#sion festival 2021

[dowoonsbf]

ABOUT ME

• 20+, any pronouns, florida usa

• FR/ESP ok!

• fanfic writer since 2012

• tumblr user also since 2012 unfortunately

ABOUT THE BLOG

- runs almost entirely on a queue

- amateur gif maker and graphic creator

- lots of rambling in the tags bc that’s how tumblr works!!!!!!!

- will occasionally post rpf fics if i feel like it, although i usually just do so on twitter :3 they’ll be tagged #sloanfics if you want to blacklist the tag!!

STANS

i’ve been a kpop fan since 2015. i saw kim kibum on a variety show at a kbbq restaurant and it was all over for me.

you’ll mostly see me talk about:

✨ nct / doyoung, johnny, mark, jisung, jeno, xiaojun, ten, ryo, sion (pre-debut for all all units)

✨ stray kids / felix, jeongin, chan (2021)

✨ the boyz / juyeon, sangyeon, chanhee (2022)

✨ stayc / sieun, isa (2023)

✨ sf9 / chani, rowoon, dawon (debut)

✨ seventeen / minghao, joshua, mingyu (debut)

✨ got7 / bambam, mark, youngjae (2015)

✨ shinee / kibum, jjong (2015)

✨ p1harmony / jiung, keeho, intak (2022)

✨ twice / jeongyeon, dahyun, momo (debut)

i stan other groups, especially girl groups, so don’t be surprised if i post about others not listed!!

MEMORY ZONE:

stray kids seattle 12 july 2022 ; atlanta 22 march 2023 & 23 march 2023 ; nyc [global citizen festival/as 3racha] 23 september 2023

sf9 chicago 2 december 2022

nct 127 atlanta 13 january 2023

p1harmony atlanta 1 february 2023 (hi wave, photo)

nct dream atlanta 9 april 2023 ; atlanta [jingle ball] 14 december 2023

wayv paris 11 june 2023

jungkook nyc [global citizen festival] 23 september 2023

please feel free to tag me in anything or send me posts via dm, i don’t bite :D

you can tag me in haikyuu!! and danmei things as well, and they’ll be reblogged over on @chengxians

#sloanabout

[syrupdoubt93]

Some Known Details About The trailer for Shin Ultraman keeps Japan at the top of the

EXCLUSIVE: Deadline may introduce a first-look trailer for rising Japanese supervisor Masaaki Kudo’s new feature A Far Shore in advance of its world opened in the principal competitors of the Karlovy Vary International Film Festival, functioning July 1-9. A Far Shore (likewise recognized as The End of Background) takes spot in the middle of two worlds at a critical instant in record, one in a war, one in the happening situation. The timely modern tale faucets into motifs of gender disparity and women empowerment through an close image of a younger girl battling to keep her head above water against the chances. The novel's characters take an important position on social problems because of their shared struggles along with depression. A male finds life hard, also for himself, and he's making an effort to produce sense of it as he deals with the catastrophe of the past, and his household. Set versus the scenery of the Oriental isle of Okinawa, it complies with a 17-year-old high college failure and younger mom who works as a person hosting in the metropolitan area’s sleazy club scene to always keep her household afloat, receiving little assistance coming from her unemployment and intense spouse. Now in his mid-40s, he has moved coming from country Japan to live with his brand-new stepfather. “There is actually nobody around her to aid. She has done this for years. More Discussion Posted Here would be a error.". "And now she has been making an effort again. In the past her buddy would try to acquire around through pressure, yet there has consistently been a individual like this. I don't know. I can listen to her every therefore often. He was nearly consistently the huge, awful guy that would get her in to problem and that would end her lifestyle. She has actually the desire to run away and discover a place to live quietly,” Kudo claims in his director’s declaration. When she lastly makes it to her ultimate destination, Kudo's center quit at Kanshu that day, and he finds that he has actually to function again, thus leaving behind him alone in order to leave. After being offered several odds to get away from, Kudo rejects, and ends up being additional and more doubtful of himself. “This motion picture is dedicated to my mother and grandma who increased me in an time of brutality and extreme discrimination against women.” A Far Shore marks the 3rd attribute for Kudo who formerly worked as an assistant director for filmmakers such as Sion Sono and Isao Yukisada. Kudo's most current job is a film regarding the life of the late starlet and producer Risa Gohma. Check out the Kudo Film Festival for additional details on Gohma's recent job. It complies with 2021 film Unparalleled, which likewise touched into the impact of financial instability on Oriental children, and the 2018 Netpac Award victor I’m Crazy. The brand-new cartoons, which is starring a youthful heroine, follows four high-school elders returning to a higher school and become a hero in a means that was out of place in a manga or an anime, but which might have a severe influence on social desires in Japan. The initial period was discharged on October 11th.

It is generated through actor and manufacturer Yuki Kitagawa and offered globally by Paris-based Alpha Violet, the latest slate of which has featured Sundance Grand Jury Prize winner Utama and Unrest, which secured the greatest director reward in the Berlinale’s Encounter sidebar previously this year. After completing the position film, it was discussed on numerous various other Facebook web pages; this was created all the even more remarkable due to its visibility on social media in recent full weeks.

#japan movie trailer #映画のトレーラー #映画予告

[fuckyeahkaamelott]

Anne Girouard & Ensemble Agora - Sion Festival 2021 (Photographies de Claude Dussez).

Plus de photos sont disponibles: ici et là.

#kaamelott #anne girouard #théâtre #photographies #evenement #sion festival 2021

[awesomefridayca]

Fantasia '21 Review: 'Prisoners of the Ghostland' is a totally bonkers film, in a good way

Fantasia '21 Review: 'Prisoners of the Ghostland' is a totally bonkers film, in a good way @FantasiaFest #FantasiaFest #Fantasia2021

As we’ve previously established, Nicolas Cage is one of our most idiosyncratic performers and one of our last true movie stars. Sion Sono is a Japanese filmmaker known for his subversive and idiosyncratic sensibilities. So what do you get when these two meet? A bonkers film, that’s what. Continue reading

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#Montreal Fantasia Festival #Montreal Fantasia Festival 2021 #Nick Cassavetes #Nicolas Cage #Sion Sono #Sofia Boutella #Tak Sakaguchi

[thepeoplesmovies]

Sundance 2021 Film Review - Prisoners Of The Ghostland (2020)

Sundance 2021 Film Review – Prisoners Of The Ghostland (2020)

Have you ever played Fishbowl, or its equivalent? You know, the popular game where you put suggestions in a bowl and the team has to figure out what it is without saying any words connected to it? Or how about Paper Fortune Teller? The one where you guess a number to determine which segment gets turned over with a challenge or a dare? Looks like origami? It may be something of a stretch the…

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#2021 Sundance Film Festival #Bill Moseley #Nicolas Cage #Prisoners Of The Ghostland #sion sono #sofia boutella

[flickfeast]

Sundance 2021: Prisoners Of The Ghostland - Review

#Sundance2021: Prisoners Of The Ghostland - Review

What would a midnight madness festival programme be without a new Nicolas Cage film? Sundance delivers the goods with Prisoners Of The Ghostland. A film that delivers on the promise of guano insanity. A polite way of saying it is bat sh*t crazy. In a mostly good way. In the treacherous frontier city of Samurai Town, a ruthless bank robber (Nicolas Cage) is sprung from jail by wealthy warlord The…

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#Sundance2021 #Nicolas Cage #Prisoners Of The Ghostland #sion sono #sofia boutella #Sundance #Sundance Film Festival #Sundance Film Festival 2021

[notoriouslydevious]

Goodbye & Good Luck Riot KateyKhaos

Yesterday Katey posted to her twitter saying that next thursday will be her last day at Riot (so most likely Sept 16th, 2021). 

She was known as the Nami-Mommy throughout most of the community and worked on a BUNCH of skins.  She posted this on her Riot anniversary on June 30th of all the skins she worked on: 

Since it's pretty hard to read from the picture, I'll do my best to list them all: 2014: Reaper Soraka Victorious Morgana Battlecast Kog'maw Captain Volibear Constable Trundle Winter Wonder Orianna 2015: Wild Card Shaco King of Clubs Morde Order of the Lotus Irelia Prehistoric Cho'gath Pool Party Rek'sai Pool Party Draven Captain Fortune Battle Boss Blitzcrank Arcade Riven Project: Yi Project Fiora Championship Kalista Warden Karma Warden Jax Marauder Alistar Marauder Olaf Marauder Ashe Marauder Warwick Demon Vi Slayer Jinx Void Bringer Illaoi Snow Day Syndra Blood Moon Elise Challenger Ahri DJ Sona Firecracker Jinx Sweetheart Annie Debonair Galio Headhunter Akali Urf the Nami-tee Archduke Nasus Definitely Not Udyr Order of the Banana Soraka Guardian of the Sands Rammus Arclight Vayne Risen Fiddlesticks Queen of Diamonds Syndra Ace of Spades Ezreal 2016: Challenger Nidalee Lunar Wraith Morgana Sweetheart Sona Heartseeker Orianna Death Blossom Kha'zix Hextech Ward Mecha Zero Sion Mecha Zero Ward Super Galaxy Kindred Super Galaxy Fizz Freljord Taliyah El Leon Gnar El Macho Mundo Deep Sea Nami Star Guardian Jinx Mechs and Minions Ward Victorious Maokai Elementalist Lux Elementalist Ward 2017: Heartseeker Quinn Love Dove Ward Festival Queen Anivia Dragon Sorceress Zyra Moo Cow alistar Dreadnova Darius Cosmic Blade Master Yi Cosmic Dawn Rakan Pulsefire Caitlyn Pulsefire ward SKT T1 Nami SKT T1 Syndra Pentakill Kayle Star Guardian Ahri Star Guardian Miss Fortune Star Guardian Soraka Beekeeper Signed Arclight Yorick Death Sworn Katarina Death Sworn Viktor Death Sworn Zed Mecha Rengar 2018: Sweetheart Rakan Sweetheart Xayah Lunar Empress Lux Lunar Guardian Warwick Lunar Guardian Nasus Dragon Master Swain Resistance Illaoi Pizza Delivery Sivir Dark Star Cho'gath (I went to HS with Brian, the guy they made this skin for ♥) SSG Ezreal SSG Jarvan SSG Xayah SSG Rakan SSG Gnar SSG Taliyah Pool Party Zoe Pool Party Caitlyn Pool Party Gangplank Mafia Braum (or now "Crime City" Braum) High Noon Thresh High Noon Urgot Divine Sword Irelia Enduring Sword Talon Infernal Amumu Count Kledula Trick or Treat Ekko Program Nami Victorious Orianna Pajama Guardian Soraka Pajama Guardian Miss Fortune Pajama Guardian Ezreal Pajama Guardian Lux Pajama Guardian Lulu Ice King Twitch Frozen Prince Mundo Winter Wonder Soraka Hextech Renekton 2019: Blood Moon Pyke Blood Moon Aatrox & Prestige Blood Moon Sivir Firecracker Vayne & Prestige Firecracker Sejuani Coin Emperor Tahm Kench Heartpiercer Fiora Heartbreaker Vi Papercraft Anivia Papercraft Nunu Arclight Brand Pretty Kitty Rengar Fuzz Fizz Corgi Corki Meowrick Dunkmaster Ivern Hextech Jarvan IG Leblanc IG Camille IG Fiora IG Kai'sa Dark Star Shaco Dark Star Karma Arcade Kai'sa Arcade Caitlyn Battle Boss Yasuo Demacia Vice Garen Demacia Vice Lucian Dragon Oracle Udyr Hextech Rammus Elderwood Ahri Elderwood Nocturne Elderwood Veigar Championship Ryze Valiant Sword Riven Majestice Empress Morgana Splendid Staff Nami High Noon Ashe Witch's Brew Blitz Bewitched Miss Fortune Count Kassadin Dawnbringer Karma Dawnbringer Nidalee Nightbringer Vladimir Nightbringer Lee Sin 2020: Mecha Kingdoms Garen Heartseeker Jinx Heartseeker Yuumi Furyhorn Cosplay Veigar Pajama Guardian Urgot Coven Zyra Coven Leblanc FPX Malphite FPX Vayne FPX Lee Sin FPX Thresh Spirit Blossom Yasuo Spirit Blossom Cassiopeia PsyOps Master Yi PsyOps Ezreal PsyOps Pyke PsyOps Viktor Championship Leblanc K/DA All Out Seraphine Cosmic Destiny Nami Battle Queen Janna Elderwood Xayah Elderwood Rakan 2021: Ruined Karma Ruined Shyvana Ruined Draven Space Groove Lux Space Groove Nasus DWG Jhin DWG Nidalee PROJECT: Sejuani Sentinel Irelia It honestly scares me that not one, not two, but now THREE people in the skins department are leaving back to back (Stellari, Zeronis in October of 2020 and now Katey.. like what the fuck is going on??? At least Steve Zheng is still getting commissioned.. I think). I will certainly miss Katey wherever she flips her fins. 🧜‍♀️♥

#league #league of legends #riot #rioter #skins #q&a skins lead #katey #kateykhaos #nami mommy #riot games #another skins person is leaving #like thats 3 in the past 2 years #and then they also fired someone from narration when their wife had cancer #like what the fuck is going on at riot #also good bye to nami ever getting skins again lol #league skins #league of legends skins #skins league #skins league of legends #riot katey #riot kateykhaos #notoriouslydevious #sad #sad days #leaving #will miss you

[letterboxd]

Halfway—2021.

Two Filipino indies lead the Letterboxd Top 25 at the 2021 halfway point, as the coronavirus pandemic continues to shake—and reshape—the film industry. Jack Moulton and Gemma Gracewood take stock.

Cleaners, Glenn Barit’s photocopied, hand-colored, stop-motion feature about high schoolers in the northern Philippines city of Tuguegarao, is the highest-rated 2021 film on Letterboxd at the halfway point of the year, with a weighted average of 4.3 out of 5 stars. Ode to Nothing, by Barit’s fellow countrywoman Dwein Baltazar, is in second place, and Shaka King’s two-time Oscar-winner Judas and the Black Messiah rounds out the top three.

Last year was a transition year in many ways: for the world, a pandemic-led move away from cinema screenings to at-home virtual theaters and streaming-first releases; for Letterboxd, a move away from US-led release dates in our annual calculations. This has opened the way for notable films from around the world to be included on our lists far sooner than their oft-delayed American releases (which had resulted in, for example, Brazil’s Bacurau not making the 2019 Letterboxd Year in Review).

Both of these factors help to explain why we have two Filipino independent features leading our midway Top 25. “Cleaners and Ode to Nothing are exactly the kind of small Filipino films that would have struggled to get national distribution in theaters in the before times, despite the buzz that they garnered,” writes Manila-based film critic Philbert Dy in his companion essay to the Top 25, in which he explains how the Philippines’ particularly long and harsh Covid lockdown has “led to smaller, quirkier films being made accessible to more Filipinos, whose consumption of cinema were once beholden to the whims of conglomerate cinema owners”.

‘Cleaners’, written and directed by Glenn Barit.

When we shared the good news with him, a delighted Cleaners director Glenn Barit specifically shouted out his nation’s film lovers: “It is a testament to a vibrant Filipino film community still actively watching and supporting films of our own. Especially with a film like ours set in a small city far from the capital, it is amazing to read in reviews that it resonates with a lot of people (sometimes even outside our country).”

From this year forward, our mid-year rankings include films that have been released in any country, with at least a limited theatrical, streaming or video-on-demand run, and a minimum of 1,000 views on Letterboxd. These new rules allow us to celebrate the love for Katie Found’s lesbian romance My First Summer—released in Australia in March—without having to wait for the US to catch up. It joins indie highlight Shiva Baby, Michael Rianda’s animated hit The Mitchells vs The Machines and Heidi Ewing’s swooning romance, I Carry You With Me, on the Top 25 in putting young, queer characters on the screen.

‘My First Summer’, written and directed by Katie Found.

As expected, many films on the list have suffered pandemic delays. We use premiere dates to mark the year of record for each film, so A Quiet Place Part II will always be attached to its March 2020 red-carpet screening, despite the fourteen-month hibernation that followed. This is Not a Burial, It’s a Resurrection by Mosotho director Lemohang Jeremiah Mosese screened at 2019’s Venice Film Festival and had a very long festival run until Mubi picked it up for streaming in the UK this year. The film’s lead, Mary Twala, passed away a year ago, July 4, 2020 (see her also in Beyoncé’s Black is King). Gabriela Cowperthwaite’s Our Friend—one of the eight women-directed films on the list—went to TIFF, London, and AFI before being released this January without screening once in 2020.

More than half of our Top 25 films are directed by BIPOC directors, nearly a dozen of whom are of Asian descent, illuminating a key benefit of the new eligibility system. Challenging the US for the most represented country is India with five films in the list, taking advantage of Amazon’s distribution deal and creating greater accessibility for Hindi, Tamil and Malayalam-language films at home and abroad.

‘Red Post Post on Escher Street’, written and directed by Sion Sono.

Also among the Asian directors making the list are legends Tsai Ming-liang and Sion Sono. Tsai’s Days recently received a limited run in Spain (it will be brought to the US by Grasshopper Films this August), while Sono’s Red Post Post on Escher Street had a quick VOD run in February courtesy of Japan Society Film.

Produced in the US and directed by Japanese-Brazilian Edson Oda, Nine Days qualifies due to an exclusive run at the Singapore arthouse theater The Projector in May—it’ll be released in the US later this month. Finally, Asian American director Jon M. Chu makes the list with his adaptation of Quiara Alegría Hudes and Lin-Manuel Miranda’s In the Heights. We are also happy to see a couple of Letterboxd members in the halfway 25: Cleaners’ Barit and Chad Hartigan (Little Fish). If you’d like to discover more 2021 releases by our member-filmmakers, we have a list for that.

The Top 25 is, of course, solely made up of narrative feature-length films. On the documentary front, Flee is currently the highest-rated non-fiction feature of 2021. Neon is expected to release the film in the US for an awards run later this year, but it’s eligible now due to a release earlier this month in director Jonas Poher Rasmussen’s homeland of Denmark.

‘Flee’, directed by Jonas Poher Rasmussen.

Fellow Sundance Film Festival winner Summer of Soul (or… When the Revolution Could Not Be Televised) is currently the year’s highest-rated documentary in general, but was 48 hours shy of eligibility for the halfway list, releasing in theaters and on Hulu on July 2. The runners-up are: Sir Alex Ferguson: Never Give In, directed by the notorious football manager’s son; David Attenborough’s The Year Earth Changed, directed by Tom Beard; and rock-docs TINA and (in his doc-directing debut) Edgar Wright’s The Sparks Brothers.

In other categories, It’s a Sin is the highest-rated narrative miniseries at the midway point, Can’t Get You Out of Our Head by Adam Curtis is the highest-rated documentary miniseries, Bo Burnham: Inside is the highest-rated comedy special, Blackpink: The Show is the highest-rated music film, Save Ralph is the highest-rated animated short film, and Four Roads, by Alice Rohrwacher, is the highest-rated live-action short film.

With Cannes underway and more festivals to come, it is still a long road to the 2021 Year in Review for these films—but given the journey most of them have already travelled, it is pleasing to celebrate the filmmakers’ success. Ang galing ninyong lahat!

On top of its meticulously bonkers production process, our highest-ranked film, Cleaners, had a long journey to its first theatrical distribution, and it’s far from over. The film premiered at the QCinema International Film Festival in October 2019, to raves from Filipino Letterboxd members, and it still holds a firm grasp on its high rating nearly two years later. Ultimately, the first non-fest release for Cleaners occurred when Singapore’s Asian Film Archive screened it for a week in April, thus qualifying the film for our 2021 lists.

‘Ode to Nothing’, written, directed and edited by Dwein Baltazar.

Ode to Nothing has been on an even longer journey. The film also debuted at the QCinema Festival, but in 2018, and finally arrived on local streaming services iWantTFC and KTX.PH earlier this year.

Being celebrated by their countryfolk on Letterboxd is one thing, but how can those of us outside the Philippines see these top two films? Perhaps we need to give our local distributors a nudge. As Cleaners director Barit explains: “We are a team of three first-time filmmakers and producers. We are still learning the ropes of film distribution and marketing—and it’s been very hard. I just want to shamelessly say that our doors are wide open for distribution and acquisition; we are not yet available on any streaming platforms locally or internationally [winks nervously].”

See the Halfway 2021 list on Letterboxd and watch the Top 10 countdown on YouTube

Follow Jack and Gemma on Letterboxd

#letterboxd #letterboxd top 25 #letterboxd 2021 #cleaners #filipino film #philippines cinema #filipino cinema #glenn barit #sion sono #tsai ming liang #celine sciamma

[fearsmagazine]

PRISONERS OF THE GHOSTLAND | Trailer, Poster & Images

PRISONERS OF THE GHOSTLAND Starring NICOLAS CAGE to stream exclusively on AMC+ and SHUDDER November 19th, 2021

(L-R) Nick Cassavetes as Psycho and Nicolas Cage as Hero in the action/adventure film, PRISONERS OF THE GHOSTLAND. Photo courtesy of RLJE Films.

PRISONERS OF THE GHOSTLAND will stream exclusively on both platforms in the U.S. starting on November 19. The film, starring  Nicolas Cage (Mandy), made its world premiere at this year’s Sundance Film Festival.

Bill Moseley as Governor in the action/adventure film, PRISONERS OF THE GHOSTLAND. Photo courtesy of RLJE Films.

Directed by the acclaimed Japanese director Sion Sono (Why Don’t You Play in Hell), the film was written by Aaron Hendry and Rexa Sixo Safai (Western Wonderland).  In addition to Cage, the film stars Sofia Boutella (The Mummy), Nick Cassavetes (Face/Off), Bill Moseley (Texas Chainsaw Franchise), Tak Sakaguchi (Tokyo Tribe) and Yuzuka Nakaya (The Forest of Love). Joseph Trapanese (Tron: Legacy, The Raid: Redemption, The Greatest Showman) composed the original score.

(L-R) Sofia Boutella as Bernice, Jai West as Jay and Nicolas Cage as Hero in the action/adventure film, PRISONERS OF THE GHOSTLAND. Photo courtesy of RLJE Films.

PRISONERS OF THE GHOSTLAND is set in the treacherous frontier city of Samurai Town where a ruthless bank robber (Cage) is sprung from jail by wealthy warlord The Governor (Moseley), whose adopted granddaughter Bernice (Boutella) has gone missing. The Governor offers the prisoner his freedom in exchange for retrieving the runaway. Strapped into a leather suit that will self-destruct within three days, the bandit sets off on a journey to find the young woman—and his own path to redemption.

#film news #movie news #prisoners of the ghostland #prisonersoftheghostlandmovie #sion sono #nicolas cage #nick cassavetes #sofia boutella #amc+ #shudder #release #trailer #poster #images #horror #fantasy #action #adventure #martial arts

[sweetsmellosuccess]

Sundance 2021: Day 5

Films: 4 Best Film of the Day(s): Judas and the Black Messiah

Prisoners of the Ghostland: For years now, Nicolas Cage has found projects that allow him  —  at this point, encourage him  —  to indulge his innermost acting Id. Never particularly one for thespian discipline before (with a few notable exceptions), he’s been freed of these petty restraints in favor of further and further unhinged “performances” that consist of his hyperbolic, twisted up line-readings and little more. For this film, he’s teamed up with Japanese gonzo auteur Sion Sono in a bizarre, cultural mash-up that includes western, samurai, comic book noir, and sci-fi all colliding together in a tedious heap. Playing largely without rules does allow for an exploration of creative impulses, but without narrative drive, or stakes of any real kind (beyond Cage’s character’s testicles  —  don’t ask), the film drowns itself in nonsensical, self-conscious oddities, with everyone seemingly taking the direction to “act weird!” until it all bleeds together. Even Cage’s various Cagisms (“Tes-ti-CAAAAL!”) get lost to the cacophony. Be careful what you wish for, Nic.

Cusp: The specific physical details change and evolve a bit, but much of the thrust of the American coming-of-age doc remains as fixed as a mountain range. Parker Hill and Isabel Bethencourt’s film, about a trio of teen friends growing up in small-town Texas over the course of a long summer, hits many of the usual sorts of points: With not much else to do, the kids amuse themselves with endless smoking, boozing, and drugging (and, this being Texas, an alarming amount of playing with firearms), get into and out of relationships they think might be love before they aren’t, and disagree vehemently with their parents, and the choices they’ve made in their lives. Still, Autumn, Brittney, and Aaloni each have their own burdens to carry  —  Autumn and Brittney are both abuse survivors, Aaloni’s father seems callous and harsh to all of his children to the point that they all hate him  —  and the intimacy with which Hill and Bethencourt’s camera captures their struggles and experiences is refreshingly candid, especially in the day of the endless social media montage. The young women are caught somewhere between child and adult, but unavoidably hurtling forward, an understanding we are all forced into accepting, but hasn’t yet hit them. “I’m sixteen,” one of them says near the end, “I have forever to go.”

Night of the Kings: On the evening of a blood-red moon at the MACA prison deep in the heart of the jungle in the Ivory Coast, a new, young inmate (Bakary Koné), having just been named “Roman” by the reigning Dangoro, Blackbeard (Steve Tientcheu), is forced to tell a story to the rest of the inmates as an entertainment. As soon as he has finished, he’s been warned, he will be put to death. Ivory Coast director Philippe Lacote, who grew up in the city of Abidjan, where Roman’s story takes place, has created a sort of recrafting of Arabian Nights, with Roman as its Scheherazade. The thing is, as Roman begins to stammer out his story, attempting to elongate it as much as possible in order to stay alive, the inmates make it a fully interactive affair, jumping in to demonstrate the action Roman describes, breaking into songs glorifying the characters he creates, and responding favorably or unfavorably to every detail as he lays it out to them. In this way, Roman’s halting, confusing story  —  which changes time frames, and details as Roman rethinks them  —  becomes a collective experience of the entire prison, even as Lass (Abdoul Karim Konaté), a rival to the ailing Blackbeard, plans his overthrow. Ironically, Roman’s story might not rise up to the mythic elements he keeps trying to interject, but the film’s story  —  with its colorful cast of descriptive-name characters (Half-Mad, Razor Blade, Sexy, Petrol), magic realism components, and multilayered intrigue, plays like its own sort of myth.

Judas and the Black Messiah: It’s maybe one person out of 100 who would actually act in the best interest of everybody else instead of themselves. Which means there are about 99 who would look out for themselves, if push came to shove. Shaka King’s shattering film about Fred Hampton (Daniel Kaluuya), the charismatic chairman of the Chicago sect of the Black Panther party in the late ‘60s, and William O’Neal (Lakeith Stanfield), the man who would betray him to the FBI, is a testament to this most egregious human principle  —  memorialized, as the film’s title strongly asserts, in the Bible  —  and one of the confounding bedrocks of human civilization. Hampton was a young man when he became the chairman of his chapter, and his successes immediately grabbed the attention of J. Edgar Hoover (here played by Martin Sheen), who was obsessed with the idea that the Civil Rights movement had inlaid ties with the communists. Putting pressure on his Chicago office to diffuse Hampton, agent Roy Mitchell (Jesse Plemons) brings in O’Neal, recently busted for impersonating a Fed, and offers him a chance at his freedom, but at the cost of playing snitch on “Chairman Fred.” King, who co-wrote the screenplay, boils to story down to its essence without getting needlessly choked in the details. We see Hampton’s savvy, and his ability to connect with people of any creed or color  —  easily, the most frightening element of his program to the FBI was the so-called “Rainbow Coalition” that banded together the Panthers with black street gangs, but also Puerto Rican groups, and, shockingly, all-white coalitions, all untied under the rubric of being poor and abused by Chicago’s notoriously corrupt and racist police department —  but also, his absolute belief in keeping political power in the hands of the people, not the government. King’s film features absolutely blazing performances from its two male leads, in addition to a strong turn by Dominique Fishback, as Hampton’s wife, Deborah Johnson, and a strong, driving narrative focus that keeps the line taut, even if you know exactly what’s coming. King manages to portray Hampton in purely human terms, grounded in the reality of the struggle, and avoids needlessly deifying him in the process. It’s true, O’Neal, though the primary protagonist, remains more unexplored  —  this isn’t The Killing of Jesse James By The Coward Robert Ford, exactly  —  but Stanfield gives enough breadth to the performance to keep the film properly balanced. It’s shatteringly good.

Sundance goes mostly virtual for this year’s edition, sparing filmgoers the altitude, long waits, standing lines, and panicked eating binges  —  but also, these things and more that make the festival so damn endearing. In any event, Sundance via living room is still a hell of a lot better than no Sundance. A daily report.

#sweet smell of success #ssos #piers marchant #films #movies #sundance 2021 #film festival #virtual #judas and the black messiah #prisoners of the ghostland #cusp #night of the kings

[ericmie]

Les Prochains Rendez-Vous à Mie :

Dans LOBO & MIE Le 24 Septembre 2020 à Metz (l'aérogare) Dans ERIC MIE tour de chant à JARNY le 30 janvier 2021 20h30 dans le cadre du Festival Les Lauréats de la Nouvelle Chanson à L'EGP à PRAYE (en bas de la Colline de Sion) Le 7 Février 2021 Exposition de mes dessins et petit concert Expo de 14h00 à 18h00. Le solo à 15h00. à BRUYERES en Mars 2021 pour Le Printemps des Mots Dans SAM ET PAT.COM - le 1 octobre 2020 à Neufchateau à la salle des fêtes rue sainte marie 18h30 - le 12  octobre 2020 à Vauban - le 13 novembre 2020 à l'espace Rohan (château des Rohans) de Saverne 19h00 - le 19 février 2021 à Seichamps dans le cadre du festival de théâtre "Le théâtre dans tous ses états" - le 26 février 2021 à Tomblaine  à 11h00 et 16h30 dans le cadre du "Rendez-Vous des Moutards" Dans Le passant du clair de lune 10 h - Dimanche 13 septembre 2020 -A Plappeville le dimanche 20 Septembre 2020 Dans Enivrez-vous de poésie Charles Baudelaire, textes et chansons SALLE DES FÊTES - Rue de la Chapelle - BOUSSE 20 h - Jeudi 17 septembre 2020 Dans Apéro-littéraire Francis BLANCHE Le 7 Novembre 2020 à Lorry-Mardigny Dans Pour le meilleur et pour le pire de Courteline 14 Novembre 2020 à Jarny 13 Février 2021 à Sérémange 10 Avril 2021 à Blenod les pont à Mousson

D'autres dates se préparent...  

#eric mie

[solplparty]

2021 WDJF_REPLAY_ROHA & SION https://youtu.be/508wtFupa0M 2021 WORLD DJ FESTIVAL : MEMORIES OF HEAVEN 톡톡 튀는 매력으로 귀가 행복한 DJ ‘ROHA’ 트렌드한 구성으로 차별화를 선보이는 DJ ‘SION’ 15년 월디페 역사 최초 가장 강력한 인도어 월드 디제이 페스티벌! 3 Days, 30 hours, 44 Korean TOP DJS 당신의 삶에 문화를 더하다. Glorify your life with culture. ㈜비이피씨탄젠트 월드디제이페스티벌 #월디페

#월드디제이페스티벌 #월디페 #World DJ Festival #Festival #페스티벌 #YouTube

[cultfaction]

Prisoners of the Ghostland to stream exclusively on AMC+ and on Shudder November 19th 2021

Prisoners of the Ghostland to stream exclusively on AMC+ and on Shudder November 19th 2021

The premium streaming bundle AMC+ and Shudder, the premium streaming service for horror, thriller and the supernatural, announced that PRISONERS OF THE GHOSTLAND will stream exclusively on both platforms in the U.S. starting on November 19. The film, starring  Nicolas Cage (Mandy), made its world premiere at this year’s Sundance Film Festival. Directed by the acclaimed Japanese director Sion…

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#Prisoners of the Ghostland #Youtube

[bioeducacao]

25/10/2021

Hoje será abordado o artigo “Origem e desenvolvimento da pedagogia histórico-crítica” narrado em primeira pessoa por Dermeval Saviani, idealizador da teoria.

Dermeval Saviani iniciou sua carreira docente em 1967 e começa o artigo contando sobre sua experiência em duas escolas, um colégio de periferia frequentado predominantemente por filhos de trabalhadores e um Colégio Sion, frequentado pelas filhas de famílias da elite. E para refletir sobre as experiências das duas escolas, o autor aplica o mesmo conteúdo em ambas: o princípio de liberdade do qual decorre a responsabilidade.

A escola da periferia foi verificado que os alunos valorizaram extremamente a proposta pedagógica, já no colégio elitizado não houve interesse sobre o assunto. A partir do momento em que Dermeval “virou a mesa” mostrando que estava levando a sério o papel do professor, os alunos do colégio Sion passaram a respeitá-los. Assim, Saviani chegou à conclusão que o papel da escola antes de organizar as experiências propiciadas pela vida, antes era necessário patentear aquilo que as experiências de vida dos alunos esconde.

Outro episódio ocorrido no Colégio Sion que o autor cita foi o dia em que ele foi surpreendido por um pedido durante a aula, as alunas pediram que discutissem sobre o Festival de Música Popular Brasileira. E ao invés de discutir o material preparado para aquela aula sobre preconceito racial, Dermeval discutiu sobre uma das músicas ganhadoras do festival “Alegria, alegria” de Caetano Veloso, onde relacionou a letra da música com o tema “o homem como um ser situado” e dessa forma conseguiu atingir o objetivo previsto. Desse fato ele tirou duas conclusões, a primeira é que se ele fosse um professor tradicional, seguindo a teoria da pedagogia tradicional, ele barraria esse assunto sobre o festival, pois em horário de aula não se discute sobre festivais e sim sobre os conteúdos pré estabelecidos. Já se ele fosse um professor escolanovista, baseado na pedagogia nova, a aula teria a discussão sobre os festivais e o objetivo real da aula ficaria em segundo plano.

Saviani relata que sua reação não teve relação com nenhuma das duas situações, sua atitude estava além dessas duas pedagogias, pois não deixou de levar em consideração em sua aula o interesse das alunas e ao mesmo tempo não perdeu o objetivo da aula. Dessa forma, verificou que naquela ocasião sua atitude ja era orientada para a pedagogia histórico crítica, proposta por ele posteriormente.

A segunda conclusão diz respeito entre a diferença entre arte e técnica na educação. Apesar do imprevisto em relação ao assunto sobre festivais, Saviani relata que teve domínio sobre os procedimentos, conteúdos e regras daquela aula e conseguiu ter o controle da situação e responder com originalidade.

Dermeval também ministrava aulas do ensino superior e acreditava que um professor não deveria somente transmitir conhecimento, mas contribuir ativamente no desenvolvimento do aluno. A partir das experiências adquiriras em aulas e no campo educacional, o autor foi propondo as características da pedagogia histórico crítica.

Sendo que, a teoria foi construída na concepção dialética na vertente marxista e era uma metodologia que, utilizava a educação como uma atividade mediadora da prática social global, que tem como ponto de partida e ponto de chegada a própria prática social. O trabalho pedagógico se configura, como um processo de mediação que permite os educandos uma inserção crítica e intencional. A referida mediação se objetiviza nos momentos intermediários do método, a saber: problematização, que implica a tomada de consciência dos problemas enfrentados na prática social; instrumentalização, pela qual os educandos se apropriam dos instrumentos teóricos e práticos necessários para a compreensão e solução dos problemas detectados; e catarse, isto é, a incorporação na própria vida dos alunos dos elementos constitutivos do trabalho pedagógico.

Ao discutir as bases dialéticas da educação, a partir de 1984, Saviani enfim passou a denominar de histórico crítica e foi de observações empíricas ao concreto. Assim, chegou-se a uma pedagogia concreta, ou seja, aquela que considera os educandos como seres concretos, que se manifestam como unidade de diversidade, ou seja, são sínteses de relações sociais. Assim, a pedagogia histórico crítica habilita-se a enfrentar os desafios postos à educação pela sociedade atual ultrapassando o horizonte do capitalismo e da sua forma social correspondente, a sociedade burguesa e propõe a construção de uma sociedade em que estejam abolidas as relações de dominações dos homens.

Referências

ORIGEM E DESENVOLVIMENTO DA PEDAGOGIA HISTÓRICO-CRÍTICA. Disponível em: https://www.ifch.unicamp.br/formulario_cemarx/selecao/2012/trabalhos/Demerval%20Saviani.pdf

[openreeltoreel]

Tibor Varga - 100th Anniversary [Audiophile Vinyl LP Record] Pure real-time analogue music productions of today's - top-quality!! Tibor Varga was a true violinists' violinist, relatively little known to the general public. He is especially known for his interpretations of concerti by Béla Bartók, Alban Berg, and Arnold Schoenberg — works that were new to the repertoire at the time. Audiophile Limited Edition - This 180gr AAA Audiophile Vinyl LP record was released for the 100th Anniversary of Tibor Varga. This album is an exact reproduction of the original master reel to reel tape. Album: Tibor Varga - 100th Anniversary Label: Triston Master Recordings - TMR-SE 0005 Format: Vinyl, LP, 180Gr, Limited Edition, Audiophile Edition Country: Switzerland Released: 2021 Genre: Classical Style: Romantic, Neo-Romantic Side 1: Saint-Saens, Introduction and Rondo Capriccioso op 28, Havanaise opus 83 Side 2: Albinoni, Adagio in G minor, Excerpts from various Rehearsals Violine: Tibor Varga Festival Orchester von 1983 The program is unreleased material from recordings at Jesuit Church in Sion, Valais, Switzerland in 1982 and 1983. Tibor Varga was a violinist, conductor, and world-renowned music teacher who developed pedagogic methods for teaching string music. He was a founding member of the string department in the Detmold music conservatory. Recording equipment: Studer C 37 Tube Tape machine Telefunken V 76 Mic preamps Neumann and Schoeps Microphones No electronic effects or post-processing. Straight to tape recording. Please note: No digital equipment was used to produce his LP record, everything has been done in its manufacturing to offer you an exceptional sound quality. Each LP record was made of pure 180 grams vinyl. All analogue recording. No digital equipment was used. This record was cut using the original master tape. This is a limited audiophile edition: 300 copies. https://www.instagram.com/p/CTW95ows3Vv/?utm_medium=tumblr

[grindhousefunhouse]

PRISONERS OF THE GHOSTLAND (2021) | Movie Review | FANTASIA FILM FESTIVAL

The movie in which Nicolas Cage loses his left nut and I lost my patience.

Synopsis:

In the treacherous frontier city of Samurai Town, a ruthless bank robber is sprung from jail by wealthy warlord The Governor, whose adopted granddaughter Bernice has gone missing. 

The Governor offers the prisoner his freedom in exchange for retrieving the runaway. Strapped into a leather suit that will self-destruct within five days, the bandit sets off on a journey to find the young woman—and his own path to redemption.

Directed by: Sion Sono.

Starring: Nicolas Cage, Sofia Boutella, Bill Moseley and Nick Cassavetes.

In theaters, Digital HD and VOD platforms on September 17, 2021 and on Blu-ray November 16th.

Shown at the 25th edition of the Fantasia International Film Festival held from August 5th to August 25th 2021.

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#prisonersoftheghostland #prisonersoftheghostlandreview #nicolas cage #sionsono #fantasyfilmfestival