giuseppe retweeted
Sebastián Lelio has sadly passed away.
He will go down in history as the director of the first Chilean film to win the Oscar for Best International Feature Film with ‘A FANTASTIC WOMAN’
He went on to direct acclaimed films starring Florence Pugh, Julianne Moore, Rachel Weisz and Rachel McAdams.
fuck it, bring back the original cast we don’t give a fuck if they’re all older 😭
An animated adaptation of Stephenie Meyer’s ‘MIDNIGHT SUN’ is moving forward at Netflix with a 2-season order.
The series follows a retelling of ‘TWILIGHT’ from the perspective of Edward Cullen.
(via: whats-on-netflix.com/news/mi…)
giuseppe retweeted
i made a slightly pretentious critique of a pretentious review calling a movie pretentious:
“La Bola Negra,” a new film by Javier Ambrossi and Javier Calvo, dramatizes gay repression and liberation across three interconnected stories. At first, the year is 1937 and viewers are thrust deep into the Spanish Civil War, where a Nationalist soldier and a wounded Republican freedom fighter exchange furtive glances. By the end, it’s 2017, and a Madrid-based historian need only look to Grindr to satisfy an urge. The movie “wants to be a sweeping historical epic of gay longing—a film about what it means to be a man who desires other men in times of war and peace,” Justin Chang writes. Instead, the directors have produced “a film that insists, arrogantly and aggressively, on its own monumentality”. Even compelling performances from Glenn Close, Penélope Cruz, and Lola Dueñas fail to rescue the extravagantly overwrought film. Read Chang's full review: newyorker.com/culture/the-cu…
giuseppe retweeted
a short review of la bola negra because i need time to process boxd.it/gIVP5f
giuseppe retweeted
Calling it a film about “what it means to be a man who desires other men in times of war and peace” is such a diabolically reductive reading of a film that is fundamentally concerned with political violence, historical memory, and the generational consequences of repression.
“La Bola Negra,” a new film by Javier Ambrossi and Javier Calvo, dramatizes gay repression and liberation across three interconnected stories. At first, the year is 1937 and viewers are thrust deep into the Spanish Civil War, where a Nationalist soldier and a wounded Republican freedom fighter exchange furtive glances. By the end, it’s 2017, and a Madrid-based historian need only look to Grindr to satisfy an urge. The movie “wants to be a sweeping historical epic of gay longing—a film about what it means to be a man who desires other men in times of war and peace,” Justin Chang writes. Instead, the directors have produced “a film that insists, arrogantly and aggressively, on its own monumentality”. Even compelling performances from Glenn Close, Penélope Cruz, and Lola Dueñas fail to rescue the extravagantly overwrought film. Read Chang's full review: newyorker.com/culture/the-cu…
