expects of any Ghibli film. 

7) Luca (Pixar) 

Director Enrico Casarosa debuts with Pixar’s Italian Riviera-set story of friendship between a boy and a boy-shaped sea monster, which arrives this June.

8) Minions 2: Rise of Gru (Illumination/Universal)

We’ve seen Gru’s future and his yellow minions’ past, but finally Illumination highlights the in-between in a villain origin story we hope will be as fun as the first three Despicable Me films.

9) My Father’s Dragon (Cartoon Saloon/Netflix)

It’s a great year for dragon-lovers, with Cartoon Saloon supplying the first of three feature films about these awesome creatures. Director Nora Twomey brings to life a Newberry-winning book, with help from “Inside Out” scribe Meg LeFauve and writer John Morgan. A boy who runs away to Wild Island finds much more than the captive dragon he sought.

10) Guillermo del Toro’s Pinocchio (Netflix/Jim Henson)

Another ambition animated feature from Netflix, Pinocchio sets itself apart from other versions of the folk tale in its look — stop-motion by Jim Henson’s studio — and feel, with Guillermo del Toro’s signature dark brilliance under veteran director Robert Zemeckis’ helm. This will not be very family friendly.

11) Raya and the Last Dragon (Disney) 

A warrior seeks the legendary last dragon hundreds of years after those mythical creatures saved her world from the same evil threat they now face. Coming to theaters and Disney+ (for a fee) in March.

12) Robin Robin (Netflix/Aardman)

This animated musical holiday special comes from the minds behind Wallace & Gromit and Shaun the Sheep. It may be a long way from December now, but we’re ready for some stop-motion Christmas fun, especially when the story follows a bird raised by mice. 

13) Ron’s Gone Wrong (Disney/20th Century/Locksmith)

Female-led production company Locksmith brings its first animated feature to life under Disney-owned 20th Century (Fox), “Ron’s Gone Wrong.” Set in a world where every child has its own robot assistant, a boy tries to fix his faulty robot this April.

14) Rumble (Paramount/ReelFX)

Based on a graphic novel by Rob Harrell, this film explores the challenges of a world where humans coach monsters in pro wrestling. Yes, really. We’ll see where it goes in May.

15) Sing 2 (Illumination/Universal)

Buster and his band of musical animals return with visions of stardom, or at least attempts to persuade a certain rockstar to join them in this sequel to the Animals’ve Got Talent film, expected in December.

16) Space Jam: A New Legacy (Warner Bros/WAG)

LeBron James joins the Looney Tunes in this not-quite-sequel to the 1990s classic live-action hybrid film. We’re especially looking forward to prolific voice actor Eric Bauza’s performance as Bugs Bunny, among other Looney favorites! 

17) The SpongeBob Movie: Sponge on the Run (Nickelodeon/Paramount)

After teasing us with seemingly infinite ads for this film, we’ve been waiting some time for the newest SpongeBob feature film in the United States, which arrives on CBS All-Access and video-on-demand services in February. The story of SpongeBob and Patrick’s journey to save the snail-napped Gary has already premiered in Canadian theaters and in other countries on Netflix.

18) Tom and Jerry (Warner Bros/WAG)

The live-action/CG hybrid film bring Tom and Jerry to the big screen and HBO Max this February. When Jerry accidentally crashes “the wedding of the century,” Tom is hired to get rid of the mouse, reigniting the famous rivalry and uncovering a secret plot in the process.

19) Vivo (Sony Animation)

Lin-Manuel Miranda delivers Sony’s first animated musical, about a capuchin monkey with big dreams, this June.

20) Wendell and Wild (Netflix)

“Nightmare Before Christmas’” own Henry Selick returns to stop-motion to direct Netflix’s adventure story of two demon brothers (Keegan-Michael Key and Jordan Peele) who escape the Underworld.

21) Wish Dragon (Sony Animation)

An old teapot transforms college student Din’s meager life into something fantastic when he discovers Long, a Wish Dragon, inside. 

- Courtney