#Tag
Today Uganda celebrates Independence Day. It’s a day to remember how far the country has come and all the stories that make it what it is. As filmmakers, we think about the everyday lives and we try to share those stories through our films. We hope to keep telling stories that reflect our culture and its people.
Today Uganda celebrates Independence Day. It’s a day to remember how far the country has come and all the stories that make it what it is. As filmmakers, we think about the everyday lives and we try to share those stories through our films. We hope to keep telling stories that reflect our culture and its people.
"In celebration of what would have been his hundredth birthday, the Criterion Channel is currently featuring an extensive series of films by maverick auteur Robert Altman, who became so renowned in the 1970s that the term “Altmanesque” got bandied about regularly among critics and cinephiles. According to The Big Picture’s Sean Fennessey, whose video essay on Altman accompanies the Criterion series, “Altmanesque” refers to “the subversion of all expected modes in narrative storytelling — in genre, in filmmaking style, in performance.”
And for a director with a tendency toward “the undoing of everything we expect from a Hollywood movie,” Altman had an incredibly robust Hollywood career. His idiosyncratic approach to filmmaking treated the script as a “diagram” that provided loose guidelines but need not be adhered to while going through the process of “actors finding character and story finding itself.” In keeping with an approach that was virtually designed to oppose classical Hollywood production practices and drive producers and studio executives crazy, he favored intensive collaboration with actors.
Altman loved actors, and they almost uniformly adored him. He not only recruited great talent for film, such as Shelley Duvall, Lily Tomlin, and almost the entire supporting cast of M*A*S*H, whom he drafted from the American Conservatory Theater (ACT) in San Francisco, but also guided such favorites as Duvall and Elliott Gould to repeated flights of idiosyncratic brilliance."
https://jacobin.com/2025/10/robert-altman-criterion-film-hollywood
"In celebration of what would have been his hundredth birthday, the Criterion Channel is currently featuring an extensive series of films by maverick auteur Robert Altman, who became so renowned in the 1970s that the term “Altmanesque” got bandied about regularly among critics and cinephiles. According to The Big Picture’s Sean Fennessey, whose video essay on Altman accompanies the Criterion series, “Altmanesque” refers to “the subversion of all expected modes in narrative storytelling — in genre, in filmmaking style, in performance.”
And for a director with a tendency toward “the undoing of everything we expect from a Hollywood movie,” Altman had an incredibly robust Hollywood career. His idiosyncratic approach to filmmaking treated the script as a “diagram” that provided loose guidelines but need not be adhered to while going through the process of “actors finding character and story finding itself.” In keeping with an approach that was virtually designed to oppose classical Hollywood production practices and drive producers and studio executives crazy, he favored intensive collaboration with actors.
Altman loved actors, and they almost uniformly adored him. He not only recruited great talent for film, such as Shelley Duvall, Lily Tomlin, and almost the entire supporting cast of M*A*S*H, whom he drafted from the American Conservatory Theater (ACT) in San Francisco, but also guided such favorites as Duvall and Elliott Gould to repeated flights of idiosyncratic brilliance."
https://jacobin.com/2025/10/robert-altman-criterion-film-hollywood
«La IA no puede crear arte, solo puede hacer "protectores de pantalla medianamente atractivos"... No puedes apretar un botón y que aparezca arte... El arte tiene personalidad, conocimiento y emoción. Esas son las tres cosas que deben existir para que haya arte y eso no lo puede crear una chingada app» 🎯 Guillermo del Toro.
#guillermodeltoro #frankenstein #AI #cinema #film #MondayActionMovie
«La IA no puede crear arte, solo puede hacer "protectores de pantalla medianamente atractivos"... No puedes apretar un botón y que aparezca arte... El arte tiene personalidad, conocimiento y emoción. Esas son las tres cosas que deben existir para que haya arte y eso no lo puede crear una chingada app» 🎯 Guillermo del Toro.
#guillermodeltoro #frankenstein #AI #cinema #film #MondayActionMovie
It's #Kaijuktober! And to celebrate it I'm watching a #kaiju #movie every day.
Today's movie was: Godzilla / ゴジラ (1954)
I didn't expect this #film to be as well-written as it was. All I expected was "big mad dinosaur destroys Tokyo", I got that and so much more!
From military worship to the consequences of scientific progress, this movie has it all.
I give it 4/5 Kaiju
🦖🦖🦖🦖❌
#MastodonRecommendsMovies #ShareYourMovies #movies #cinema #cinemastodon #KFF
Watching Cold Crash Pictures defence of Gone With the Wind, as a pointed satire of confederate apologetics (part 2);
https://www.youtube.com/watch?v=CDkwGQFLcjE
It occurs to me that we could be seeing a reworking of the history depicted, on a larger geographical canvas. Let me unpack that a bit.
(1/?)
#video #WebVideo #ColdCrashPictures #cinema #CinemaHistory #GoneWithTheWind
Comment tourner un film en Iran dans la clandestinité ? Raconter la violence de la répression ? « À l’air libre » reçoit le réalisateur iranien Jafar Panahi. Son film « Un simple accident », lauréat de la Palme d’or au dernier Festival de Cannes, sort en salles mercredi.
Notre émission en accès libre sur Mediapart 👉 https://www.mediapart.fr/journal/culture-et-idees/300925/notre-emission-en-acces-libre-entretien-avec-jafar-panahi-palme-d-or-cannes?at_medium=rs-cm&at_campaign=mastodon #AlairLibre #Iran #Cinéma
Racisme: des discriminations toujours vivaces au cinéma et au théâtre
Une enquête signée des universitaires Maxime Cervulle et Sarah Lécossais documente la manière dont les industries du #cinéma, du #théâtre et de l’audiovisuel continuent d’écarter les comédiennes et comédiens racisés, tout au long de leur parcours professionnel.
Par Ludovic Lamant › https://www.mediapart.fr/journal/culture-et-idees/270925/racisme-des-discriminations-toujours-vivaces-au-cinema-et-au-theatre?at_medium=rs-cm&at_campaign=mastodon&at_account=mediapart
💬 NOUVELLE BD : « Détendons-nous du spoiler »
Spoiler une œuvre est quasiment devenu un crime aujourd'hui : est-ce qu'on devrait pas se détendre un peu là-dessus ?
▶️ https://grisebouille.net/detendons-nous-du-spoiler
#BD #GriseBouille #humour #spoiler #cinéma #série
📣 Attac Paris Nord-Ouest fait son cinéma !
🎥 Le festival Images Mouvementées revient pour une 23è édition du 2 octobre au 16 octobre 2025, les mardis et jeudis au cinéma 5 Caumartin, 101 rue Saint-Lazare, 75009 Paris.
Un fil sur la programmation 🧵👇
Le boost renforce les luttes!
Retrouvez-nous sur les internets mondiaux :
👉 https://www.instagram.com/festival_images_mouvementees/
👉 https://pno.site.attac.org/
👉 https://www.imagesmouvementees.fr/
👉 https://t.me/attacPNO
#Cinéma #Attac #AttacParisNordOuest #ImagesMouvementées #Ciné5Caumartin #Paris #ServicesPublics #Avortement #CRA #Ecologie #Immigration #Xenophobie
[Article] Serge Halimi : « Ma mère, Gisèle Halimi, aurait lu cette tribune avec dégoût »
L’actrice Charlotte Gainsbourg, qui doit incarner, dans un « biopic » en cours de tournage dont la sortie en salle est prévue pour 2026, l’avocate et infatigable militante progressiste Gisèle Halimi, décédée le 28 juillet 2020, a cosigné,…
https://www.blast-info.fr/articles/2025/serge-halimi-ma-mere-gisele-halimi-aurait-lu-cette-tribune-avec-degout-LhC7TPDMT-aL9Afdazvw5g #Cinema #Culture #Gaza #Histoire
good lord is it thursday already THIS SUNDAY at 9pm eastern (that's 1am Monday UTC) it's #MONSTERDON the weekly monster movie watch party! Come join a bunch of nerds as we watch a goofy monster movie and toot about it!
This week's movie is THE FOOD OF THE GODS (1976), a *very very loose* adaptation of HG Wells' The Food of the Gods and How it Came to Earth. Burt I. Gordon directs, which means lots of low-grade forced perspective shots, and Marjoe Gortner stars! It's a B-movie all star attraction ^^
The flick's available on Tubi free with ads: https://tubitv.com/movies/100001417/the-food-of-the-gods
Or you can download from Archive.org: https://archive.org/details/bert-i-gordon-complete-collection/1976.+The+Food+of+the+Gods.mp4
See you this Sunday!
📣 Attac Paris Nord-Ouest fait son cinéma !
🎥 Le festival Images Mouvementées revient pour une 23è édition du 2 octobre au 16 octobre 2025, les mardis et jeudis au cinéma 5 Caumartin, 101 rue Saint-Lazare, 75009 Paris.
Un fil sur la programmation 🧵👇
Le boost renforce les luttes!
Retrouvez-nous sur les internets mondiaux :
👉 https://www.instagram.com/festival_images_mouvementees/
👉 https://pno.site.attac.org/
👉 https://www.imagesmouvementees.fr/
👉 https://t.me/attacPNO
#Cinéma #Attac #AttacParisNordOuest #ImagesMouvementées #Ciné5Caumartin #Paris #ServicesPublics #Avortement #CRA #Ecologie #Immigration #Xenophobie
💬 NOUVELLE BD : « Détendons-nous du spoiler »
Spoiler une œuvre est quasiment devenu un crime aujourd'hui : est-ce qu'on devrait pas se détendre un peu là-dessus ?
▶️ https://grisebouille.net/detendons-nous-du-spoiler
#BD #GriseBouille #humour #spoiler #cinéma #série
Nothing on a streaming service with kill my enthusiasm faster than seeing the world "colorized". What kind of coward can't enjoy something just because it was naturally shot in black & white?
One Week (USA, 1920). It is a comedy film starring Buster Keaton, the first independent film production he released on his own. Sybil Seely co-stars.
Wikipedia link: https://en.wikipedia.org/wiki/One_Week_(1920_film)
One Week (USA, 1920). It is a comedy film starring Buster Keaton, the first independent film production he released on his own. Sybil Seely co-stars.
Wikipedia link: https://en.wikipedia.org/wiki/One_Week_(1920_film)
A space for Bonfire maintainers and contributors to communicate
