Today we will look briefly at how media figures who started on applications like Vine, YouTube, TikTok, etc. began breaking into films. We will analyse why video creatives have begun to enter films. As well as how it could impact the industry’s future.

Influencers Come To Films

Films featuring well-known internet personalities have been around since at least the late 2000s. Films like Press Start: The Movie and Ryan and Sean’s Not So Excellent Adventure were made by YouTube creators as passion projects and extensions of their online personas. Then 2009’s Mystery Team and 2010’s Fred: The Movie became the first movies starring/directed by YouTubers to receive cinematic releases. While neither financially succeeded Fred: The Movie became the first part of a trilogy. Mystery Team marked the debut of many recognisable modern actors. Additionally, they both opened up the possibility for further movies to be released cinematically. Allowing them to capture audiences outside of their niche online fandom. 

And as the years have progressed we have seen more influencers/creators from various platforms make their film debut as stars or directors. Vine stars like Liza Koshy and TikTok stars like Addison Rae have popped up in films as varied as Boo: A Madea Halloween, Transformers: Rise of the Beasts and Thanksgiving. Plus films like Talk To Me and Arctic have seen directors emerge who made their start on YouTube. The generation that has grown up with video creation and social media is now becoming part of the wider filmmaking industry.

The Power of Influence

So why have influencers become more prominent in filmmaking? The first explanation is that having a well-known online creator/influencer attached to a project works well from a marketing standpoint. Allowing marketers to automatically sell the project to the creator’s/influencer’s audience. While giving exposure for the creator/influencer to wider audiences that may not have heard of their content. Thus making their involvement a cynical marketing/self-promotion ploy. 

However, it would be naive to assume that these moves are done purely for that reason. Many people have dreams of being part of the film industry and being a video creator/influencer helps to develop useful film industry skills (whether it’s screen presence, knowledge of how to use cameras, editing etc.). Essentially it allows creators to learn skills that could benefit a move to filmmaking/acting. This makes filmmaking/acting a natural progression for many influencers/creators.

And crucially as well as the above-mentioned skills these personalities have a unique relationship with their audience. Like film stars and celebrity directors, these creators/influencers use different platforms to amplify personalities/work that makes people interested to see what they do. That said, these figures can interact with fans in a more direct and personable way. They don’t have to make newspaper statements or television announcements they can just open their accounts and speak directly to their audience. Allowing them to have more of a feel of authenticity and relatability. Which makes it all the more intriguing to see what these influencers are doing. As these influencers aren’t Hollywood stars or high-profile creators, they are social media users like us. Or at least appear to be. Which can benefit marketers, the creatives and the audience’s sense of investment in a project.

The Future

With popular media sites like YouTube and video-sharing platforms like TikTok inspiring users to take up video making and content production, coupled with filmmaking institutions encouraging influencers to make films, we will likely see more figures begin to become part of mainstream filmmaking. Which could result in some much-needed variety in filmmaking and performance perspectives.

However, as I have stated previously many apps that allow influencers to gain prominence privilege certain voices over others. Limiting the possibilities for marginalised creators and showcasing eye-catching content over experimentation and sometimes overall quality. This means the potential for more diverse filmmaking and casting could be squandered for attention-grabbing headlines and self-serving self-promotion of popular figures. Will artistry trump marketing with this shift? Or is it likely to be a mixture of both?

Also Read: Behind the Name: The Origins and Reasons for Actors’ Stage Names

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Today I’m going to list five unadapted video games that should receive the film treatment. I will then say why they should be adapted and give suggestions on how the adaptation could be handled.

Metroid

Why?: Metroid is one of gaming’s most beloved franchises and features Samus Aran, one of its most iconic women leads. To not adapt it would be heresy.

How?: The first Metroid film should remain small-scale. The basic plot would follow the first game, where Samus is sent to stop Space Pirates using Metroids to create new weapons. It could easily be set in a huge laboratory. We would steadily see more of Samus’ abilities throughout her journey. But Samus’ personality should be foregrounded to make big action moments more impactful. Future Metroid films could then increase the action’s scope as the first film will have invested us in Samus’ character.

Grand Theft Auto

Why?: GTA is incredibly popular/controversial but it also tells diverse cinematic stories. Which skewer the American dream and showcases the violence at its heart. Meaning GTA could easily be cinematically adapted and it could hit hard in the current climate.

How? A GTA film should tell an original narrative, to avoid direct game comparisons. Perhaps focusing on a woman character to deconstruct the toxic masculine image associated with the games. The other key elements are creating engaging characters, an emotionally involving, comedic story, and building a detailed world that satirizes American capitalism in pointed controversial ways. This way fans will have more to chew on beyond simple shock value.

Prototype

Why?: A Prototype film would be a genre lover’s dream. The premise of a virus transforming people into monsters and its focus on bloody carnage would satisfy horror gore hounds. But its superpowered main character and fast-paced action could also give it a unique space in the superhero market.

How?: The games provide several interesting story directions. Seeking vengeance for a murdered loved one or recovering one’s memory both have great dramatic possibilities. However, a Prototype film should prioritize having energetic direction. Also, crucially, it should include practical gore effects. Think Evil Dead meets Spider-Man.

Journey

Why?: Journey’s wordless story of a robed figure journeying towards a mountain and slowly discovering what happened to a prior civilization could really demonstrate the visual storytelling side of video game adaptations.

How?: To make a Journey film there needs to be grand visuals, an expressive main character, and a beautiful score. It could easily be told as a beautifully animated tale, like The Red Turtle. However, with ambitious creatives, it could be an awe-inspiring live-action epic. Imagine Dune (2022)’s creative team handling this adaptation. 

Ikenfell

Why?: The story of a non-magical girl searching for her sister in a magical school where she discovers her previously unknown powers has all the hallmarks of a new successful fantasy franchise. Plus the game’s focus on characters of colour and LGBTQ identities provides a wonderful opportunity for needed visibility in a big-screen franchise.

How?: An Ikenfell film should be live-action to showcase real-world representation. And would be best served by focusing on the mystery story and characters rather than style. Although if the Wachowski sisters wanted to direct another family film their creative flare would be welcome.

Those are just some games that deserve their own film. Which games would you like to see become films and why?

Also Read: Adam Sipione Unravels the Inspiring Story of Shenmue In His New Documentary

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The most influential figure in the fashion industry you might not have heard off

The documentary opens with many influential fashion and entertainment industry figures praising Bethann. From Tracee Ellis Ross to Zendaya and Whoopi Goldberg to Fran Liebowitz, they all give short testimonials about what this fashion trailblazer meant to them. We see more comprehensive interviews with people such as Iman, Campbell and Beckford to get to know even more about Bethann. Her teenage years were rough due to the strict upbringing by her father, but Bethann isn’t afraid to admit that that is what makes her so determined.

After attending FIT and NYU, she became a saleswoman in the clothes district, and it didn’t take long before she was noticed by the big fashion names, even if it was unintentional. Black designer Willi Smith was the first one to give Bethann a model job, and her androgynous appearance, expressive look and outgoing personality made Bethann a popular model in the ‘70s as she walked alongside the likes of Pat Cleveland, Beverly Johnson and Iman.

She realizes that while some black women and people of colour are walking the runway, the % could and should increase even more. She wants to tackle that racism and lack of representation from the inside, so she decides to become a model and booking agent. In 1984, she launched the Bethann Management Agency. Her agency has received worldwide fame for discovering the most dynamic and diverse models from different backgrounds, including Kimora Lee Simmons and Veronica Webb.

Her impact became even more significant when she co-founded The Black Girls Coalition with Iman in 1988 to support African American models in the fashion industry. Bethann’s influence on the industry can’t be underestimated, and when she sees that it is all going in the right direction and that the people around her can take over the baton, she retires to Mexico to decide what she wants next in life. However, when the white homogeneity and “heroin chic” take the industry by storm, she’s forced out of ‘retirement’ with a bombshell press conference…

The traditional but effective way of documentary-making

Invisible Beauty is being told in the usual straightforward and traditional way. We see testimonials from the biggest people in the fashion world and Bethann’s son Kadeem. Of course, there’s Bethann, who gives us a very up-close look into her personal and professional life. The interviews are accompanied by runway show footage, press conferences and pictures from her childhood. We gain more insights into what was happening in the fashion industry, Bethann’s revolution and the relationship between media and the fashion industry. We all know that the images and videos we see shape how we see the world, and this documentary is the perfect reminder of that.

A must-see documentary full of passion, fashion, diversity and determination!

Bethann’s fire has been blazing for almost five decades, and she will continue for as long as possible. Her love for fashion, drive for change, and bubbly, outspoken personality are some things we all have to admire and praise. Her enormous contributions to the (fashion) world don’t all fit in this documentary (or in the book Bethann’s writing), but the stunning Invisible Beauty certainly tries and succeeds in showing us Bethann’s remarkable life in the most inspiring, affecting and fun way possible!

Invisible Beauty was part of the Sundance Film Festival London 2023 and will be out in the US on the 15th of September.

Rating: (4.5 / 5)

Read our interview with Bethann Hardison and Frédéric Tcheng here.

Also Read: Vanessa Oliveira Discusses Documenting Afro-Brazilian Culture

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Liselotte Vanophem (Big Picture Film Club): Congrats on the film!

Charlotte Regan (writer/director Scrapper): Thank you so much.

LV: It was just announced that the film is going to Edinburgh, to the Edinburgh Film Festival. How does it feel?

CR: It’s very cool! It’s very exciting. I love Edinburgh, so it would be nice to be a part of it, for sure.

LV: How did it feel when the Sundance Film Festival London said, “we want your film as the opening film”. Opening a festival must feel even more special than ‘only’ being selected.

CR: Being part of the Sundance Film Festival London and the Sundance community feels super cool. I try not to think about it too much, though. But it’s very cool. I feel very lucky, for sure.

LV: The casting of this movie is amazing, especially the children who are making their film debut. How did you find them?

CR: Oh, our casting director, Shaheen Baig, is incredible. She was a massive part of the search. And it was just a really long search. It took like two years because we were meant to shoot the year before, but because of COVID19, we had to push it back. We went to a lot of schools, and we’re being sent hundreds of tapes of young people. But from the moment we got Lola her tape, we knew that she was like magic. And then Alin came to an audition, and he’s the most charismatic 12-year-old you’ll ever meet in your life. So straight away, we knew we had two great kids on our hands.

LV: When and how did Harris Dickinson join the cast? The relationship between his character Jason and Lola’s Georgie is incredible.

CR: I’ve worked with Harris before when we worked on a short film a few years ago. I know him from that. I also love all the work that he’s done. All his films are incredible. He’s an amazing guy. He was cast the traditional way. We cast the young people first, or we intended to. Maybe we didn’t properly lock them in, but we looked for the kids first before looking for a Jason, just because I felt like the kids needed to come first and then Jason. Harris read for it and was just amazing, you know. He was also very selfless and knew how to support the kids whilst always giving a great performance.

LV: Where did the story for this film come from? Was it something that happened to you personally, something you have seen, etc.?

CR: I think a mix of everything for sure. There are people that I recognize within the film. People from the joyful working-class community that I grew up in. But beyond that, it’s not something that happened to me personally. The story evolved over time.

 LV: This is the first movie you wrote and directed by yourself instead of having co-directors/co-writers. How was that process?

CR: It was a lot of sitting on your own, writing, which I’m not a big fan of. I like to be with people to talk about things. I worked with my producer Theo on this, who is one of my best friends in the world, and we’ve worked together for a long time. There was that ‘family’ vibe. My production designer Elena was one of my best friends in school, and we’ve known each other since we were 12. My DP Molly is one of my best friends. It felt very much like a family-orientated shoot. They came on board very early and were always willing to talk creatively, which helped. Theo in particular, has sat with me for days and days, writing the script with me and saying the dialogue out loud. He was my partner through the whole process, for sure.

LV: There are a lot of emotional moments in this film. What was the most emotional one for you?

CR: I don’t know, really. I don’t feel that emotional on set, weirdly. I don’t know why. I probably try not to. However, when I watch it back, I love the bit where they are dancing together, and they finally connect just because she’s been so reluctant to let him in. So I love that moment. However, on the day of filming, I didn’t feel very emotional about it. I was probably blurring it out on purpose. I was probably tired and drinking too much coffee.

LV: And what do you hope that the audience will take away from this film?

CR: I hope it makes people laugh and smile. I suppose that is what I love about watching cinema. Movies are experiences that make you leave feeling lighter than when you went in. Something that makes you laugh or brings you a bit of joy. And then I hope that it captures how much joy and humour there is in working-class environments because I feel like it’s not something we get to see loads on screen.

LV: Is that experience also why you went into filmmaking?

CR: I don’t know. I think I got lucky with the film so I think it’s more luck. I don’t know if I would be good at anything else.

LV: Do you already have other projects you’re working on

CR: Yes, I’m writing films at the minute and just filmed an Apple show called The Buccaneers. It’s a period drama. One of the films I’m writing is a psychological horror about a gangster. It’s a totally different genre than this one.

LV: Scraper has a release at the end of August in the UK (25^th of August, to be exact). Are there any plans for releasing it in other countries?

CR: I think it releases on the same day in the U.S. I think I’ll be working on another shoot then, so might not be able to make it to promote it there.

LV: Well, good luck with Scrapper and your other projects!

CR: Thanks a lot!

Scrapper is screened on the 7th of July during the Sundance Film Festival London and has a nationwide release on the 25th of August.

Also Read: Review: Scrapper

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The post Inside the Heart of ‘Scrapper’: An Interview with Groundbreaking Director Charlotte Regan appeared first on Big Picture Film Club.

The History of Stage Names

Stage names were popular in the early days of the film and television industry. Performers wanted to choose names that were memorable, so they would stick in the minds of casting agents and audiences. They chose names that reflected the image they wanted to project. Some performers chose names to hide their nationalities, because they experienced racial and ethnic bias in auditions. 

Stage names also extend to theatre actors and musicians. Many of these artists chose stage names for the same reasons as actors. They also craft alter egos to have a distinct medium for their creativity.  

Reasons Actors Choose Stage Names

Some actors choose stage names to draw a line between their private and public personas. Since the entertainment industry can be a small world, actors can change their names to separate their talent from family connections. Some entertainment institutions, like the Screen Actors Guild and Equity, have rules that performers may not use the same name.   

Actors may choose to adopt a stage name if their given name sounds too similar to another famous person. Similarly, if performers haven common names, they may select a stage name that helps them stand out.  

Some entertainers select names that reflect the public image they are trying to create. Performers may select a stage name if their given name is difficult to pronounce, which would give them more marketability. Many actors choose stage names that honor important influences in their lives.   

Iconic Examples

There are many iconic examples of entertainers choosing a stage name to craft a public persona.

• Marilyn Monroe was born Norma Jeane Mortensen. This glamorous starlet chose a flashier stage name to reflect her public image.
• Emilio Estevez decided not to use his family’s last name, Sheen. He wanted to separate his talent from his famous family’s name. 
• American rapper and comedian, Awkwafina, chose a single stage name that reflected the playful character she wanted to build. 
• Old Hollywood actor Rock Hudson was born Leroy Harold Scherer Jr. He picked a stage name that exuded strength and masculinity because he wanted leading roles. 
• The Vampire Diaries actress Nina Dobrev shortened her name, Nikolina Kamenova Dobreva, to make it easier to remember. Diane Keaton was born Diane Hall, but had to change her name because another actress had the same name.

Stage Names Allow Actors to Transcend Stereotypes

Stage names allow actors to transcend racial and ethnic stereotypes. In Old Hollywood, stage names allowed actors to get in front of casting agents where they could showcase their talent, instead of being sidelined by prejudice. In the 1930s, Margarita Cansino became starlet Rita Hayworth. The name led to an erasure of her Spanish ethnicity, which helped her secure more roles because of the unfair racial and ethnic prejudice in Hollywood. 

Stage names widened the net of opportunities for entertainers who did not want to be put in stereotypical roles. Bruno Mars revealed in a 2013 interview with GQ that he chose his stage name because he did not want to be stereotyped as a Latino singer. 

While Hollywood still has a long way to go regarding inclusivity, some actors use their birth names to honour their heritage. In a 2021 interview, Riverdale actor Jordon Connor revealed he chose his stage name because he was stereotyped as an Asian actor in early auditions. He has since embraced his last name Yuen, to honour his Chinese background.  

Also Read: Shattering Stereotypes: The Rise of Women in Action Cinema

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

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Today we are going to look at the recent rise of generative A.I. programmes and how they can be used in film production. We will see if it is possible to currently use A.I. to make films. Additionally, we will look at how it could potentially change the industry.

“No Strings To Hold Me Down?”

Currently, there are many A.I. tools available that can create a movie’s building blocks. For example, OpenAI tools like ChatGPT, with enough input information, can create a refined script and shot list. Programmes like Speechify can convert text to speech using a variety of voices. Including celebrities like Snoop Dog and Gweneth Paltrow. Applications like Midjourney have already been used to create background images for animated productions. Such as the short The Dog and The Boy. And some tools allow you to edit videoes. Meaning a lot of a movie’s core elements can already be created and accomplished by A.I. But what about a film itself? 

Currently, projects like Pictory and Synesthesia use either stock footage or selected human avatars to make up their videos. Making them more useful for YouTube or business videos. However, trials are being undertaken to produce A.I. that will be able to create original video work through text inputs. Google is researching two A.I. projects aimed at making films. One aims to create realistic-looking A.I. video (Phenaki). Another wants to create high-definition short clips (Imagen Video), both from text prompts. Although these projects currently are only aiming for small videos it could potentially pave the way for longer video creation further down the line and also provides the opportunity to create original videos not based on prior material.

“A Machine, An Imitation Of Life” 

With all of the possibilities and the rate of progression of A.I. what are the implications for the film industry?

Some may say that the errors that A.I. runs into when rendering subjects in images would make it unsuitable for creating films, however, as technology improves, it could conceivably reduce those problems. On the other hand, even if this is not a possibility there is room for discussion of how this technology could be used to create experimental short films, that deal with more surrealist or unconventional imagery. If these programmes become available to the public these A.I. programmes could, like the advent of consumer film equipment and mobile phones before them act as a way of giving space to more independent filmmakers who may not have the finances and time needed to make a film.

It’s hard to see A.I. being a wholesale replacement for human film production. while these programmes can emulate human speech for writing and delivering dialogue, make artwork and other things, the spectacle of A.I.-created art will never wholly do away with the experience of seeing something achieved by humans. Whether it be acting or effects. The art of filmmaking is a collaborative process where teams of people with their own visions and experiences come together to make something with all the idiosyncrasies and sometimes improvised or unintended moments that entails. A.I. could probably never replicate that. There are also definite issues regarding image safeguarding and copyrighting and more to consider. But A.I. does present new ways to challenge and potentially help the industry in the future.

Also Read: A.I Generated Art & Movies: A Collision Course

Also Read: A.I Generated Art & Movies: The Rise A.I In Acting Performances

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The post A.I. Generated Art & Movies: Can A.I. Make Movies? [Part 3] appeared first on Big Picture Film Club.

New York: The city that never sleeps

Set a year after Scream (2022), half-sisters Tara (Jenna Ortega) and Sam (Melissa Barrera) move from Woodsboro to Big Apple alongside fellow survivors Chad (Mason Gooding) and Mindy (Jasmin Savoy Brown). They hope to finally escape their past, move forward and enjoy their lives. However, it seems that dread and murder find them wherever they go. Soon after their arrival, a series of brutal murders happen, inspired by Ghostface, the Stab movies and everything that has to do with it. Someone is continuing the work of the likes such as Billy Loomis, Roman Bridger, Jill Roberts and Stu Macher and again, the “core four,” as the group calls themselves, fear for their lives.

However, with Gale Weathers (Courteney Cox) and former classmate/now FBI detective Kirby Reed (Hayden Panettiere), they decide to try and get rid of Ghostface once and for all, but during Halloween night, New York is full of people in Ghostface costumes. Will they be able to find the real killer and bring him to justice?

The perfect combination of nostalgia and modern aspects

When watching Scream VI, it’s clear that this movie wants to honour its predecessors in the best way possible. Think of the massive shrine the killer has set up, Mindy’s monologue about the different elements of a horror slasher movie and the many subtle and not-so-subtle mentions of horror classics. But it’s not all about tradition in this movie. No, by swapping Woodsboro for New York, the filmmakers can use brand-new ideas. A bigger city, more people, and more potential victims all lead to a more inventive, bloodier and funnier film.

While the ‘core four’ certainly has more fun in this movie, they can’t fully enjoy it because Ghostface is always right behind them. With a higher population, the Big Apple is the perfect playground for Ghostface and directors Matt Bettinelli-Olpin (Ready or Not, Devil’s Due) and Tyler Gillett (V/H/S, Ready or Not). This is highlighted during the subway scene and the bloody and adrenaline-fueled climax. We even dare to say that Scream VI might have the best opening scene since the first movie. We don’t see much of Samara Weaving (The Babysitter, Babylon), but she undoubtedly impacts with her strong performance. 

A new environment, the same old great performances

Speaking of solid performances, both Barrera (In the Heights, Carmen) and Ortega (X, The Fallout) absolutely carry this movie. You might not have liked Sam in Scream (2022), but we’re confident you will change your mind when watching this film. Ghostface having even more rage and a sharper tongue and knife ensures that Sam has to step up her game, and Barrera does that. Her fierce, strong and clever performance ensures you will sympathize and root for Sam.

Barrera’s on-screen sisterhood with Ortega is extremely powerful. This is also because Ortega is in top form. After being stuck in the hospital for most of the previous film, she now gets to shine, and that’s precisely what she does! She’s finally allowed to have fun, stab around and bring out the badass in her. Do we have a new scream queen on her hands? Maybe not, cause Tara still feels a bit underdeveloped.

Because Sidney Prescott didn’t return to this movie, Gale Weathers gets a lot more screen time, and Cox (Scream, 3000 Miles to Graceland) certainly grabs that opportunity with both hands! Weathers is finally standing face-to-face with Ghostface, resulting in a standout scene and a knockout performance by Cox. She brings both power and humour to this movie. While the return of Panettiere (Custody, The Forger) as Kirby is wonderful to see, her excellent acting doesn’t come through as much due to the unfortunate wig and mainly supporting role. It’s only during that climax scene that Panettiere can show us what she got.

Scream is bloodier, creepier and funnier than ever!

After the release of Scream (2022), fans were questioning how the franchise could stay alive after Craven’s death. With his death, we lost a master in horror, but directors Gillett and Bettinilli-Olpin know what they’re doing. They have proven that by creating a frighting 2022 film and even bloodier, creepier, funnier Scream VI. Thanks to the many plot twists that certainly keep you on your toes, the standout performances, and the many wonderful easter eggs, the Scream franchise is still very much alive!

Scream VI is out now in U.K. cinemas

Rating: (4.5 / 5)

Also Read: The Future of Scream Without Sidney Prescott

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Today we will look at four movies that either actually shot all of their action in one take or edited the footage to make their film appear like one continuous shot. And we will look at how this presentation style enhances each film.

Russian Ark (The Surreality of History)

One of the few films to actually capture all of its action in one unbroken take. Russian Ark, filmed in the Hermitage Museum and featuring hundreds of extras, uses the oner to create a surreal atmosphere. Which helps to facilitate its free-flowing exploration of Russia’s past. As we cross through various rooms we see Tsars and Tsarinas, lavish balls, intimate meals, beautiful artworks from centuries ago and characters from different times discussing Russia’s place in the pantheon of global history. It’s a fascinating art piece whose camerawork evokes the beauty of dreams. And acts as a unique ode to the vastness of Russian history.

Birdman: Or (The Unexpected Virtue of Ignorance) (Theatrical Beauty)

This Best Picture winner concerns an ex-superhero actor (Michael Keaton) trying to reclaim the spotlight by starring in a play. Along the way, he encounters troubles with family, fellow actors as well as others behind the scenes, critics, audiences, and himself. The continuous-looking shot (achieved through great editing) fits thematically with the theatrical centre of Birdman’s plot. The brilliantly flowing camerawork, courtesy of Emmanuel Lubezki, adds a level of real grace to proceedings. Additionally, it encapsulates the frantic pace and energy of live productions. And when combined with brilliant performances from Keaton, Emma Stone and Edward Norton along with brilliant effects, Birdman becomes a compelling look into the mind of someone obsessed with film and plays.

Utøya – July 22 (Realistic Immersion)

Utøya follows Kaja (Andrea Berntzen) as she experiences the 2011 Utøya island terror attack. Aside from the opening, which shows the events leading up to the Utøya attack, the rest of the film is done in one take. Utøya uses its camera to place us firmly alongside the teenagers and their desperate position on the island. Putting the human face of that tragic day on full display. Persistent gunshots really foreground the danger the characters are in. And every moment without a cut is a constant panic as we watch everyone wrestle with what to do next. The oner is used effectively to allow us to feel the terror of the situation. An arresting film that everyone should see.

Boiling Point (Humanist Immersion)

Like Utøya Boiling Point uses its single take to immerse us within a particular setting. This time we follow restaurant staff during a busy pre-Christmas shift. But Boiling Point uses this technique to also allow us to get to know the characters. We spend time with everyone who is working. Including servers dealing with terrible customers, pot washers sneaking off for a cigarette, new employees adjusting to their stations, and the constantly stressed kitchen staff. By the end we have spent so much unbroken time in the restaurant with the team that we have an attachment to them. And while an edited film could achieve similar goals the one-shot approach helps us to experience the place and stress of the moment like the characters. It is the most accurate depiction of what working in the service industry is like.

Those are four films that have used the one-shot (both pseudo and actual) in ways that have made their narratives better. Make sure to add these films to your watchlist if you haven’t already. And please tell us about any oner films we may have missed.

Also Read: The Perfect Batman: A Look At The Actor & Director Duos Behind The Films

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1. Kevin McCallister is Jigsaw

This theory makes sense the more you think about it. Kevin was of course good at making improvised traps, thus with enough preparation, he could easily make the kind of torture devices seen in the Saw movies. Additionally, being separated from your parents twice and having to fend off dangerous robbers would severely impact your mental health. And he is a master manipulator so who’s to say he didn’t become John Kramer after Home Alone 2? I want to play a game ya filthy animals.

2. Pennywise and Mary Poppins Are The Same Creature

According to theorists, there are many explanations for why Mary Poppins is practically perfect in every way. These range from her actually being a time lord like the Doctor (her handbag being her Tardis) to Mary being a similar creature to Pennywise from It. Except she feeds on happiness instead of fear. Although that implies that she only left the Banks family because she was full from feasting on their energy. You’d need more than a spoonful of sugar to make that medicine go down.

3. Every Scott Bakula Role is actually Sam from Quantum Leap

Rarely has it been theorised that every role an actor plays, across TV and film, is actually a single character. Though, the fact that Quantum Leap was built around Scott Bakula’s Doctor Sam Beckett jumping into different bodies across time and space, all of which are seen by us as Bakula himself, it becomes incredibly easy to buy that theory. Let’s hope he eventually gets home.

4. Holly Martins and Harry Lime were Lovers

Apparently, this theory had some legitimate pull behind the scenes of The Third Man. Producer David O Selznick supposedly said that the only reason why Holly would care so much about Harry after not having seen him for a decade was because they were once lovers. And while said in a very homophobic context this nugget of info, plus the chemistry between Joseph Cotton (who played Holly Martins) and Orson Welles (who played Harry Lime), and Harry seeming to care more for Holly than his “girlfriend” Anna makes this theory seem quite plausible.

5. The Matrix and Terminators

Another franchise crossover theory. And while the Matrix series does not include time travel, and the expansion of the theory which says John Conner and Neo are the same person may stretch credibility, both franchises are about machines battling humanity to near extinction. So, seeing the Sentinals commanding T-800s during the human/machine war wouldn’t be unexpected.

6. Cobb Was Not Exiled From The US

It’s hard to deny the appeal of this popular Reddit theory. Inception already has many fan theories, but this perspective makes the film’s plot a metaphor for Cobb overcoming his emotional issues to be with his family again. This theory also brings Cobb and Mal closer thematically. Showing that fiction can be preferable to reality (Mal) But that it can also help people (Cobb). It’s a theory that works on many levels and deserves to be cannon.

7. Han Solo Triggered Kylo Ren’s Lightsaber

Han Solo’s death already hurt but this theory adds something else to proceedings. Stating that Han knew the only way his son Ben could eventually come back to the light was if he was no longer there. And that Han triggered the lightsaber to start Ben on that path. The surprise on Han’s face indicates this was not the scene’s intention. But that can also be blamed on the pain inflicted by Kylo’s lightsaber. Nevertheless, if you subscribe to this theory it adds an extra tragic layer to Kylo’s arc.

This concludes our foray into the land of film theories. Let us know your favourite movie theories and if any of these have caused you to view certain films differently.

Also Read: Seven Creative Movies Dealing With Memory Loss

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

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Hollywood. Technically just another district in the city of Los Angeles, with barely 150 thousand people. It covers roughly 30 miles in a city of more than 500 square, but the myth and reach of Hollywood stretches a lot farther. Although people have settled there since 1853, what we call “Hollywood” didn’t spring up until 1902– And the first film wasn’t made there until 1908: The Count of Monte Cristo. Ever since “Hollywood” has become the chronicler of North American culture – and with that comes great power. You know the line: with great power comes great responsibility. Intended or not, Hollywood holds the reins of history and decides who will be revered, who will be remembered, who will inspire fear… and who will be left out entirely.

Just the facts, Ma’am

Around the time that Hollywood was making its first pictures, the United States was taking its thirteenth census, and surprise: The U.S. was nearly 89% White. That had a huge impact on the way Hollywood would develop over the next one hundred and thirteen years. The country was about 11% Black, 0.9% Hispanic, 0.3% Indigenous, and 0.2% Asian. Fast forward to 2021: The country is around 59% White, 18.5% Hispanic, 13.4% Black, 5.9% Asian, 1.5% Indigenous, and about 2.8% Mixed Race. Very different numbers. Yet, the films and shows coming out of Hollywood haven’t changed with the pace.

In 2011, American diversity in film was tracked for the first time. Most films fell into the lowest diversity bracket– less than 11%. In 2020, however, nearly 29% of all American films had a cast diversity level of 50% or more—- Quite an improvement. But all in all, that still means that 71% of American films were hardly diverse at all. And if you consider that for many Hollywood films “diversity” means the minority characters are glorified extras or so whitewashed themselves you’d be hard-pressed to even notice their minority status, even that 29% starts to look suspect.

The one with the all-White cast

Only in the most recent of the last eleven consecutive decades has diversity been a real goal in “Tinsel Town”; before then you’d get the occasional multi-cultural hit, such as ‘Rush Hour’ (Jackie Chan, Chris Tucker), ‘Lethal Weapon’ (Mel Gibson, Danny Glover), and ‘Men in Black’ (Will Smith, Tommy Lee Jones), but more likely you’d get movies like ‘Back to the Future’ and ‘Dirty Dancing’, and tv shows like ‘Seinfeld’ and ‘Friends’. I could easily list one hundred movies and Tv shows that somehow make the United States appear magically one race. Shows like ‘How I Met Your Mother’ depict New York City—- one of the most diverse cities in the world—- as completely one-note. As someone who spent over a decade living in Manhattan, I can tell you many tourists are genuinely surprised when they realize that nearly 6 of the 8 million people in NYC aren’t White. Lee Atwater coined the famous phrase, “Perception is reality”. Which means with representation in the U.S.A. being what it is, American minorities are marginal… or don’t exist.

Show me the money

Every studio swears they are committed to providing diverse film casts, but something tells me their newfound commitment isn’t completely altruistic: Movies that were made up of 41% to 50% minorities had the highest median global box office receipts; Films with less than 11% minorities performed the worst. In recent years projects such as Black Panther (Grossed $1.3 BILLION, Budget $200m) and Crazy Rich Asians (Grossed $238m, Budget $30m) have been turning the heads of Studio executives, and a tidal wave of diversity may be coming. A clear sign of change lies in the fact that people of Color made up 39.7% of film leads in 2020 – a substantial leap from just 10.5% in 2011. However, there’s still a lot of room for growth behind the camera: Across 886 directors from the top 800 grossing films from 2007 to 2015 (excluding 2011), only 5.5% were Black and 2.8% were Asian. 

Houston, we have a problem

Aside from diversity issues in general, lies the problem of the true re-writing of history: Whitewashing. From the nearly all-White cast of ‘Gods of Egypt’ to Angelina Jolie playing an Afro-Chinese-Cuban-Jewish woman (‘A Mighty Heart’), some minority roles have been literally appropriated by White performers.

In The Human Stain, Anthony Hopkins plays an African American professor that has apparently been passing for White since college. Yes, the argument could be made that if he could pass for White, why not get a famous White actor to play him? Why indeed, aside from the fact that it’s not remotely believable that Hopkins comes from a Black family, and there are plenty of light-skinned Black actors that would have done justice to the role. Passing as White does not indeed make you White, and there was no part of Hopkins performance that conveyed any level of Blackness.

Even when it’s inspired by a true story, such as in Stuck, based on the story of a Black woman who hit a homeless man, but was cast as White in the film, or Ring of Fire, the story of Johnny Cash in which his Black Italian first wife was played by the same woman who portrayed Snow White on the tv series Once Upon A Time, minority characters are unapologetically replaced by White ones. Here’s a quick sample, but the examples are countless:

Tom Cruise, ‘Edge of Tomorrow’: The Japanese character Keiji Kiriya was changed to Major William “Bill” Cage.

Rooney Mara, ‘Pan’: The Indigenous American character “Tiger Lily” is played by White actress Rooney Mara.

Ben Affleck, ‘Argo’: Ben played the part of Tony Mendez, based on a real-life Hispanic CIA agent.

Bye, Felisha

Throughout this article, each section is prefaced with an old movie or tv quote, all of which has come from a traditionally “White” film; This last one I pulled from a Black movie just to make a point: Many of you won’t know it. This film (‘Friday’) had some of the best comedic actors of their time— Chris Tucker, Bernie Mac, & John Witherspoon to name a few— but until now “Black” movies & shows are considered for Black people only, while “White” films are thought to be for everyone; This way of thinking created one of the biggest cultural divides in our country. After nearly 530 years of sharing this country with each other, White America still hasn’t bridged the cultural divide. Everyone says that America is a melting pot but until now, it’s been more like oil and water. But if we continue this trend of diversity, easing the (sometimes unintentional, sometimes not) grip White Supremacy has had on Hollywood, if we open our eyes to each other, and welcome each other’s stories into our lives and our living rooms, I think that we would suddenly realize that what they say is true— There is only One Race: The Human Race.

Also Read: BLACK to the Future: The Rise of AfroFuturism

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Based in the U.K, Big Picture Film Club is the hub for the everyday film lover who craves something deeper than just film. At our core, we value significant discussions about the world of film and the cultural impact it has on society both through our editorial content and events. With original and meaningful content in news, reviews, editorials & interviews, we strive to go beyond the mainstream to give you the bigger picture.

We’re expanding the platform and are looking for a U.S-based writer to join our small but dedicated team.

Producing two articles a month, we’re looking for a writer who can help amplify the voices of independent and unrecognised talent, someone who can explore and critique opinions, ideals, values and the cultural impact of how tv and film relate to social, political and topical issues.

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Simply e-mail us at presh(at)BigPictureFilmClub.com  telling us a bit about yourself – with examples of any previous articles you have written, or alternatively simply pitch an idea you have for an article.

The deadline for applications is Friday 19th March

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But there are still some films to watch. With the likes of Bond and Fast and Furious and even Wonder Woman are holding back, to the dismay of cinema chains, independent films are shining. Without the large budgets to make back, smaller, cheaper films are filling the gaps studios normally stay well clear of. This summer was supposed to see the release of blockbusters such as Black Widow, Candyman and Top Gun: Maverick. Instead, Trolls World Tour became the film everyone was talking about, ushering in a wave of films being released to streaming sites. But this isn’t just good news for Trolls, it means that most theatres have been left wide open…

Cheap Thrills

Independent films are often buried when the new big summer blockbuster is out. Cinemas can only show so many films after all. Often if given the choice between an indie drama or another showing of a blockbuster, the latter will win. With most people in Britain only going to the cinema 3 times a year, they like to get their money’s worth. Watching something they know they will enjoy rather than take a gamble on something they haven’t heard of. Blockbusters are often longer, so it feels like more of an occasion. However, between the actor’s and crew’s salaries, post-production and marketing costs, these films are expensive and have to earn much more money before they start returning a profit.

Independent films can still be expensive (the original Iron Man is technically an independent film) but they are traditionally much cheaper to produce in comparison. This often means they have much lower expectations behind their performance. One advantage of this is that directors often have more creative control and more freedom. When millions of dollars aren’t at stake, some risks seem affordable, and different stories can be told in interesting ways. It also means that if the film is delayed, it isn’t bleeding money through delayed marketing, like Tenet and No Time To Die. Warner Brothers decided to release Tenet and it wasn’t quite the success they were hoping for. Meanwhile, After We Collided, a romance based on One Direction fan fiction did better at the box office than The New Mutants.

The Times Are Changing

Does this mean huge blockbusters will be gone soon? Definitely not. But it could mean that studios, and cinemas, stop relying on them. Indies can be treated as “filler” to use screens and keep cinemas afloat until the next big film. But this year has proven this isn’t sustainable. Instead, cinemas should embrace smaller films. Not only does it allow new talent to shine and get exposure, but it also allows different films to be more widely seen. A common complaint of the industry is that it’s always the same few properties having endless sequels, prequels, spin-offs and reboots, but independent films help prove that is not the case. Films like Saint Maud, Queen and Slim, and Babyteeth, as well as the success of this year’s virtual London Film Festival, have shown that there is plenty of good stuff to watch.

So next time you plan on going to the cinema, and don’t see any films you recognise, give an independent film a try. You might be introduced to your new favourite director, or the next big actress. Cinemas and audiences alike should start embracing independent films.

Also Read: Disney Shifts Its Focus Away From Cinemas To Its Streaming Platform

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

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Blade Runner

Ridley Scott’s 1982 cult classic finally got a sequel a whole three decades later, with Blade Runner 2049 but there is still much of this world to explore. The 30-year timeframe between the films was briefly explored in some shorts and comics, but a lot can happen in 30 years. Or even in the years preceding the original film. Netflix’s Altered Carbon has many visual similarities, but the noir story and unique soundtrack would be perfect for a 10 episode series. Maybe some we could even have some characters from the films show up?

Hellboy

Despite being around for over 25 years and starring in 3 feature films, Hellboy remains with his “cult” status. While the first two live-action efforts were well-loved, they didn’t do well at the box office. Director Guillermo del Toro and star Ron Perlman tried unsuccessfully to finish the trilogy. A 2019 reboot with David Harbour was plagued by issues and scored less favourable with critics. The franchise could work better as a series, with each season adapting a different arc. Netflix has had success with lesser-known properties like Daredevil and Umbrella Academy. The series lends itself well to a “monster of the week format” with the BRPD, and it would have much more time than the films do.

Harry Potter

The wizarding world has captured the imagination of a whole generation. Which is why it’s such a surprise that there is so little outside of the books and films. Although the series has focused mainly on Harry, there are plenty of other characters and stories that are only hinted at in the world. Harry’s parents at Hogwarts? Or even his children. The Order of the Phoenix has a rich history that it is dying to be explored. A show would help flesh out some side characters that are interesting but pushed aside in service of Harry’s story.

Once Upon a Time… in Hollywood

Tarantino’s love letter to the golden age of Hollywood introduced us to Rick Dalton and his pal Cliff Booth, but there is still a rich world there to explore. Rick and Cliff have a history that’s practically begging to be explored, or maybe some new characters? An anthology in this setting could be great, one episode following an aspiring actress and the next a director struggling against the studio system. It could even take a cue from the film and feature historical events and faces, perhaps creating its own alternate history. Tarantino has teased an extended cut, so there may be more to come.

District 9

This a premise that’s perfect for a TV series. Aliens living in worn down camps in South Africa, and their interactions with the locals. Director Neil Blomkamp has said he’d love to do more set in the world. While the film mostly tells it’s own story, there are plenty of other stories to tell in this world, either before or after the events of the film. They could even set it in another district, following entirely new characters and have little connection to the film, but the idea is begging to be explored more.

Also Read: Five Upcoming 2020 Horror Releases

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Jojo Rabbit

This latest film from director/writer/actor Taika Waititi has been in UK cinemas for a few days and if you haven’t seen it yet, we suggest you do. Waititi provides you with a unique view on the Hitler era in a film that’s full of satire, spectacular A-list talent and incredibly promising upcoming young actors. The chemistry between Waititi and young actor Roman Griffin Davis is spot-on!

Jojo Rabbit is in cinemas now

Uncut Gems

Adam Sandler as a notorious and charismatic New York City jeweller? It might seem like the next comedy from Sandler that might have an extremely high predictability level. Nothing could be further from the truth thanks to directors Benny Safdie and Josh Safdie. The brothers made from their latest film a dark, humouristic, fast-paced and violent gambling/heist drama. While you might feel some discomfort (not sure whether that’s a good or bad thing) when watching Uncut Gems, the movie does only give Sandler the chance to sparkle again, literally and figuratively speaking

Uncut Gems will be on the big screen from the 10th of January and available via Netflix from the 31st of January

1917

While 1917 will be released at the beginning of the new year, we dare to say that this movie from Sam Mendes will be the film with the best cinematography and editing of 2020. Mendes, cinematographer Roger Deakins, and editor Lee Smith make it feel like this film was shot in one take. Because of that magnificent element, you’re standing shoulder to shoulder with the two soldiers who have to deliver an extremely important message during the First World War. Esteemed actors such as Benedict Cumberbatch, Colin Firth, and Richard Madden are great as always but Dean-Charles Chapman and George MacKay are the ones that excel!

1917 will be in UK cinemas on the 10th of January

Waves

He already shone in Luce but in Waves, Kelvin Harrison Jr. shows us, even more, why he deserves as many awards as possible. Together with great upcoming talent Taylor Russell and Alexa Demie, he tells the gripping story of a young family that’s being struck by loss, doubts and abuse. Luckily, there’s also a place for hope, love, and strong relationships. Director Trey Edward Shults can also rely on stunning performances from Sterling K. Brown, Renée Elise Goldsberry, and Lucas Hedges. Waves is a powerful and emotional film portrayed by a strong cast.

Waves is in UK cinemas from the 17th of January

A Hidden Life

Director Malick takes us back to World War II by telling a very emotional story of a couple facing the terrible sides of the war. Franz Jägerstätter (August Diehl) is being looked upon with agony because he doesn’t want to pay taxes or doesn’t want to fight for his country. The less he’s involved in the war, the better. He and his wife Fani (Valerie Pachner) live a very sombre life but as long as they have each other and their children, nothing can stop them. Until the war comes much closer than they want… This results in a beautifully shot, highly moving and touching movie about love, family and war.

A Hidden Life will be released on the 17th of January

The Personal History of David Copperfield

It was the openings film of the BFI Film Festival 2019 and while you’re watching The Personal History of David Copperfield you’ll understand why. The film isn’t only packed with A-listers such as Dev Patel, Tilda Swinton, Ben Whishaw, and Gwendoline Christie but also with a lot of humour, wonderful moments and beautifully shot scenes. With David Copperfield by Charles Dickens under his arm, director Armando Iannucci turns the story about family, trying to survive and finding unexpected love in a gorgeous and light-hearted movie.

The Personal History of David Copperfield is out on the 17th of January

The Lighthouse

If you’ve seen The Witch from director Robert Eggers, then you know that he makes on-point, stirring, dark and thought-provoking thrillers. With his The Lighthouse, he delivers that again! Eggers can’t only count on the electrifying music from Mark Korven and the striking black/white cinematography from Jarin Blaschke but also on the spectacular chemistry between Robert Pattinson and Willem Dafoe. Both men put on a mysterious and dynamic performance and bring the twisted and sinister story of the lighthouse keepers Thomas Howard and Thomas Wake perfectly to life.

The Lighthouse is released on the 31st of January

A Beautiful Day in the Neighborhood

Tom Hanks as the beloved children’s television presenter Fred Rogers. You probably don’t need more than that to buy a ticket for A Beautiful Day in the Neighborhood. With her latest film, director Marielle Heller honours the real-life friendship between Rogers and journalist Tom Junod (portrayed by Matthew Rhys). While Junod is being renamed to Lloyd Vogel, the story remains the same. A wonderful one about a unique friendship, family and human emotions. Both Hanks and Rhys dazzle and because of that, the movie became a heart-warming, lovely and charming one.

A Beautiful Day in the Neighborhood will be in UK cinemas from the 31st of January

Queen and Slim

He was already nominated for an Oscar for his stunning performance in Get Out and put on strong performances in Black Panther and Widows. She is an amazing upcoming talent. Yep, Daniel Kaluuya and Jodie Turner-Smith are making a great team as Slim and Queen, a couple whose first date isn’t going as planned. Their happy moments make space for darker and tragic ones. The result: Two young lives completely broken, two people living in fear and pain. Will their love for each other be strong enough to keep them together or will their disastrous past become too dark? You will get the answers to that question after watching this exciting Queen and Slim by director Melina Matsoukas.

Queen and Slim is out on the 31st of January

The Man Who Killed Don Quixote

After multiple attempts to make this film, tragically losing important cast members and experiencing financial problems, The Man Who Killed Don Quixote premiered at the Cannes Film Festival in 2018. We can’t imagine what a relief that must have been for director Terry Gilliam. His “most cursed film in cinema history” tells the story of genius film director Toby (Adam Driver) whose creative days are sadly behind him. The production of his latest film about Don Quixote isn’t going great and the passion for filmmaking seems to decline.

This is until he finds a student movie he made about Don Quixote (Jonathan Pryce). This discovery is the beginning of a trip down to the memory lane. Driver and Pryce bring their A-game to this film and lead co-stars Stellan Skarsgård, Olga Kurylenko and Jason Watkins wonderfully through a funny and witty medieval story.

Catch The Man Who Killed Don Quixote from the 31st of January

Also Read: Quibi & the Rise of Short Films

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Gerwig’s film is really an ode to those, to borrow a phrase from one of its stars, self-partnered women. Women who have defied the confines of marriage, whose passion is just as important as their prospective nuptials. As Gerwig said of her aspirations for Jo’s relationship with the audience, ‘What if you felt when she gets her book, the way you generally feel about a girl getting kissed?’ Thus can you imagine, if we cared as much about a woman’s achievements as we do whether or not anyone puts a ring on it? 

Gerwig rearranges the story thematically and structurally to breathe new life into it on screen and puts marriage firmly at the centre. The film begins with the March sisters on the precipice of adulthood. Jo (Saoirse Ronan) is living in New York writing wild stories about violence because that’s what sells. Meg (Emma Watson), the eldest sister, is living in marital bliss with two young children – except she’s broke. Amy (Florence Pugh) is in Paris, practising her painting and being courted by the super-rich Fred Vaughn, and Beth (Eliza Scanlen) the youngest, is at home with her mother, her heart weakened by a bout of scarlet fever. They’re four twenty-something women with their childhood in the rear-view, their memories and losses framing the decisions they make. Meg is releasing the life she aspired for isn’t always perfect while both Jo and Amy navigate the decision on who to marry or if they should marry at all. 

‘I’d rather be a free spinster and paddle my own canoe,’ Jo says (a line lifted from Alcott’s journals), though she fears the loneliness of such a life, even if she believes that women are capable of more than just love. While Amy sees marriage as an economic proposition, something she can use to support her family. ‘I believe we have some power over who we love, it isn’t something that just happens to a person,’ she says, in a debate that frames her as sensible and explicitly aware of her role in the world. How a woman approaches that role and marriage, be it with contempt of Jo, the practicality of Amy, or head-over-heels love of Meg, is something that still lingers today. 

The shape of marriage in our modern world is shifting. It’s moving away from its history as a business transaction (one that could procure a dowry and help business) and toward being the pinnacle of romantic idealism. Just entirely how that happened, no one is really sure. Capitalism undoubtedly played a significant role – the selling of the ‘dream wedding’ to women soared as a business since Victorian times. Then, of course, came the idea of ‘marrying for love’, a new way of entrapping young singles when their betrothal didn’t come with the promise of a small plot of land and a few cows to boot.  

The fact is that marrying for ‘love’ only entered our collective consciousness around 250 years ago. Before then it was merely one of several factors to be considered when pairing up young singles (and, dear reader let me tell you, it wasn’t very high up the list of concerns either). As Stephanie Coontz wrote in her book Marriage, a History, “it was inconceivable that people would choose their mate on the basis of something as fragile and irrational as love.” And, while people did indeed fall in love, the choice to marry because it was seen as a threat to a particular social order, one that could risk men and women abandoning their commitments to family, neighbours, and, above all, God. 

Even if marriage has rebranded itself as the symbol of ‘everlasting true love’, does that mean it can outrun its deeply gendered history? The gendered concepts of such a union are still unavoidable with a 2014 study of Harvard Law School graduates showing that more than half of the men surveyed expected their careers to take priority over their spouses. As writer Jia Tolentino notes, in her book Trick Mirror, “gender inequality is so entrenched in straight marriage that it persists in the face of cultural change.” Thus, Jo’s (and indeed Alcott’s) disdain for settling down still seems more than reasonable and, in 2019, she wouldn’t be alone. 

This past year has been peppered with films that celebrated singlehood. Lorene Scafaria’s Hustlers focused on women’s ambition, sisterhood, and their refusal to continue to face abuse from the ruling classes. Chris Buck and Jennifer Lee’s Frozen 2 offered Elsa, a Queen who aspired to fulfilment and self-actualisation while being the first Disney princess to nix falling into the arms of an interchangeable price with a china doll face. Sophie Hyde’s Animals came with the view that marriage is an obstacle to a lifelong friendship rather than something to be sought after and prized. While the sad obsessive loner who ultimately commits heinous acts of violence in Todd Phillip’s Joker is #SingleGoals for faceless bros on Twitter. 

Whether it’s 2019 or 1869, marriage still looms large over society and, indeed, cinema. The choice to remain single is still a threat. As the philosopher, Alain de Botton wrote,

“Anyone who lives alone and manifests no longing to be in a relationship is – in our times – almost automatically (though more or less secretly) viewed as both pitiable and deeply troubled. It’s simply not thought possible to be at once alone and normal.” 

– Alain de Botton

Do any of the Little Women end up alone you ask? Gerwig wants you to think so as she suggests that the ending of Jo’s novel (which sees her fall into the arms of a man) isn’t the one Jo chooses for herself and this is an act of tribute to Alcott. It blends the author and fictional character together even further. Gerwig chooses, as Alcott did, not to follow what is expected, to defy the end of the novel and say, boldly, that marriage is not all a woman is fit for, both then and now. 

Little Women is in cinemas nationwide on 26th December.

Also Read: How To Revive A Franchise After Many Years

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Big Names

It’s likely you’ve heard of at least one of those three films, if not all of them. “Coco” is from the wizards at Pixar, “Darkest Hour” was based on a true story and pushed for Oscar nods, while “Peter Rabbit” is based off the children’s books that ingrained the character in British Culture.

All of these films are rated fresh on Rotten Tomatoes, so the general consensus is that they are all good films (scores range from 64% – 97%). But clever release dates may also have played a part in their success. “Peter Rabbit” was released in February, making it the only children’s film in cinemas for several weeks. This lack of competition likely helped the film’s success.

Darkest Hour, despite being released in late December, was marketed as an Oscars contender early on, especially Gary Oldman’s performance and the hair and make up effects used to transform him into Winston Churchill. Oscar buzz is a huge selling point for any film.

Meanwhile, Coco is from Pixar Animation, the studio behind classics like “Toy Story” and “Wall-E”. Pixar’s pedigree rivals the Disney Renaissance, with “Cars 2” the only weak link in its (at the time) 19 films.

Where are all the originals going?

As with most years, the top films were all part of franchises. “Avengers: Infinity War” took the top spot, with the number two spot being filled by the “Mamma Mia” sequel. The top ten also consisted of entries in the Jurassic World, Fantastic Beasts, Mission Impossible and Star Wars franchises. As well as a sequel to Mary Poppins and Spider-Man spin-off “Venom“.

Many original stories do get full theatrical releases, but often the biggest ones are feature big names attached, such as the recent “Once Upon A Time In… Hollywood“, with director Quentin Tarantino and actors like Leonardo DiCaprio and Brad Pitt involved to draw-in audiences.

A common place to find original stories is on streaming sites, with Netflix having some of the most high profile releases, such as “Okja” or “Velvet Buzzsaw”. Streaming sites have grown in popularity and content in recent years, with content that struggles to find distribution often picked up by streaming sites, such as “The Interview” after the drama caused by the Sony email hack. Although more high-profile releases are heading to streaming sites, such as Martin Scorsese’s “The Irishman”.

The Future

It’s unlikely that every film released in cinemas will be a sequel or part of a franchise. There are enough “big” original films released with the likes of Christopher Nolan’s “Tenet” and Rian Johnson’s “Knives Out” as examples, while streaming will only get more high profile releases.

Avatar, which was recently dethroned as the highest-grossing film of all time, is an original story (although it has spawned a franchise) so there is clearly potential for them to succeed, but perhaps a big name must always be attached in some form or another for them to make a big impact?

Also Read: Five Great Films About Filmmaking

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At Big Picture Film Club we are all about supporting filmmakers and actors, particularly those based in the UK. We exhibit their work through our events, share their work through our social media channels, and even discuss topics with them on our podcast.

We are a small team, but we are expanding and on the lookout, for a writer to review new releases and to write editorials – one article per week.

Previous experience isn’t necessary. Paid per article.

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Simply e-mail us at hello(at)BigPictureFilmClub.com  telling us a bit about yourself. If you have written any articles previously please include an example, alternatively, simply pitch an idea you have for an article.

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

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The country felt the impact of being culturally and societally left in the dark, isolated from the rest of the world, with Western culture banned during dictator Nicolae Ceaușescu’s rule. Chuck Norris Vs Communism tells the story of how the banned American films were smuggled into 1980’s Romania during a time when free speech and access to media was controlled by the government.

Irina was a film translator for Romanian State Television, a censorship committee that decided what to broadcast, translating their communist ideologies. The role was never suited to her, so when a colleague asked if she could translate films for a friend, she leapt at the opportunity, risking her freedom by single-handedly dubbing every line of every character in over 3000+ bootlegged movies.

There was a desire to learn about a forbidden society and underground film clubs soon became popular. Watching these films became a matter of survival, and classics such as Rocky and Dirty Dancing eventually became tools for imagination, growth and development.

Truly a remarkable woman whose contribution to film has impacted history and the world over, her iconic voice became a symbol of hope and freedom. The revolutionary role of movie-smuggling helped liberate the people of Romania, and at this year’s SXSW, Irina will be discussing how the same could be done for the people of North Korea.

The post Bootlegged VHS & The Romanian Revolution appeared first on Big Picture Film Club.

Winter Ridge is a crime-thriller set in the fictitious English town of Blackrock (filming took place in North Devon). The central plot of the film revolves around a team of detectives tracking down a serial killer targetting the elderly.  Winter Ridge even made it’s way to the 2017 Cannes Film Festival picking up distribution later in the year. The independent film has managed to bring together a remarkable cast: Hannah Waddingham (Game of Thrones, Les Misérables), Alan Ford (Snatch, Lock Stock and Two Smoking Barrels) and Olwen Catherine Kelly (The Autopsy of Jane Doe). The crew behind the camera are as equally with the film overseen by award-winning director Dom Lenoir and producers Nancy Bressolles (Rise of the Krays) and Chris Hardman who has worked on films such as Avatar, Star Wars and Kingsman.

We were able to have a Q & A with Director & Producer Dom Lenior to find out more about Winter Ridge, what to expect and when the planned release is for…

Finance is always a big issue when producing an independent feature film, how did you go about funding this film? What challenges did you face in doing this?

Dom: It has been a case of building up a track record and work ethic over quite a few years as individuals and through Camelot. We funded the film largely through the British SEIS (Seed Enterprise Investment Scheme) tax incentives and with private investors. We came to them having formed a relationship on previous projects and due to the quality of work or various shorts we had made prior, as well as a slate of films for the future, we put forward a visible track record in quality and a ready to go film. Having attached cast, high-level crew, and sales estimates definitely smoothed this process over as well and for a cinematic independent film felt like a better route than funding bodies.

How have you been able to put your own spin on the crime thriller genre and what were your sources of inspiration for the film?

Prisoners and Insomnia were big influences and inspiration in terms of the mood and feel of the movie. The initial inspiration came from the writer Ross Williams whose family had suffered from degenerative diseases including Alzheimer’s. The idea was to create a film that was an exciting psychological thriller format but touched upon some of the difficulties families face with someone suffering from an illness. My main goal creatively was to create a film that didn’t feel overly British cop and small close-knit town but something more ominous and isolated. This involved taking a lot of mood influences from Scandinavian and American Detective shows and bringing a really cinematic and atmospheric approach to the visuals, music, characters and setting.

Winter Ridge touches upon how do you go about tackling the subject of Alzheimer’s in a way that is authentic and does not trivialise it?

Mostly the aim was to look at Alzheimer’s in a sense of showing some of the situations and problems sufferers have gone through. We tried to not place too much judgement on any course of action and if anything I think the film hints that there are no easy answers and it is more about shining a light on some of the problems people and their families face.

The film has a crew (both behind and in front of the camera) that have worked on numerous big budget films – how did the film crew and cast come together?

A lot of the connections have come through Camelot; Matt and I have worked with a number of the cast and crew also. This has been something that has naturally developed through years of collaboration on ambitious shorts, meeting them on high budget films and we are lucky enough to have people at that level who believe in both our work and our approach to films enough to have continued collaborating.

How was the experience of screening at Cannes?

We released our teaser trailer at Cannes which received a really good response from the market, within a day we had already sold a major market and interest was high to see the film.

What do you hope people take away from this film?

Reconsidering their views on life and death, how we relate to our families, and how far we will go for the people who are in danger or we love.

Winter Ridge is slated to be released in late spring both in the U.K and internationally. We will continue to keep you updated on the release of the film. Watch the behind the scenes trailer below.

https://www.facebook.com/WinterRidgeFilm/videos/500700463616689/

The post First Look: Winter Ridge appeared first on Big Picture Film Club.

Book your tickets now: https://goo.gl/YUuZeK

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