It’s no secret that the film was loosely inspired by true events, or that it wasn’t exactly historically accurate, but you may be surprised by the extent to which artistic liberties were taken. Exactly how much was different, and why does it matter?

Colonial History 101

By the seventeenth century, much of North America was still undisturbed by outsiders. Unfortunately, all good things come to an end. A group of English colonialists under the Virginia Company of London landed in current-day Virginia in 1607 to form Jamestown, England’s first permanent settlement in North America. The first expedition to the settlement included Captain John Smith, a soldier who later became one of Jamestown’s first colonial governors. The settlement was off to a rocky start with insufficient supplies and rough seas, but their fate turned around with tobacco. In 1608, the English merchant John Rolfe landed in Jamestown. He introduced the Orinoco strain of tobacco from Trinidad to Virginia, which became a profitable cash crop.

Pocahontas

The main thing which the Disney film got right is the fact that Pocahontas was the beloved daughter of the paramount chief of Powhatan, a network of tribes in current-day Virginia. Beyond that, the facts get very muddy. First of all, ‘Pocahontas’ was only a popular nickname, her two official names were Amonute and Motoaka.

John Smith

The love story between Pocahontas and John Smith was a purely Disney invention, created in the hopes that a Romeo-and-Juliet-esque storyline would capture audiences. That being said, it’s probably for the best that there was no real romance. In the movie, they met as adults. In reality, Pocahontas was only ten or eleven and John Smith was in his late twenties.

The dramatic scene in which she rescued Smith from execution is impossible to confirm. All accounts of it originated from Smith himself, and it is likely to be a gross exaggeration. Nonetheless, Pocahontas did become a mediator between the English and the Powhatans, helping to smooth relations as the two groups began to exchange goods. In her mid-teens, Pocahontas married Kocoum, a fellow Native American, likely of the Patawomeck tribe. In the film, she was evading a forced marriage to Kocoum, which is an incredibly unfair depiction of their marriage. Kocoum died only a few years later, allegedly around the time of Pocahontas’s kidnapping.

Yes, kidnapping.

John Rolfe

In 1613, Pocahontas was kidnapped and held for ransom by the colonialists to force negotiations with the Powhatan chief amid the then-strained relations over resources. The plan worked. Afterwards, Pocahontas remained close to the English, eventually converting to Christianity and learning their ways. During this time, she met and married the also widowed John Rolfe. By most accounts, they genuinely fell in love. They had one son, Thomas, and stayed in Virginia for two years before travelling to England.

The Virginia Company of London funded this trip to promote trade and settlement in the New World. Pocahontas was presented as a “noble savage” to prove to the English that even Native Americans could be moral, educated and groomed. Disingenuously marketed to the English as a “princess”, she was introduced to polite London society. She fell ill on the voyage back to Virginia in 1617 and died on arrival, aged only 20 or 21.

Implications

It can’t be denied that Pocahontas was a fun film, and fun films sometimes require tweaking of the facts. However, its makers must have known the effect of creating a huge-budget production that was so far from reality. Many people still view Pocahontas as a one-dimensional character in a love story, but she was so much more than that. She was equally a political mediator and a political pawn. She died far too young, with her legacy shrouded by the biased accounts of people who took advantage of her.

Artistic liberty should, perhaps, have its limits. One can view this as just a children’s film about a woman who died over 400 years ago. Alternatively, one can recognise that this is one of thousands of stories that feed into the colonialist-hero trope which has slowly but surely watered down the harsh realities of what the British imposed upon North America.

To tell a story is to shape reality. What reality are you creating?

Also Read: Time’s Up for ‘Steamboat Willie’: A Shift in American Copyright

The post Straying From The Truth: The Historical Facts Disney’s ‘Pocahontas’ Overshadowed appeared first on Big Picture Film Club.

Taylor Swift: The Eras Tour (2023)

Taylor Swift: The Eras Tour premiered in October 2023 as a box office smash, earning $26 million within its first three hours. It has grossed over $261 million worldwide, beating out Michael Jackson’s This Is It (2009) to become the highest-grossing concert film of all time. Coming in just under three hours, the film is an artistic depiction of the global pop star’s The Eras Tour. The still-ongoing tour features a massive set list from all ten of Taylor Swift’s studio albums—a representation of her musical “eras”. Spanning 5 continents, 151 shows, and over a year of performances, this is building up to be one of the biggest global tours to date.

The film’s success isn’t only because of Swift’s lyrical skill and loyal fan base—a lot of it comes down to an ingenious business approach to distribution. Swift’s team bypassed traditional distributors and negotiated directly with AMC Theatres, effectively cutting out the middlemen. They even received an exemption from SAG-AFTRA to continue production during the 2023 strike. This unorthodox approach set the groundwork for record-breaking ticket sales.

Renaissance: A Film by Beyoncé (2023)

On the other side of the global music spectrum, we find the once-in-a-generation phenomenon, Beyoncé. Written and directed by Beyoncé herself, Renaissance: A Film by Beyoncé gives us a glimpse into the action behind the scenes of the star’s Renaissance World Tour based on her seventh studio album. So far, it has grossed over $44 million worldwide. Similar to Taylor’s approach, Beyoncé signed a distribution agreement with AMC Theatres. The two releases, though built for different genres and different fan bases, marked the first time that two different concert films debuted at the top of the box office in the same year.

This is not Beyoncé’s first concert film; she already released the hit Homecoming: A Film by Beyoncé in 2019. Homecoming was a masterclass in the pursuit of perfection, but Renaissance shows us a more organic side of an entertainer letting go of the pressures of living up to expectations. The show included nostalgic elements like a brief Destiny’s Child reunion, performances from artists like Diana Ross and Megan Thee Stallion, as well as the stage debut of Beyoncé’s first-born, Blue Ivy.

So, Are Concert Films Back?

The truth is, they never really left. In the 2010s, there was an uptick in concert films with movies like Justin Bieber: Never Say Never and One Direction: This is Us, followed by a downward slope in the following decade. Bey and Taylor have simply reignited a flame that never really died. 2023 also saw international K-pop boyband BTS release their concert film BTS: Yet to Come which has raked in over $29 million worldwide. As an honourable mention, Martin Scorsese’s Last Waltz was back in theatres for its 45^th anniversary in October 2023.

Concert films rely heavily on the fan bases of each given artist, so as a genre, their popularity are prone to fluctuation. Regardless, 2023 showed us that concert films still have a lot of untapped potential. What’s the next concert movie you plan to see?

Also Read: From Silent Films to Soundtracks: The Evolution and Impact of Music in Cinema

The post Eras and Renaissance: The Year of the Concert Film appeared first on Big Picture Film Club.

So, why all the drama over a mouse? It’s best to start with the real meat of the matter; copyright.

Copyright and Public Domain

Copyright is a legal protection for original works of authorship expressed in a tangible medium. Tangible media include books, films, plays, music scores, photographs, the list goes on. The purpose of copyright is exclusivity; the author has exclusive rights to claim work as their own and profit from it, unless they choose to forfeit that right or license it to someone else.

Works that have no copyright are considered to be in the public domain. In simple words, they belong to the public and are free for all to use. Once a copyright expires the work enters public domain, because no copyright lasts forever. However, a lot of corporations fought tooth and nail to make it last as long as possible.

The Copyright Fight Behind Steamboat Willie

Steamboat Willie is a seven-minute cartoon that changed the course of film history. One of the first-ever appearances of the beloved character Mickey Mouse, it gained huge popularity upon its release in 1928. Walt Disney’s synchronization of sound with movement was a huge innovation at the time. This little black-and-white film kicked off the Disney empire. Since Steamboat Willie is the basis for the legal rights over the first version of Mickey Mouse, a character that has made Disney an infinite amount of money, its release into the public domain didn’t happen without a fight.

Due to heavy lobbying of corporations (Disney being one of the loudest) the legal lifespan of a corporate-owned copyright has been amended several times. Most recently, the Copyright Term Extension Act of 1998 (nicknamed the Mickey Mouse Protection Act) extended copyright terms for works of authorship in the United States from 75 to 95 years after publication.

That being said, not every version of Mickey Mouse is free to use—only the version made in 1928. The Mickey and Minnie you know from Fantasia or Mickey Mouse Club House are still off-limits. And there are still countless trademarks associated with the brand, so don’t go starting a Mickey-themed business just yet. Regardless, be prepared for a lot of Mickey-inspired remakes this year. And while Disney was reluctant to let Mickey go, this development is a win for the public domain.

Why We Need Public Domain

The main purpose of the public domain is the preservation of culture and the promotion of creative freedom. Countless films have been lost to the passage of time because copyright prevented historians from reproducing copies for preservation. This domain keeps both factual history and the emotional relevance of fiction intact. Think about your favourite childhood movie. Cinderella? A Little Mermaid? One of the dozen iterations of Sherlock Holmes? Hell, even Frozen? All are based on works in the public domain.

Even Steamboat Willie drew inspiration from the 1928 Keaton film Steamboat Bill, Jr, which was in turn inspired by a 1911 recording of Steamboat Bill, a song released in 1910. Nothing is new under the sun. Copyright and public domain circle each other a delicate balance; every author should have the right to their work, but art, as a whole, eventually reverts its ownership to humanity.

Also Read: 7 Interesting Patents Owned By Disney

The post Time’s Up for ‘Steamboat Willie’: A Shift in American Copyright appeared first on Big Picture Film Club.

What Did the Writers Win in the Agreement?

This was a negotiation with a particularly hostile partner (ahem, AMTP), but the WGA made sure they didn’t leave the table with nothing. Let’s look at some of the main pain points;

Most MBA minimums have gone up by 5% and will increase by another 4% in 2024 and another 3.5% in 2025. There is now also an increased health and pension contribution rate and brand new regulations on AI. Studios can no longer pass off AI-generated work as copyrighted literary material since it will not be considered source material under the MBA. If the writer and their company are in agreement, the writer can choose to use AI assistance, but the company can’t require the writer to do so, and the resulting work can’t undermine the writer’s credit. Foreign streaming residuals are going to have a 76% increase over 3 years, which is a huge bump up from the pennies writers were being given before. Plus, residuals are finally going to be calculated for streaming services as well.

I could spend this entire piece talking about the MBA, but I’ll stop here for both our sakes. You can read the full agreement or its summary on their site.

Other Strikes

The Writers’ Strike has started a pretty beautiful butterfly effect throughout the film industry. The sheer courage and willpower of so many creatives banding together has inspired other film industry professionals to demand better terms. Most notably the Screen Actors Guild—American Federation of Television and Radio Artists (SAG-AFTRA) started striking soon after the WGA, which ground the industry to a halt. SAG-AFRTRA also won better terms, many of which reflected the same concerns as the WGA. These include higher minimums, streaming bonuses and restrictions on the use of AI. Most Hollywood productions may have stopped for months, but it was worth it.

What Next?

Some unfortunate direct consequences of the strike include thousands of workers losing their jobs and the majority of big-budget American film productions stagnating. But needless to say; far more screenwriters will soon have something resembling decent working conditions. And in the long term, the writers’ strike has opened up an era of worker solidarity that Hollywood hasn’t seen in decades. Creatives are beginning to demand what they deserve from their labour, and it’ll be a lot harder for millionaire film executives to profit off the backs of writers who are barely scraping by.

And what do we, the general public, get out of it? Well; a writer who can afford to live is inherently a better writer, and better writers make better movies. If we want good art, we as a society need to continue to push for fair working conditions across all industries. And art aside, it’s just the decent thing to do.

Also Read: WGA Strike and the Future of Television

The post WGA Got The Deal: Now What? appeared first on Big Picture Film Club.

The Plot and Characters

You have to admit that the premise is fun. You can almost imagine Litwak in a writer’s room saying, “What if we did When Harry Met Sally, but in space?”. The story is set in a universe with multiple alien species and gods living together across planets and dimensions. Molli (Zosia Mamet) is an old-fashioned romantic, except she’s interested in space magic (literal space magic, not your regular horoscopes and crystals). Max (Aristotle Athari) dreams of being a “mega mech fighter” who builds and battles in giant robots, basically the future version of a sporty tech bro.

They meet when Molli crashes into Max while out driving her spaceship, and gets roped into giving him a ride. The two quickly become friends with a bond that yo-yos back and forth over the years. The leads had good chemistry, and there were convincing performances from Zosia Mamet and supporting actor Arturo Castro, who played Walter.

Political Satire

One aspect of the storyline that brought it to modern times was the impending sense of doom, especially in the second act. In 2023, we are all too familiar with the anxiety of living in a world ravaged by the climate crisis, insane politics and war, something which Molli and Max in the Future depicted in thinly veiled satire. I deeply appreciate the angle of people trying to approach love and relationships in a world that is falling apart. Most traditional rom-coms approach life with a sense of optimism that is simply impossibly unrealistic in this day and age. Strangely, the whole world-ending aspect being portrayed in this way is actually refreshing. However, it was introduced joltingly in the second act of the film. The execution of the secondary plot is not as seamless as it could have been.

The Visuals

The film’s visual aesthetic involved a lot of dark night skies lit up with neon lights and distant galaxies. Despite the sci-fi visuals, don’t walk into this film expecting shiny Marvel-esque CGI. Though there are some modern-day special effects, the film mostly relies on practical effects and heavy use of green screens. While this isn’t everyone’s cup of tea, the result is the cosy vibe of 20th-century lo-fi science fiction. I especially appreciated the wardrobe which embodied that era of science fiction. It was essentially what someone in 1960 would think people in the future would dress like.

The Comedy

Perhaps the biggest success of this film was that it was actually funny. Most romantic comedies are very heavy on the romance and too light on the comedy. Molli and Max in the Future had plenty of dry jokes that qualified as real humour, and they deserve their props for that. It was nice to see a rom-com that relied on more than cheap clichés and slapstick humour.

In the Broad Sense

The storyline manages to hit all the points that rom-com fans know and love; slow-burn romance, dramatic splits after arguments, a yearning for a greater purpose. However, it doesn’t do much beyond that. Despite the effort put into world-building, special effects, futuristic wardrobes, and political satire, the storyline would hardly been any different if it happened in New York City like When Harry Met Sally did. The film’s setting and premise provided a great set-up to make it something much more, and yet it wasn’t. Though it isn’t necessarily barrier-breaking, it is a unique film and worth a watch. This is a great film if you want some cosy romance with modern sentiments and a side of old-school sci-fi.

Rating: (3 / 5)

Also Read: Rom-Coms: The Unlikely Benchmarks of Feminist Progression

Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

The post Love in Space: A Review of ‘Molli and Max in the Future’ [BFI London Film Festival] appeared first on Big Picture Film Club.

What are Stand-Alone Movies, Anyway?

A stand-alone movie is a film that is made as a single body of work. The story, characters or fictional world of these movies are not part of a franchise. There’s no doubt that there’s a certain artistry to be able to tell a complete story in the span of one film. While serial films are amazing in their own right, not every story is meant to be dragged out for as long as possible.

As recently as the 90s, stand-alone movies were the norm. They were everywhere, from romances like Sleepless in Seattle (1993) to gritty dramas like The Shawshank Redemption (1994). While they definitely still exist, they are in a clear decline. Almost every recent hit movie is part of a franchise or a cinematic universe. Fast and Furious has endured 10 instalments and Spiderman: Across the Universe is the second of a planned trilogy. Even the recent Barbie blockbuster is rumoured to be the beginning of a toy-inspired Mattel cinematic universe.

How did we get to this point? The answer is simple; money.

Movie Industry Capitalism

Don’t get me wrong, stand-alone films definitely make money. Some of the biggest blockbusters in history were stand-alone films. Movies like E.T. The Extra-Terrestrial (1982) and Inception (2010) have had an immense cultural impact while still putting money in the bank. That being said, the last couple of years have had the highest box office revenue from franchises in history. Although franchises have been a thing since at least the 70s, they really hit their rhythm in the last 15 years.

In the early 2000s, serial films like Fast and Furious and Harry Potter proved that it was possible to draw out movies for longer than was previously expected, and it raked in millions. And then Marvel changed the game with the popularisation of the cinematic universe. A studio just needs to build one good fictional world and the number of films you can put in it is endless. This brings in far more revenue because fans are compelled to watch every movie in the set.

As profits increased, studios started expecting higher profit margins than before. 10% profit used to be a solid expectation, but studios are now going for 30% or higher. This makes them more inclined to opt for franchises and cinematic universe films that are guaranteed to bring in money at the cinemas. With the introduction of streaming and the death of the DVD, the box office is the main source of income for film studios. Consequently, most of their funding goes to guaranteed commercial box office hits. Indie studios struggling to create a few stand-alone films every year are suffocated against the monopoly of big studios making franchises. Stand-alone movies pale in comparison when the main metric is profit.

So Where Does That Leave Us?

With the focus now on franchises and cinematic universes, stand-alone films have hit the same decline as mid-budget movies. Cinema is an extremely expensive art form, and without funding, movies simply aren’t made. Unfortunately, commercial success is often at odds with artistic diversity and creativity. Without less and less stand-alone movies, the industry is characterised by films that sell, and not necessarily films that are good. While recent strikes in the film industry might destabilise the status quo, it will take a huge economic shift for stand-alone movies to come back into vogue.

Also Read: Did High-End TV Replace The Mid-Budget Indie Film?

Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

The post Single and Outnumbered: Stand-Alone Films in the Era of Cinematic Empires appeared first on Big Picture Film Club.

Background

The Iranian New Wave was characterised by a self-aware, poetic, documentary-style of storytelling that focused on lower and middle-class subjects. It also took inspiration from other new-wave film movements from other parts of the world, such as Italian Neorealism. “Filmfarsi” was the most common style of film in Iran before the new wave. These were commercial films that replicated the style of Bollywood movies of the time. Filmfarsi is often criticised for its low-quality and over-the-top plotlines and storytelling. The loss of popularity of Filmfarsi coincided with the growth of the Iranian New Wave. The Iranian New Wave is often subdivided into three waves;

First Wave

The first wave came in the sixties as Filmfarsi lost popularity amongst the general public. Filmfarsi did not accurately reflect the reality of Iranian life and locals began to seek out better artistic representation. An early precursor to the first wave was Serpent’s Skin (1964) by the director Hajir Darioush. Films like Shohare Ahoo Khanoom (1968) and The Cow (1969) opened the doors to fresh, new, politically-driven narratives that captioned the attention of movie-goers. These had philosophical yet realistic depictions of Iranian life, unlike the melodramatic musicals of Filmfarsi. This wave lasted until the Iranian revolution in 1979 which introduced Islamic restrictions on the film industry.

Second Wave

The second wave lasted till 1999 and introduced some of the most internationally recognised films to come from Iran. Despite political turmoil, the craftsmanship of Iranian films steadily improved. The critically acclaimed Children of Heaven (1997), directed by Majid Majidi, was one of the most recognised films of this era. Like some other films of the Iranian new wave, it followed the trend of focusing on children as its main subjects, which lent it an air of innocence and relatability. It depicts the struggle of a brother and sister surviving in a typical poor Iranian family. It later became the first Iranian film nominated for an Academy Award for Best Foreign Language Film.

Third Wave

The third wave, from 2000 to 2011, includes the most recent films of the movement. A great example would be A Separation (2011), directed by Asghar Farhadi. The drama explores the multifaceted lives of a couple with a struggling marriage in modern-day Iran. It won a Golden Globe for Best Foreign Film and an Academy Award nomination for Best Original Screenplay. It was also the first Iranian film to win the Golden Bear.

Impact

The distinct socially aware down-to-earth approach of the Iranian New Wave, fiction with the air of a documentary, has had a global impact on cinema as a whole. Filmmakers from Persia to Europe have paid homage to this unique artistry. A noted example is the English director Michael Winterbottom with his film In This World (2002).

Also Read: Global Cinema Spotlight: Dogme 95

Also Read: Global Cinema Spotlight: Cinema Novo

Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

The post Global Cinema Spotlight: Iranian New Wave appeared first on Big Picture Film Club.

Background

The movement was an attempt to create a niche of film free of Hollywood-esque technological gimmicks like special effects. Vinterberg and von Trier aimed to return to the basic ethos of filmmaking; story, theme, and acting. Essentially, it was a return to the pure foundation of film without the excess flab it often comes with. Hence the creation of a dogme (dogma) of strict rules for filmmakers.

The theory was introduced to the public at Le cinéma vers son deuxième siècle in Paris in March 1995. This was a conference celebrating 20th Century film. Lars von Trier was one of the directors invited to speak at this event. Before his speech, pamphlets that described the new Dogme 95 movement were distributed to the audience of filmmakers. The pamphlets were a manifesto co-written by Vinterberg and von Trier. They included a list of rules called “Vows of Chastity” that directors had to adhere to.

The rules included requirements that shooting must be done on location, no props can be brought in from outside location, no music can be added in post-production, the cameras must be handheld, and directors must not be credited, to name a few. Below is an excerpt from the last paragraph of the vows;

“Furthermore, I swear as a director to refrain from personal taste! I am no longer an artist. I swear to refrain from creating a “work”, as I regard the instant as more important than the whole. My supreme goal is to enforce truth out of my characters and settings. I swear to do so by all the means available and at the cost of any good taste and any aesthetic considerations.“

Application

It’s no surprise that the movement was named a dogma, considering its almost religious fundamentalism. Films had to be formally submitted for consideration to be classed as Dogme 95. A few of the films that made the cut didn’t meet all the criteria. In such cases, the directors had to first “confess” the ways they broke their vows. This amusing ritual reflects the fact that although the audio-visual theatrics of recent cinema may sometimes be unnecessary, they are often necessary for good storytelling.

The formalised process created a very rare occurrence in the global filmscape; this cinema niche had clearly defined lines and every film in its ranks is documented. To be exact, there are 35 Dogme films. Although the directors were not permitted to attach their names to the films, all 35 are listed with details on their official website. Other than its original founders, other notable directors of the movement include Kristian Levring, Søren Kragh-Jacobsen and Juan Pinzás.

Impact

As a whole, the films of Dogme 95 had mixed reviews. However, there were a few critically acclaimed gems. Consider Festen (1998), a tragic farce in which a birthday party reveals a dysfunctional family’s struggles with abuse, death, and incest; and Italiensk for Begyndere (2000), an absurdist romantic comedy in which a group of loners facing various life crises band together in an Italian language class. In the long run, Dogme 95 was a breath of fresh air in an industry that seemed to be straying from the basics of film.

Even after the dissolution of the collective, other directors like directors Jan Dunn and Brilliante Mendoza have used many of the founding Dogme principles. From Scandinavia to South Korea, the influence of the Dogme filmmaking style can be seen globally. Although the strictness of their manifesto is unattainable on a large scale, it can help all of us reflect on the importance of the traditional values of film.

Also Read: Global Cinema Spotlight: Cinema Novo

Also Read: Global Cinema Spotlight: Lollywood

Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

The post Global Cinema Spotlight: Dogme 95 appeared first on Big Picture Film Club.

A Brief History of Cinema Novo

Although the term ‘Cinema Novo’ has been used since the 60s, it is more of a retrospective term. The filmmakers of the time did not actively create films to fit into the description of Cinema Novo. It was an open practice which evolved naturally alongside the political and cultural changes of the time.

In the 1950s, Brazil mostly produced comedic musicals called chanchadas in the style of Old Hollywood. However, at the end of the decade, Brazilian films began to focus more on topics of social justice. This was as the country faced political upheaval as it entered the eras of Brazilian Presidents Juscelino Kubitschek and João Goulart. Cinema Novo did not have a defined style, but it picked inspiration from European film movements like French New Wave and Italian Neorealism.

The French New Wave saw the popularisation of the ‘auteur’ theory, which views the director as the creative lead of a film and therefore its author. Italian Neorealism was a style of politically-driven filmmaking in Italy following the 1943 Italian Spring. It explored topics like poverty and injustice, and Cinema Novo followed in this regard. The onset of Cinema Novo was also the first time Brazilian film began to receive international critical acclaim.

Cinema Novo is often divided into three phases:

Phase One (1960-1964)

The beginning of the movement focused on political themes like poverty, racism and social inequality. Violence was a common denominator which reflected the frustration of the society of the time. Films were often shot in black and white as a stylistic choice that deviated from the more polished Hollywood-esque style. The economic instability of Brazil was reflected in the lowered technical precision since filmmakers lacked the funds for higher-quality equipment. Glauber Rocha, who released the cinematic classic Black God, White Devil in 1964, was one of the notable directors of this phase.

Phase Two (1964-1968)

This phase was a reaction to the overthrow of the popular President João Goulart. The population faced disillusionment as many of his progressive changes were rolled back after the military coup. The pro-democracy ideals of the first phase began to seem unrealistic, and filmmakers began to move towards commercialization. The ‘aesthetic of hunger’ which was popular in the first phase gave way to a concentration on middle-class protagonists. This was a bid to create films more relatable to a larger audience. There was also a move from black and white to colour. This was first seen in Leon Hirzshman’s Garota de Ipanema (The Girl from Ipanema) (1967), one of the quintessential films of this time.

Phase Three (1968-1972)

The last phase of the movement is sometimes referred to as the cannibal-tropicalist phase. Its tropical nature refers to the return to colourful aesthetics reflecting the Brazilian jungle. These had been popular before Cinema Novo. Cannibalism, in this case, was both literal and metaphorical. The best example of this is Rocha’s black comedy Como Era Gostoso o Meu Francês (How Tasty Was My Little Frenchman) (1971). The film involved the literal cannibalism of a Frenchman, to represent how necessary violence is in enacting social change.

Impact

Cinema Novo had a definite end in the 70s with Brazilian film moving towards more commercial projects and government-backed film under the Embrafilme company. In spite of this, it has had a lasting impact. Cinema Novo is considered the beginning of the Third Cinema, a wave of socio-political cinema that popped up all across the globe. From Hong Kong to Australia and everywhere in between, the movement of socially conscious films changed how we view cinema. Eryk Rocha, the son of Glauber Rocha, paid homage to the movement through the documentary Cinema Nova (2014) at the Cannes Film Festival.

Also Read: Global Cinema Spotlight: Lollywood

Also Read: Interview: City of God’s Alexandre Rodrigues Discusses The Film’s Impact 20 Years Later

Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

The post Global Cinema Spotlight: Cinema Novo appeared first on Big Picture Film Club.

Lollywood gets its name from Lahore, the city at the centre of the Pakistan film industry. Though the film industry of Lahore existed long before Pakistan was even a country, the word “Lollywood” wasn’t a term until 1989. Saleem Nasir, a gossip columnist for the now-defunct Glamour magazine, combined the words “Lahore” and “Hollywood” to get “Lollywood”. Join us as we explore its history and where it is today.

A Brief History of Lollywood

1896 – 1950

Lollywood has a turbulent history moved by political and cultural changes over the years. Cinema was introduced to the Indian subcontinent on a small scale in the late 1800s with equipment imported from Europe. In the early 1900s, the film production of Lahore was closely linked with that in Bombay. However, in 1947 the partition of India disrupted the budding industry. The Indian subcontinent was divided into the Republic of India and Pakistan, after which many of the industry’s main players moved to Bombay, leaving Lahore struggling.

The industry faced censorship plus a drastic drop in funds and available actors. It was sustained by directors like A R Kardar and actors like Nasir Ahmed Khan, the lead actor of Teri Yaad, the first feature film of the newly independent Pakistan. Films were mainly produced in Urdu, and on a smaller scale, Punjabi, English and smaller regional languages.

1950 – 2000

With increasing funds, the industry began recovering in the 1950s and by the 1960s Lollywood had entered its golden age of cinema. This is also due in part to the 1965 ban on imported Indian films following the Indo-Pakistani war, which forced Pakistan to focus more on producing its own films. This saw the release of hits like Armaan, the first film to reach a 75-week run in Pakistani cinema. This era had breakout stars like Zeba, Muhammad Ali and Waheed Murad. 1975 was the most prolific year for Pakistani cinema, with 111 films released.

New regulations in the 1970s and 1980s during the Islamization period under President Muhammad Zia-ul-Haq caused a rapid decline in production. One such policy was the requirement for all filmmakers to have degrees. The period also saw the industry shift from the traditional romance and drama genres more towards action and gore. By the 90s, the industry was near collapse. Most studios closed and film output dropped to only about 40 films per year.

2000 – 2020

In 2007, the government finally lifted the ban on the importation of films across Pakistan and India, prompting a resurgence. That year, Shoaib Mansoor released his debut feature Khuda Ke Liye. This instant box office success was the first film to be simultaneously released in Pakistan and India in forty years. This decade also saw many filmmakers shifting from Lahore to the city of Karachi. Karachi has now become the base of Urdu film in Pakistan, with Lahore now producing predominantly Punjabi films. The 2011 release of Bol, a film tackling religious and social issues of modern Pakistan, ushered in a new wave of Pakistani cinema. The industry properly picked up steam in 2013 and 2014, with hits like Waar and Na Maloom Afraad. 

Lollywood Today

Today, Pakistan averages around 60 films per year and is one of the world’s top film-producing countries. Though Lollywood still competes with the giant Bollywood, it has carved out a unique identity rooted in the cultural traditions of Pakistan. Unlike its Indian neighbour, Lollywood is far more willing to explore a variety of genres and experimental films. This approach has earned it critical approval. It has moved away from Bollywood’s predictable formula of relying almost entirely on commercially viable exaggerated romance stories.

Although Lollywood still contends with some censorship, it is growing on the world stage. 2022 saw the release of Saim Sadiq’s drama film Joyland, the first Pakistani film to be screened at the Cannes film festival. The same year saw the release of the action film The Legend of Maula Jatt, the country’s highest-grossing movie to date. However, Lollywood still largely focuses on producing content for its local audience. This gives it a cultural authenticity completely lost in larger film industries. Lollywood definitely has something for everyone, after all, you have nearly 100 years of film to choose from. What do you think of Lollywood? Let us know in the comments.

Also Read: The Rise Of Nigerian-British Filmmakers

Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

The post Global Cinema Spotlight: Lollywood appeared first on Big Picture Film Club.

The Rise of Streaming

With faster and cheaper internet speeds in the 2000s, it was only natural for some entertainment content to start moving from cable to online. At first, it was limited to YouTube and small websites. Then Netflix, a small video subscription service, came online. With House of Cards, it broke the barrier and made TV streaming mainstream.

And yet, with pirated video material getting over 230 billion views a year, we are in the Golden Age of digital piracy. Here’s why;

Subscription Fatigue

Back in the day, you just needed to invest in one really good cable subscription and you were set. Now, video entertainment is split over a dozen online platforms each specializing in different genres. Maybe you’re satisfied with the dramas on Hulu but your spouse wants to watch reality shows on Netflix and your kid simply can’t settle for less than Disney+. Regularly paying for three or more costs far more than cable ever did. So the average person does what they can to cut costs.

Streamers Hiking Prices and Tightening Regulations

Over the last couple of years, most streamers have hiked their prices a couple of bucks. This has put more financial pressure on the subscribers already experiencing subscription fatigue. On top of that, Netflix recently created measures to prevent password sharing outside a subscriber’s household. This extremely unpopular move means that an account (even a family account) can no longer be shared among people who don’t physically live together. Once again, streamers are forcing subscribers to spend more money.

Content Deletions

Perhaps the most egregious of all, many streamers are pulling huge chunks of content off their platforms. Netflix is notorious for cancelling shows only one season after their release. This frustration is causing many people to opt out of streaming altogether. Worse than that is streamers like Disney+ deleting swathes of completed TV shows and classic films that only exist online. Many people see piracy of such content as historical preservation of art which would otherwise be completely erased from living memory.

So, what Are Streamers Doing About It?

While the ethical concerns of piracy can be debated, the fact is that the movie industry loses between $40 and $97.1 billion every year from digital piracy. And, of course, streamers want their cut. A few measures are being taken to curb movie piracy. As anyone who uses Netflix knows, you can’t screenshot or screen record any image on the Netflix app. This is a measure applied by quite a few streaming services. Platforms can also embed invisible digital watermarks in their content which helps to identify whether duplicate content has been stolen. Website blocking is used to limit access to the most notorious TV and movie piracy sites. But despite preventative methods and thousands of take-down notices issued to pirates, the issue persists.

All in All,

Streaming has changed the landscape of movie consumption by making TV and film accessible to thousands of more people. But the increased access to the internet coupled with the pitfalls of streaming has also opened the floodgates to rampant movie piracy. What’s your take?

Also Read: The New Hollywood: Streaming Giants

Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

The post How the Streaming Revolution Has Fuelled Movie Piracy appeared first on Big Picture Film Club.

In particular, Pan-African film festivals have played a key role in promoting African and diasporic cinema to global audiences. Let’s look at a few Pan-African film festivals around the world and their impact;

Film Africa – London, England

Film Africa is the biggest Pan-African film festival in London and one of the leading film festivals in England at large. Established in 2011 and run by the Royal African Society, it is one of the key stages for celebrating African cinema in the United Kingdom. It offers a platform for filmmakers from Africa and the diaspora to present their work to a global audience. The 2022 instalment showcased 48 films both in cinemas and online, from 16 African countries and around the diaspora.

On top of screenings, the festival includes events like workshops, masterclasses and Q&As with different directors. The Film Africa Festival also facilitates the Baobab Award for Best Short Film and the Audience Award for Best Feature Film. The awards feature cash prizes which encourage new voices in African cinema to take the stage. This is a biennial festival and its next instalment can be expected in 2024.

The Pan African Film & Arts Festival (PAFF) – Los Angeles, USA

This list wouldn’t be complete without mentioning the famed the Pan African Film & Arts Festival (PAFF). Established in Los Angeles in 1992, PAFF is the biggest black film and Arts Festival in the United States. Started by Danny Glover, Ayuko Babu and the late Ja’Net DuBois, this festival has become a favourite of the African American community. Every year it showcases a staggering 200 films from Africa and the diaspora. Like most contemporary film festivals, it has a mix of physical and virtual screenings to cope with changes since the COVID-19 pandemic. Due to popular demand this year, there was a virtual encore screening several weeks after the festival ended.

The festival is not limited to only film. It also features showcases by talented black artists and craftspeople. PAFF is also known for its star-studded red carpets, workshops and panels with top film industry professionals. The festival is typically held in February so we can look forward to its next instalment next year.

Pan-African Film & TV Festival of Ouagadougou (FESPACO) – Ouagadougou, Burkina Faso

We cannot talk about Pan-African film festivals without going to Africa itself. We cannot go to Africa without mentioning the Pan-African Film & TV Festival of Ouagadougou, more commonly known as FESPACO, the acronym for its French translation. This biennial festival is the largest in Africa and was established in 1969. It has been kept running despite years of political instability and military violence. The Burkina Faso government specifically ramped up security for this year’s edition which took place from February to March. The fact that it has endured all odds exemplifies the strength of African filmmakers.

The unique aspect of this festival is that it only showcases works by Africans. Every two years, it attracts the big and small of the African film industry. More than the fame and prizes, the festival brings together Africans in Africa to enjoy the work of our own hands. FESPACO especially champions work of the youth and women, with about half of this year’s submissions being directed by women.

Keep in Mind,

These are only a drop in the bucket of Pan-African film festivals. Whether you are on the continent or in the diaspora, take advantage of the festivals near you to enjoy African cinema. With many offering virtual screenings, talks and workshops, you can attend wherever you are.

Also Read: The Rise Of Nigerian-British Filmmakers

Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

The post The Rise of Pan-African Film Festivals appeared first on Big Picture Film Club.

Wait, What’s the WGA?

The Writer’s Guild of America (WGA) is used to refer to the joint operations of two affiliated labour unions founded in 1954; Writer’s Guild of America, East (WGAE) and Writer’s Guild of America West (WGAW). These two labour unions represent writers in television, film, radio and online media in America. They have headquarters in New York City and Los Angeles respectively, each administering its respective side of the United States. Although they are separate entities, they share certain functions like hosting The Writers Guild of America Awards, negotiating contracts and launching strikes.

So Why Are They Striking?

There is a common misconception that everyone in the film industry is rolling in money. It’s understandable, considering that Hollywood is often depicted as the land of glitz and glamour with films and TV shows raking in billions.

The thing is, not much of that actually goes to writers.

Of course, there are a select few screenwriters out there making big bucks but many of the brains behind your favourite shows are living paycheque to paycheque. This hasn’t always been the case, though. Writers simply aren’t being paid as much as they are used to.

One of the main reasons is the disappearance of residuals in the era of streaming. Residuals are a percentage of the profit received when media a person works on is syndicated, re-run or re-released. For decades, residuals have been an important part of a writer’s long-term income. However, the laws that governed residuals applied to traditional TV, not streaming. With most TV shows moving to streaming and studios grinding the minimum payments down to the ground, writers are making close to nothing. Writer Valentina Garza recently shared a tweet in which she received a residual cheque of only three cents (yes, three cents!) for her work on the hit show Jane The Virgin.

Another sticking point is the emergence of mini-rooms as opposed to fully-staffed writers’ rooms. Basically, many studios are hiring almost half the number of writers they used to on a short-term basis to bang out the structure of TV shows. Fewer and fewer writers are retained on long-term payrolls, and it’s making screenwriting as an industry shift from a full-time career to almost exclusively gig work.

Bottom line; the average Hollywood screenwriter can win an Emmy but still not know when next month’s rent is coming from. All of this is going on as studio execs are making increasingly obscene salaries. The strike is a direct result of the Alliance of Motion Picture and Television Producers (AMPTP) aka the union of America’s biggest movie studios, refusing to meet WGA’s reasonable conditions during negotiations.

What Does the Future Hold?

We can already see the immediate effects of the strike. Several productions have completely shut down as writers lay down their pens. This isn’t the first time a strike has interrupted Hollywood productions; the 2007 strike had Conan O’Brien spinning his wedding ring on The Tonight Show to fill airtime. A great deal of the Californian economy also relies on these shows to keep running.

But the short-term losses have potential for positive results for both writers and viewers. Not only will it give writers some semblance of financial stability to writers, but it will also probably lead to better TV. With fully-staffed writers’ rooms and regulations to curb use of AI to write scripts, we could see a drastic improvement in the quality of the TV shows produced. We’re all tired of dozens of Netflix shows that are cancelled after one season and look like they were written in the dark.

Want to Help?

Follow the hashtag #WGAStrong or join the picketing.

Also Read: Equal Writes: Why We Need More Female Writers

Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

The post WGA Strike and the Future of Television appeared first on Big Picture Film Club.

Film is a growing factor in shaping the public perception of refugees. Documentaries and biographical films have become a powerful way to raise awareness and foster empathy for displaced individuals. Let’s analyse two films that have shaped this reality.

Three Songs for Benazir (2021)

Three Songs for Benazir is a short documentary film made by Elizabeth and Gulistan Mirzaei. It won 13 awards and was nominated for the 94th Academy Awards. It follows the story of Shaista and Benazir, a newly married young couple living in a camp for internally displaced people in Kabul, Afghanistan.

Rather than an abstract depiction of war, the film takes us into refugees’ everyday lives. We see Shaista pursue his dream to join the national army and struggle to find direction in a place with so few options. The camp is filled with hundreds of displaced people living in mud houses. And yet, there is love. Children laugh and play outside, young men gather to dance, and Shaista sings to Benazir. In the midst of all their struggles, he serenades her with love songs as she shyly giggles behind her headscarf.

This documentary is, first and foremost, a love story. It shows us the humanity of displaced people beyond the statistics and impersonal clips we see on TV. Unlike most observational documentarians, Elizabeth and Gulistan do not take the fly-on-the-wall approach. Although they did not appear in the film themselves, they were close friends with Shaista and Benazir for three years before they ever started filming.

In a 2022 interview with Ms. Magazine, Elizabeth Mirzae stated; “Our films come out of friendship. But I think that you do have to, as a filmmaker, always self-interrogate and have these ethical audits.” This is a refreshing departure from the dozens of exploitative documentaries that frame refugees as one-dimensional caricatures of suffering.

Even though the film centres on the interpersonal experiences of refugees, it still subtly keeps you aware of the very real danger of war. In several scenes, you can see a US surveillance balloon ominously suspended in the sky above the camp. The filmmakers are aware of the risks of this pursuit, but they believe it is one worth taking. Despite the difficulty of filming in these circumstances, the Mirzaes succeeded in telling a beautifully nuanced and humane story.

The Swimmers (2022)

The Swimmers is a biographical film directed by Sally El Hosaini who co-wrote it with Jack Thorne. It is based on the real-life experiences of Syrian sisters Sarah and Yusra Mardini. The teenage sisters were competitive swimmers before they escaped the Syrian civil war in 2015, and fled to Greece on a battered overcrowded dinghy. In the middle of the Aegean Sea, the motor stopped. The sisters got off, strapped themselves to the leaking dinghy and swam until they reached the Greek shore. They made the rest of their journey to Germany over land while facing discrimination, sexual assault and endless bureaucracy. Yusra fights to continue her swimming career in Germany and competes in the 2016 Rio Olympics.

Most of the film is factually accurate due to the close collaboration with the sisters. Heavy research was made before storyboarding the scenes and careful casting was done to ensure authenticity. Real-life Lebanese sisters Nathalie and Manal Issa played the Mardine sisters. Several of the supporting cast were refugees, some of whom had made the Aegean crossing themselves.

It was a powerful choice to not centre the film on only Yusra who made headlines at the Rio Olympics. We learn about Sarah, who chose not to compete, and their male cousin Nizar who was their chaperone on their journey. Not everyone can be an Olympian, but every individual refugee has a unique story worth hearing. The scenes of urban Syrian teens dancing in clubs and hanging out with their friends before the war broke the monolithic stereotype of the Arab refugee.

By striving for accuracy and painting a full picture instead of zeroing in on a media heroine, these filmmakers showed us a side of the Syrian war that is often missed.

Ultimately,

Filmmaking is an art as much as it is a political and social expression. With enough patience, resources, and skill, filmmakers can craft brilliant stories that amplify the voices of displaced people.

Also Read: Sustainability Is Never a Boring Topic, See How Chinese Young Filmmaker Hong Ning Perceives ‘Global Sustainability’ Through Images

Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

The post Behind the Headlines: Films That Capture the Heart and Reality of Refugee Experiences appeared first on Big Picture Film Club.

Fans of Inception will enjoy the reality-bending storyline and visuals. The romance subplot helps balance out the brooding and introspective energy of the film. The film received mixed reviews, however, it’s a good watch if you want to see a dark fantasy spin on the age-old rags-to-riches story. Be warned, the film involves violence and themes of suicide. Let’s take a closer look;

The Story

The movie follows the life of Sang Yu, a poor screenwriter plagued by terrifying nightmares. Every time he sleeps, he crosses over to a strange alternate reality where a dark shadowy figure attacks him. He tries to cure his chronic insomnia by going to various healers without success. Unable to sleep properly for months on end, he can no longer write. His agent, San, is hounding him to finish the script he got an advance for, and his landlord is demanding unpaid rent.

With everything else going on, Sang Yu still frequently passes by a nearby café to watch Hua’er, a girl he’s pining after. He eventually comes home to find himself evicted. With no money, no family, no prospects and his sanity in shambles, he sends San a suicide note via text and climbs onto a building to jump to his death. A kind street vendor saves him at the last minute, offering a free meal and some advice. The old man tells him that whenever he’s in the middle of a nightmare, he should just tell himself; “I’m only dreaming”.

This advice changes Sang Yu’s life. He learns how to wake himself up at will, which comes with one amazing perk; he can bring items from his dream world back to his current reality. He starts bringing back precious antiques which he pawns for huge amounts of money. Of course, power comes with consequences.

While watching this, I could tell that there was a twist coming, but it wasn’t what I expected. The film took a few unexpected turns and played on the psychological aspect more than I expected. However, in my opinion, the deeper spiritual meaning the film aimed for fell a little flat at the end. There were too many mixed metaphors and the ending felt cobbled together, with a very vague conclusion.

The Characters

Something I appreciate about this film is that although it is fantasy, the actions and thought processes of the characters are realistic. The old superhero trope of immediately trying to save the world or wreaking vengeance on enemies is a little stale. Sang Yu does what most reasonable people would do if they woke up (or in his case, fell asleep) with superpowers; he makes money. And even though his first priority is himself, he is neither selfish nor particularly careless. He isn’t a hero, a villain or even an antihero; he’s just a person.

The lead role was excellently played by Darren Wang. I appreciate the portrayal of his friendship with San, which had a natural and rather touching development. Unfortunately, this film fell short of Sang Yu’s relationship with Hua’er. In this day and age, I don’t expect to still see blatant stalking framed as a grand romantic gesture. And though Hua’er was given some personality, she still comes off as a manic pixie dream girl. As the only female main character in the film, the moviemakers could have really done better.

The Visuals

You can tell that this film had a big budget for visuals. The CGI was very realistic and better than a lot of contemporary Western fantasy superhero films. Personally, I think the set and prop design stole the show. There were a lot of props in this film, considering that the main character is a supernatural antique thief. It’s impressive that the props were so well-made despite the sheer number of them. I also really liked Sang Yu’s visual transition from a degenerate starving artist to a clean-cut man in a suit. I was honestly surprised to see a handsome face hiding behind the straggly beard, chunky glasses and greasy hair. Props to the makeup and department.

The only major visual flaw I noticed was the very last scene. Unlike the rest of the movie, Sang Yu looked like a cardboard cut-out against a green-screen background. The editing was clearly rushed at the end.

All in All,

This is a good weekend watch if you like fantasy, good visuals and fight scenes. The execution of the story left something to be desired, but the premise is good enough to have you watch till the end.

Also Read: Netflix Hidden Gems: Subira

Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

The post Netflix Hidden Gems: Super Me (2019) appeared first on Big Picture Film Club.

This powerful film has been praised for its strong feminist message as well as for its artistry. Let’s break it down;

The Story and Characters

The film tells the story of Subira, a young Muslim girl living on the small Kenyan island of Lamu. She spends her free time with her loving father, a fisherman, who promises to teach her how to swim. Her only dream is to dive in the ocean, even if the local customs see this as taboo. Over the years, she remains carefree until she is suddenly thrust into an arranged marriage with a stranger from the capital city, Nairobi.

Tradition and religion were strong themes which were portrayed with nuance. Subira felt trapped by marriage, yet her best friend had longed for it since she was a little girl. We were also shown that Kenyans are not a monolith; the characters had very different experiences of the same events depending on their gender, age and environment. Tradition can unite and divide at the same time. There were masterful portrayals of the different relationships in this film, especially between Subira and each of her parents.

The core message of women’s freedom is something many of us can relate to. In an interview with Ebru TV, the lead actress Brenda Wairimu said, “If you ask me, this story is based on a true story for everyone.” Even if you’ve never been to Kenya or even never seen the ocean, this story carries a truth that women everywhere have all lived through. Subira’s gentle stubbornness is something we could all learn from.

The Visuals and Sound

The sound design and music choice for this movie was simply stunning. Coastal music with Arabic influence is the very first thing that captures your attention when the movie begins. The music slowly shifts from more traditional Swahili sounds to urban music when the setting changes from Lamu to Nairobi. At the movie’s premiere, the poet and playwright Sitawa Namwalie commented on the creative use of silence in this film. There was little dialogue which left much of the story to be told with visuals, scenic sound and subtle expression.

The scenes of the crystal blue ocean at Lamu were gorgeous. Although the shots themselves were not technically complex, they had the intended effect. This movie was the definition of making a lot out of a little. I also noticed that special care was taken with wardrobing. In the first scene, Subira is a child dressed head to toe in bright green. She continues to wear green in the subsequent scenes but less and less as she ages, until the day of her wedding, when she is shrouded in pale green lace. The moment she leaves Lamu, she doesn’t wear the colour again. I interpret this as the loss of her youth.

In the End

Some may criticise this film by saying that it is simple. In my opinion, not everything needs to be complex. It is beautiful in the way swimming in the ocean in; vast yet uncomplicated. However, I will admit that other than Subira’s father, the portrayals of the male roles could have been more convincing and compelling. Overall, this was an artistic and refreshing watch that you should definitely check out.

Also Read: Netflix Hidden Gems: Love Today

Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

The post Netflix Hidden Gems: Subira appeared first on Big Picture Film Club.

The film was a box office success and received critical acclaim in India, but we at Big Picture Film Club think it deserves a little more love internationally. Mild spoilers ahead;

The Story and Characters

There’s an old saying; nothing is new under the sun. Contemporary film is littered with remakes and retellings of old stories. Now, this is one of the very few times when I can say this; I have never seen this story told before.

The film begins with a young boy planting a mango seed. He digs it up to check on it multiple times and is frutrated that it won’t sprout. Cut to the present day. Pradeep is a young man who spends his savings to buy his girlfriend, Nikitha, a new smartphone. He waxes poetic about how close they are and how they know everything about each other. Due to the social stigma around dating, Nikitha lies to her strict father about where she got the phone.

Unfortunately, her father still finds out. Pradeep has to formally introduce himself to Nikitha’s father as a suitor for marriage. The old man shocks them with a strange condition; he will allow them to marry only if they exchange phones for a day. Their seemingly perfect relationship begins to fall apart at the seams as both their secrets come to light. Then, an unexpected third party throws a wrench into the already collapsing structure.

The Characters

The characters were all multi-dimensional and it was enjoyable to peel back each layer as the film progressed. No one was exactly whom they seemed to be. I applaud the moving subplot and stellar acting from the entire cast. Personally, I did not appreciate the focus on Nikitha’s purity. The moment that this sexual “purity” came into question, her community cast her to the dogs. Her reputation only survived once the accusation was proved to be false. On the other hand, most of Pradeep’s questionable behaviour was swept aside. The film holds women to the same impossible standards as hundreds of years ago.

The Visuals and Sound

The special effects in this film are impeccable. This is clear from the opening scene which shows each step of a smartphone being manufactured from with beautiful clarity. There was good visual storytelling, like the scene of the boy (later revealed to be Pradeep) planting a mango seed. The symbolism stood out to me. Nothing can truly grow, whether a seed or love, unless you leave it alone and trust that it will sprout. A lot of effort was taken to build up to the main story, even with a modest budget.

I appreciated the combination of more traditional shots, like the warm scenes of the couple sitting side-by-side on the beach, with the contemporary scenes of face timing, conference calls and scrolling through apps. The film featured mostly traditional Indian sounds complimented by techno-beats whenever the momentum picked up.

Before I Blab on for Too Long,

Pick up the remote and try this memorable rom-com. With heavy themes of gender roles, social expectations and just how dangerous (or liberating) technology can really be, the moral conclusions of this movie are up for debate. However, the high production quality cannot be denied and the comedic aspects are easy to appreciate. To the viewer, it really begs the question; how well do you really know the people you love?

Also Read: Netflix Hidden Gems: The Girl in the Yellow Jumper

Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

The post Netflix Hidden Gems: Love Today appeared first on Big Picture Film Club.

First on our list is Loukman Ali’s The Girl in the Yellow Jumper. This tense 2020 mystery-thriller was the first Ugandan movie to be added to the Netflix catalogue. It is critically acclaimed in East Africa but still not yet widely known to audiences around the world. Let’s dig in.

The Story and Characters

The story begins with Jim, a seemingly ordinary man asleep in front of a TV that’s playing a news report of a serial killer called the “Cigarette Butt Killer”. A figure in a gas mask and a yellow jumper quietly breaks into the room and drugs Jim. The story takes us on an unexpected journey of a kidnapping, a string of murders and discovering who the real villains are.

This film was an exercise in tension and pacing, truly earning its title as a thriller. The complex narrative makes it a perfect watch for those of you thirsty to figure out a short but engaging mystery. Clocking in at 1 hour 20 minutes long, it’s just long enough to keep you hooked. Be warned; this is not a light movie for casual viewing, so only watch it if you plan to pay attention. There are a few brief scenes of graphic violence, just in case you’re wary of blood.

One of the biggest criticisms of African films is having one-dimensional storylines and characters. That’s not the case for The Girl in the Yellow Jumper. The characters seem straightforward at first, but the more you watch you’ll see the complexities between each one. Compelling performances from Maurice Kirya, Michael Wawuyo Jr., Rehema Nanfuka and Oyenbot will have you rooting for multiple sides by the time the movie ends.

The narrative is littered with foreshadowing and red herrings. The puzzle pieces don’t fully click together until the very end, which makes for a satisfying finale.

The Visuals and Sound

Loukman and his team really brought in the big guns when it comes to cinematography. The lighting and tone of the film reflect old-school 90s films, while still being set in the present day. Much of the movie takes place on a highway and we are given beautiful shots of Ugandan nature throughout. I appreciated the creative camera angles during the fight scenes and kidnapping scenes.

The music choices were very appropriate, incorporating contemporary Ugandan music sounds. The sound design elevated the visuals to create the distinctive ambience of every scene.

The movie also included some refreshing animated scenes, something hard to pull off in the thriller genre. In this way, the heavy tones of death and abuse were balanced out with a few lighter scenes that elaborated on Ugandan traditions.

Admittedly, there was a point at which the transition between shots could have been smoother. However, the quality of the filming and editing was really remarkable for a production done on a shoestring budget with multiple interruptions.

The Bottom Line

We definitely recommend giving The Girl in the Yellow Jumper a try. While there could be room for improvement in the production and a few character portrayals, it’s a solid film nonetheless. Anyone in the East African film industry can tell you how hard it is to get a feature film on the global stage. A lot of blood, sweat and tears went into this movie, and it paid off.

Also Read: 5 Films In 2022 With Creative Concepts

Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

The post Netflix Hidden Gems: The Girl in the Yellow Jumper appeared first on Big Picture Film Club.

No movie genre more accurately shows public perception of feminism than the humble romantic comedy. I have two reasons to back up this theory. Romance stories paint a detailed picture of the roles of women and men in society – their work, marriages, money, and sex lives. The added aspect of comedy makes these portrayals more truthful than other genres. People tend to be more honest and more revealing when they’re telling a joke than when they’re speaking plainly. Combine these, and you get rom-coms.

Let’s get a little more specific with place and time. Here we shall look at three American rom-coms and break down what they tell us about feminism in America over the ages.

The Seven Year Itch (1955)

This blockbuster from the Golden Age of Hollywood follows a few days in the life of Richard Sherman, a married man in New York who struggles to resist the urge to commit adultery while his wife and son visit Maine for the summer. Although the movie didn’t have anything overtly sexual, there were sexually suggestive jokes throughout, a testament to the censorship laws of the time.

The 1950s are often painted as a time of old-fashioned Americana values, but this film shows that even the makers of those ideals weren’t happy. It was pretty much an open secret that married men became “summer bachelors” by cheating when their wives were away. The men felt trapped in their marriages, and the women were treated like little more than pretty faces.

What struck me the most is that Richard’s love interest was never given a name, even if she was a lead character. She was listed in the credits of the film as merely “The Girl”. Richard spent days talking to her but never even asked her name. He saw her more as a figment of his imagination than as a real person.

Pretty Woman (1990)

This 90s classic is a love story between Edward Lewis, a wealthy businessman, and Vivian, a Hollywood prostitute. When Edward’s girlfriend dumps him, he hires Vivian to escort him to social gatherings. The two soon fall in love and eventually, Edward rescues Vivian from poverty.

Pretty Woman is more of an escapist modern fairytale than an accurate depiction of real-life romance. Still, it tells us something about popular views of the nineties. While marriage was still the norm, it was no longer the be-all and end-all of life. Edward managed to be a respected businessman even though he avoided committed relationships until he met Vivian. And even though the 90s was an age of female empowerment and women supporting themselves, being taken care of by a rich man was still seen as a fairytale ending.

Look Both Ways (2022)

In this recent film, we follow the life of twenty-something Natalie in two alternate realities. In her senior year of college, she has one-off sex with her friend and she later takes a pregnancy test on the night of her graduation. Here, her life splits into two alternate paths, one in which she is pregnant and moves back in with her parents, and in the other the test is negative and she moves to Los Angeles to pursue a career in animation.

What I love most about this film is that she has a happy ending in both realities, but she ends up with a different man in each. Her true fulfilment came from pursuing her art, regardless of whom she was dating, where she was living or if she had a child. This reflects the current contemporary feminism, in which a man and marriage are no longer seen as the only possible life goals for a woman. Natalie did pursue love and family, but at the end of the day, her happiness lay in her work.

All in All

There are too many rom-coms for anyone to analyse in one short blog post, but I hope this gives a glimpse of how our social beliefs and politics leak into everyday media. Feminism isn’t going anywhere anytime soon, and neither is the beloved genre of romantic comedy.

Also Read: Too Awkward For Love: Understanding the British Rom-Com

Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

The post Rom-coms: The Unlikely Benchmarks of Feminist Progression appeared first on Big Picture Film Club.